Misplaced Pages

#329670

71-737: The current station replaced three stations in the city centre, which were next to each other near the fairground ( Rhein-Main-Hallen ) and the Wiesbaden Museum . These were: A fourth railway line was added in 1889, connecting to the Rheinbahnhof , with the opening Langenschwalbach Railway (now the Aar Valley Railway — Aartalbahn ) from the Rheinbahnhof in Wiesbaden to Bad Schwalbach (then called Langenschwalbach ) and later extended to Diez on

142-649: A Fan", 1909), Nikita (1910) or Selbstbildnis ("Self-portrait", 1912) and, above all, many works of the paintings in series, such as the variations Von Frühling, Glück und Sonne ("Of Spring, Happiness and Sun", 1917) or the Abstract Heads created in Wiesbaden as Kopf in Rot-Weiß-Gold ("Head in Red-White-Gold", 1927) and the meditations as Mein Geist wird weiterleben ("My Spirit will live on", 1935). Remarkable among

213-421: A general mineral collection of worldwide origin, the focus is on finds from the region, which document in particular the mining industry, which was important until a few decades ago. The scientific collection comprises about 14,000 pieces, currently listed in a computerized catalog. Three geological eras are particularly represented in the immediate region of Wiesbaden. About 50,000 fossils are documented. From

284-432: A link to the east to the new line. The realised Wiesbadener Kreuz (Wiesbaden Cross) option was accessed as having the best cost-benefit ratio . A major argument put forward in the assessment report was that the best way by far of generating passenger traffic would be a connection to the existing station and that only at Wiesbaden Hauptbahnhof would it be possible to give comprehensive access to public transport. Furthermore,

355-466: A three-division house, the Museum Wiesbaden. The Nassauischer Kunstverein  [ de ] ("Nassau Kunstverein"), which had previously been housed in the museum, was moved to the historic villa on Wilhelmstraße 15 in the immediate vicinity. Since 2010 Alexander Klar has been director of the museum. He succeeds Volker Rattemeyer, who ran the museum for 23 years. Under his leadership, in 2007 it

426-752: A title which he attached to his sculptural works. The other positions of art of the 1940s and 1950s are envisioned by Ernst Wilhelm Nay with his painting Afrikanisch ("African", 1954), Willi Baumeister , Max Ackermann , Rolf Cavael, Fritz Winter and above all the painter Otto Ritschl from Wiesbaden with his painting Komposition (1955). These artists are followed by abstract painting artists such as Rupprecht Geiger , Ulrich Erben, Bruno Erdmann and Gotthard Graubner . The ZERO group and kinetic art are featured by artists such as Günther Uecker with his work Spirale Weiß ("White spiral", 1963), Rolf Kissel, Hermann Goepfert, Heinz Mack and Adolf Luther. Also Sigmar Polke and, above all, Gerhard Richter belong to

497-533: A tunnel that was located 30 to 100 m below the water table. The high pressure of ground water under parts of the city of Wiesbaden made this extremely difficult. Test bores on the route of the postulated tunnel found material that was penetrated by debris. In August 1991, the state of Hesse, the city of Wiesbaden and the Deutsche Bundesbahn agreed to a ground-level connection running from the Hauptbahnhof via

568-736: A work of the Russian Natalia Goncharova was acquired. A milestone in the history of the art collection was the acquisition of a large part of the Hanna Bekker vom Rath collection. With this collection, the museum not only received 11 paintings and three drawings by Jawlensky, but also 16 other works of Classical Modernism. Graphics by Wassily Kandinsky and August Macke as well as paintings by Ernst Ludwig Kirchner , Erich Heckel (painting Maske vor Buschbockfell , "Mask in front of Buschbockfell", 1913), Adolf Hölzel , Ida Kerkovius , Willi Baumeister and Ernst Wilhelm Nay have enriched

639-406: Is a focal theme in the collection of the Museum Wiesbaden. Although some of the big names are missing, the collection still offers a good overview. Among others, László Moholy-Nagy with his painting Architektur III (1920), Erich Buchholz , Walter Dexel as well as the post-war artists Klaus Staudt, Günter Fruhtrunk and François Morellet are included here. There are large complexes of works by

710-402: Is represented by Joshua Reynolds . The 19th century is excellently represented in the collection. Although the great names and French Impressionism are missing, a broad overview for this period is guaranteed. With artists such as Wilhelm von Kobell , Carl Morgenstern and Georg Waldmueller, German genre painting is particularly well represented. Ludwig Knaus from Wiesbaden, who at his time

781-530: Is represented by Katsura Funakoshi with his work of art A Tale of the Sphinx (2004). Although the Museum Wiesbaden does not award any art awards itself, two of them are closely linked to the museum. On the occasion of the 50th anniversary of his death in 1991, the city of Wiesbaden established the Alexei von Jawlensky Prize, endowed with 18,000 Euros. Alexei von Jawlensky (1865–1941) was an important Russian artist in

