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32-760: It consists of the three "Pinakotheken" galleries ( Alte Pinakothek , Neue Pinakothek and Pinakothek der Moderne ), the Glyptothek , the Staatliche Antikensammlungen (both museums are specialized in Greek and Roman art), the Lenbachhaus , the Museum Brandhorst (a private collection of modern art) and several galleries. Also the Staatliche Sammlung für Ägyptische Kunst (the state collection of Egypt art)

64-574: A dowry of his wife. Charles Theodore, Elector of Bavaria (1742–1799) had a strong preference for Netherlandish paintings as well, among other paintings he acquired Rembrandt 's The Holy Family . By the late 18th century a large number of the paintings were displayed in Schleissheim Palace , and accessible to the public. After the reunion of Bavaria and the Electorate of the Palatinate in 1777,

96-928: A lion from the Ishtar Gate of Babylon. Nearby the Kunstareal are several natural scientific museums of the Bavarian state, like the Paläontologisches Museum München , the Geological Museum and the Museum Reich der Kristalle as the public part of the "Mineralogische Staatssammlung Muenchen" (Bavarian State Collection for Mineralogy). 48°08′56″N 11°34′19″E  /  48.14889°N 11.57194°E  / 48.14889; 11.57194 Alte Pinakothek The Alte Pinakothek ( German: [ˈʔaltə pinakoˈteːk] , Old Pinakothek )

128-585: A treasure trove of the works of European masters between the 14th and 18th centuries. The collection reflects the eclectic tastes of the Wittelsbachs over four centuries, and is sorted by schools over two sprawling floors. Major displays include Albrecht Dürer 's Christ-like Self-Portrait , his The Four Apostles , Raphael 's paintings The Canigiani Holy Family and Madonna Tempi as well as Peter Paul Rubens self-portrait Honeysuckle Bower and his two-storey-high Judgment Day . The gallery houses one of

160-587: Is an art museum located in the Kunstareal area in Munich , Germany. It is one of the oldest galleries in the world and houses a significant collection of Old Master paintings. The name Alte (Old) Pinakothek refers to the time period covered by the collection—from the fourteenth to the eighteenth century. The Neue Pinakothek , re-built in 1981, covers nineteenth-century art, and Pinakothek der Moderne , opened in 2002, exhibits modern art. All three galleries are part of

192-582: Is owned by the nearby Staatliche Graphische Sammlung München , a world-renowned collection of 400,000 prints, engravings and drawings dating back to the Renaissance. The Collection of Modern Art keeps a large collection of paintings of Pablo Picasso , Max Beckmann and of the painters of Die Brücke . Before World War I , the Blaue Reiter group of artists worked in Munich. Many of their works can now be seen at

224-510: The Gorgoneion on the aegis of Athena . The Medusa Rondanini is located in the Glyptothek in Munich, Germany , having been purchased by the art-loving king Ludwig of Bavaria from the heirs of the marchese Rondanini, during his Grand Tour of Italy as a prince. The Medusa Rondanini was formerly exhibited in Palazzo Rondanini in the upper end of via del Corso , Rome , where it

256-770: The Madonna of the Carnation of Leonardo da Vinci and The Disrobing of Christ of El Greco . The predilection of the Wittelsbach rulers for some painters made the collection quite strong in those areas but neglected others. Since the 1960s the Pinakothek has filled some of these gaps: for example, a deficit of 18th-century paintings was addressed by the integration into the collection of works loaned from two Bavarian banks. Among these paintings were Nicolas Lancret 's The Bird Cage and François Boucher 's Madame Pompadour . In April 1988,

288-874: The Bavarian State Collection of Modern and Contemporary Arts , the National Collection of Works on Paper and the Museum for Design and Applied Arts with the Munich Technical University's Museum of Architecture in one building and is deemed one of the most important and popular museums of modern art in Europe. It houses indeed the largest collection of industrial design. The Collection of Works on Paper ranges from masterpieces of Albrecht Dürer, Rembrandt , Michelangelo and Leonardo da Vinci to Paul Cézanne, Henri Matisse , Paul Klee and David Hockney . It

320-583: The Bavarian State Painting Collections , an organization of the Free state of Bavaria. King Ludwig I of Bavaria ordered Leo von Klenze to erect a new building for the gallery for the Wittelsbach collection in 1826. The Alte Pinakothek was the largest museum in the world and structurally and conceptually well advanced through the convenient accommodation of skylights for the cabinets. Even

