Csornay Boldizsár - Dobos Zsuzsa - Varga Ágota - Zakariás János szerk.: A Szépművészeti Múzeum közleményei 97. (Budapest, 2002)

The Year 2002

guin's Ten zincographs received from Vollard, the next year the museum hurried to buy the first edition of the series dated 1889. Pál Majovszky's donation of 1914 largely boosted the modern print collection of the museum. It mainly contained English and French masters. His financial standing allowed Majovszky to change the profile of his collection. At the beginning of the 1910s, the cultural counsellor plunged into creating an all-round drawing collection of all the outstanding 19th century masters. His plan came closest to completion in the case of the French school as proven by the masterpieces put on display in the exhibition (Gauguin, Cézanne, Rodin, Renoir, Signac). Unlike the late 19th century crop of art, the early 20th century endeavours received far less attention. The only exceptions are Matisse's set of lithographs from 1906 and Picasso's Saltimbanques

. Before 1914, no Cubist or Expressionist prints were obtained for the collection. The avantgárdé trends can only be indicated by a few relatively new acquisitions. German Expressionism is represented by the Blauer Reiter's almanach and Kandinsky's Klänge album, in addition to Pechstein's and Nolde's woodcuts. zs. G. Translated by J. P. "1 DREAMED DOWN INTO THE DARK FOREST" DRAWINGS AND WATERCOLOURS OF THE GERMAN ROMANTIC ERA AN EXHIBITION FROM THE GRAPHISCHE SAMMLUNG OF THE STAATSGALERIE STUTTGART MARCH 16, 2002 - MAY 20, 2002. GALLERY OF PRINTS AND DRAWINGS CURATORS OF THE EXHIBITION: ZSUZSA GONDA, TERÉZ GERSZ1 In 1843 the enlightened King Wilhelm I of Württemberg founded the Museum der bildenden Künste, now the Staatsgalerie. The Stuttgart collection has always been strong in Neoclassical painting and drawing. As a result of systematic purchases, the collection has been enlarged with works from the German Romantic era. The exhibition offered an exciting glimpse into that period through 112 works on paper by almost forty remarkable artists. The exhibits were selected by Ulrike Gauss, Teréz Gerszi, Zsuzsa Gonda, the catalogue was written by Udo Felbinger (fig. 68). 1. Early Romanticism It has long been recognised that there is no rigorous gap between Neoclassicism and Romanticism. While the Tyrolean Joseph Anton Koch, who spent most of his career in Rome, is regarded as the pre-eminent German Neoclassical landscape painter, he also had important contacts with the generation of German Romantic artists who arrived in Italy in the 1820 (in particular with the Nazarene painters). He was a skilled draughtsman and executed some of his finest works on paper, in media ranging from cursory pen-and-ink drawing to highly finished large scale compositions. He was one of the first to discover the sublime aspect of nature's phenomena. Koch captured mountain peaks and waterfalls of the Alps. He interpreted the high mountains as a realm of personal freedom. A new trend towards a more personal, bourgeois-tinged perception can be found in portraiture around 1800. While Johann Gottfried Schadow portrayed the Prussian Queen