352-659: The Hermitage Museum in Saint Petersburg , and galleries in Rome , Brussels and Kassel . The museum building was severely damaged by bombing in World War II but was reconstructed and reopened to the public on 7 June 1957, with President Theodor Heuss attending. Director Ernst Buckner oversaw the rebuilding project, ensuring that the building remained true to its original architecture. The ornate, pre-war interior, including

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384-644: The Lenbachhaus . The modern Museum Brandhorst focus on the work of Andy Warhol and Cy Twombly . An important collection of Greek and Roman art is held in the Glyptothek and the Staatliche Antikensammlung (State Antiquities Collection). King Ludwig I managed to acquire such famous pieces as the Medusa Rondanini , the Barberini Faun and the figures from the Temple of Aphaea on Aegina for

416-506: The Neo-Renaissance exterior of the Pinakothek clearly stands out from the castle-like museum type common in the early 19th century. It is closely associated with the function and structure of the building as a museum. Very modern in its day, the building became exemplary for museum buildings in Germany and in Europe after its inauguration in 1836, and thus became a model for new galleries like

448-690: The Prussians captured the Château de Saint-Cloud in 1814 as part of the War of the Sixth Coalition , they supposedly found the painting hanging in Napoleon's bathroom. Most of the paintings have not been returned. With the secularisation many paintings from churches and former monasteries entered into state hands. King Ludwig I of Bavaria collected especially Early German and Early Dutch paintings but also masterpieces of

480-748: The Spanish Netherlands . So he bought for example in 1698 in Antwerp from Gisbert van Colen 12 pictures of Peter Paul Rubens and 13 of Van Dyck , with the pictures of Rubens from the personal estate of the artist which were therefore not intended for sale. Under Max Emanuel's successors, the purchases were largely discontinued due to the tight budget. Also Max Emanuel's cousin Johann Wilhelm, Elector Palatine (1690–1716) collected Netherlandish paintings. He ordered from Peter Paul Rubens The Big Last Judgment and received Raphael 's Canigiani Holy Family as

512-473: The 13th to 18th centuries. Especially its collection of Early Italian, Old German, Old Dutch and Flemish paintings is one of the most important in the world. More than 800 of these paintings are exhibited at the Old Pinakothek. Due to limited space in the building, some associated galleries throughout Bavaria such as the baroque galleries in Schleissheim Palace and Neuburg Palace additionally have works by

544-510: The Glyptothek. The internationally renowned collection of antique pottery is outstanding. The Museum für Abgüsse klassischer Bildwerke displays the world's most famous ancient Greek and Roman sculptures as plaster casts. The Kunstareal was further augmented by the completion of the Staatliche Sammlung für Ägyptische Kunst (Egyptian Museum). This museum displays exhibits from all periods of Ancient Egypt's history but also reliefs from Assyria and

576-607: The Italian renaissance. In 1827 he acquired the collection Boisserée with 216 Old German and Old Dutch masters; in 1828, the king managed to also purchase the collection of the Prince Wallerstein , with 219 Upper German and Upper Swabian paintings. In 1838 Johann Georg von Dillis issued the first catalogue. After the times of King Ludwig I the acquisitions almost ended. Only from 1875 the directors Franz von Reber and Hugo von Tschudi secured important new acquisitions, such as

608-498: The Old Masters on display. From 2014 through 2017, wings of the museum were sequentially closed for renovation, and the artworks in closed sections were unavailable for viewing. Medusa Rondanini The over-lifesize Medusa Rondanini , the best late Hellenistic or Augustan Roman marble copy of the head of Medusa , is rendered more humanized and beautiful than the always grotesque apotropaic head of Medusa that appeared as

640-587: The age of Phidias . Alternatively, it may have been modeled after a classicising Hellenistic work of the late fourth century BC. If it is of the fifth century, Janer Danforth Belson has pointed out, it is the first of the "beautiful gorgoneion" type to appear in Greek art by more than a century, and unparalleled in any contemporaneous representation of the Medusa head. Martin Robertson , following Furtwängler's attribution to Phidias, remarked that it would be unlikely for

672-468: The beautiful face of the Medusa to be juxtaposed with the beautiful face of the goddess, whose gorgoneion retained its fearful archaic appearance. Janer Danforth Belson has made a case for its model to have been the gorgoneion on a gilt-bronze aegis that was an ex-voto of Antiochus IV and was hung on the south retaining wall of the Acropolis of Athens about 170 BC, where it was noted by Pausanias in

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704-581: The galleries of Mannheim , Düsseldorf and Zweibrücken were moved to Munich, in part to protect the collections during the wars which followed the French revolution. Even though 72 paintings including The Battle of Alexander at Issus were taken to Paris in 1800 by the invading armies of Napoleon I (1769–1821), who was a noted admirer of Alexander the Great. The Louvre held it until 1804, when Napoleon declared himself Emperor of France and took it for his own use. When

736-486: The grounds that it had been unlawfully acquired as a result of Nazi persecution. An investigation by the museum established that it had been lawfully purchased at the time for a fair price and that the Hagen family's interest extended only to a security on the painting. The museum is under the supervision of the Bavarian State Painting Collections which also owns an expanded collection of several thousand European paintings from

768-509: The large loggia facing the south façade in the upper floor, was not restored. A new wall covering was created in 2008 for the rooms on the upper floor of the Alte Pinakothek with a woven and dyed silk from Lyon. The new color scheme of green and red draws on the design of the rooms dating back to the time of construction of the Alte Pinakothek, and was predominant until the 20th century. Already for King Ludwig I and his architect Leo von Klenze,

800-466: The serial vandal Hans-Joachim Bohlmann splashed acid on three paintings by Albrecht Dürer, namely Lamentation for Christ , Paumgartner Altar and Mater Dolarosa inflicting damage estimated at 35 million euros. In 1990 Dierick Bouts ' Ecce agnus dei was acquired. On 5 August 2014, the museum rejected a request by a descendant of the banker Carl Hagen for the repatriation of Jacob Ochtervelt 's Das Zitronenscheibchen ( The Lemon Slice ) on

832-654: The use of a wall covering alternately in red and green represented the continuation of a tradition that dates back to the exhibition of the old masters of the late 16th century in many of the major art galleries of Europe (Florence, London, Madrid, St. Petersburg, Paris, Vienna). The Wittelsbach collection was begun by Duke Wilhelm IV (1508–1550) who ordered important contemporary painters to create several history paintings, including The Battle of Alexander at Issus of Albrecht Altdorfer . Elector Maximilian I (1597–1651) commissioned in 1616 four hunt paintings from Peter Paul Rubens and acquired many other paintings, especially

864-406: The visitors, while the adjoining Türkentor (1826), the gate of a demolished royal caserne, is set to become a display window for temporary contemporary art. As of 2009 a general project plan is under discussion to ensure the integration of the different museum buildings and to improve the access to the art district from the inner city. The Alte Pinakothek's rather monolithic structure contains

896-512: The work of Albrecht Dürer . He even obtained The Four Apostles in the year 1627 due to pressure on the Nuremberg city fathers. A few years later however 21 paintings were confiscated and moved to Sweden during the occupation of Munich in the Thirty Years war . Maximilian's grandson Maximilian II Emanuel (1679–1726) purchased a large number of Dutch and Flemish paintings when he was Governor of

928-669: The world makes me twice the person I was." When Antonio Canova made a marble Perseus with the Head of Medusa (1798-1801), to take the place of the Apollo Belvedere sent to Napoleonic Paris, it was the Medusa Rondanini that served as the model for the gorgon's head in Perseus' outstretched hand. The Medusa Rondanini may be a Roman copy of a classical work of the fifth century BC, a model attributed to one or another Athenian sculptor of

960-443: The world's most comprehensive Rubens collections. The Madonna of the Carnation is the only painting of Leonardo da Vinci in a German gallery. The Neue Pinakothek is especially famous for its comprehensive collection of paintings of Impressionism from Pierre-Auguste Renoir , Édouard Manet , Claude Monet , Paul Cézanne , Paul Gauguin , Edgar Degas , Vincent van Gogh and many others. The Pinakothek der Moderne unifies

992-555: Was moved to the Kunstareal in 2013. The history of the museums in this area of Munich began in 1816 with the erection of the Glyptothek at Königsplatz and was completed with the new building for the Egyptian Museum (2012) and the extension of the Lenbachhaus (2013). Close to the Pinakothek der Moderne the neo-classical Palais Dürckheim (constructed in 1842–1844) served at times as a building dedicated to bringing art closer to

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1024-426: Was overlooked by the great art historian Johann Joachim Winckelmann , perhaps distracted by Michelangelo 's Rondanini Pietà in the same collection. It was much admired, nevertheless, by Goethe , who was struck by its "unspeakable anguished stare of death" and said of it, when first bringing it to the attention of art historians in 1786, that "the mere knowledge that such a work could be created and still exists in

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