SECTION 10

#1732858883330

852-414: Is represented by artists such as Joos van Cleve ( Christuskind mit Weintraube , "Christ Child with Grape"), Albrecht Bouts , Otto van Veen , Joos de Momper , Frans Floris , Roelant Savery , Gerard van Honthorst , Willem van de Velde , Willem van de Velde , Jan Lievens , Frans Snyders ( Stillleben , "Still life") and Nicolaes Berchem . Late German Gothic and Renaissance art is represented by

923-555: Is served by the following regional services: The station is the terminus of three lines of the Rhine-Main S-Bahn : Museum Wiesbaden The Museum Wiesbaden is a two-branch museum of art and natural history in the Hessian capital of Wiesbaden , Germany. It is one of the three Hessian State museums, in addition to the museums in Kassel and Darmstadt . The foundation of

994-1018: Is the wall object Eighter from Decatur (1965). The painting of the 1970s and 1980s is portrayed by artists such as Georg Baselitz with his work Stillleben ("Still Life", 1969), Eugen Schönebeck, Jörg Immendorff and Thomas Bayrle. An outstanding focus of the collection is the installation- and object art of the last thirty years. The most important artists in the collection are Dietrich Helms, Jeppe Hein , Rebecca Horn , Thomas Huber , Vollrad Kutscher, Ingeborg Lüscher , Christiane Möbus, Norbert Radermacher, Franz Erhard Walther and Dorothee von Windheim with her work Fassade III (in English Facade III ) (1979). In addition, there are works of international artists such as Ilya Kabakov with his work Der Rote Waggon ("The Red Wagon", 1991), Micha Ullman , Richard Serra , Jochen Gerz with his composition Der Transsibirische-Prospekt ("Trans-Siberian View", 1977) and Christian Boltanski . Modernist sculpture

1065-619: The Alexej von Jawlensky teacher Ilya Repin from the Ernst Alfred Aye Collection. The collection of this century ends with the works of the main representatives of German Impressionism , Max Liebermann and above all Lovis Corinth , of whom the museum owns five paintings ( Portrait von Frau Halbe , 1898) as well as Oskar Moll ( Havelkähne , 1907) and Christian Rohlfs . The works of the Russian artist Alexej von Jawlensky , who spent

1136-620: The Duchy of Nassau in return for the payment of an annuity for life. Under the responsibility of the newly founded associations, but controlled by the ducal government, the citizens of Wiesbaden and the region were able to quickly expand these collections. Together with the pieces of the Verein für Nassauische Altertumskunde und Geschichtsforschung  [ de ] ("Association for Nassauian Antiquity and Historical Research") founded in 1812, three originally independent museums emerged. In addition to

1207-445: The Lahn . The new station building became necessary to handle the growing number of passenger visiting the spa city at that time. It was built from 1904 to 1906 according to the plans of Fritz Klingholz in a flamboyant neo-baroque style that corresponded to an international style of architecture adopted for spa towns. It was also intended to welcome Kaiser Wilhelm II on his visit to

1278-613: The Nassauischer Verein für Naturkunde  [ de ] (Nassau Association for Natural History). The beginning of the 19th century was marked by industrialization and enormous discoveries in the natural sciences. This is how the desire for a permanent institution was born. On the one hand, this offered the opportunity to establish an important place of education for the public and, on the other hand, to promote internal research. These goals are still pursued by today's natural history collections. One can find more information on this at

1349-451: The Nazi regime in 1935, came into the possession of the museum in 1980. It was still shown in the context of this action, but only the reverse of the painting. It was not until the beginning of November, by which time donations had already raised enough money for the now legitimate purchase, that the painting could be turned back. Sculptures do not play a significant role in the art collection of

1420-452: The Old Masters are presented in connection with contemporary art The chronological sequence was abandoned in favour of spaces on the themes "religion", "portrait", "mythology", "still life" and "landscape". The museum's art collection dates back to the former collection of Johann Isaak von Gerning from Frankfurt. Through purchases, donations and loans, the art collection has become one of

1491-485: The Still lifes is the painting Stillleben mit schwarzer Vase ("Still Life with Black Vase", 1910) and among the paintings of landscapes by Jawlensky the work Blaue Berge ("Blue Mountains", 1912). The collection of graphics include lithographs such as Liegender weiblicher Akt ("Lying female nude", 1912) and drawings including Konstantinowka mit geneigtem Kopf ("Konstantinovka with inclined head", circa 1912). Most recently,

SECTION 20

#1732858883330

1562-576: The Verein für Nassauische Altertumskunde und Geschichtsforschung the Nassauischer Verein für Naturkunde  [ de ] ("Nassau Society of Natural Science)" and the Nassauischer Kunstverein  [ de ] ("Nassau Kunstverein") (art society) were responsible for these museums. Following the death of the Duke, the Hereditary Prince's Palace at Wilhelmstraße , built for his son,

1633-463: The 1920s and early 1930s. During this time, citizens of Wiesbaden also contributed to important additions to the collections. The natural science collections showed systematic exhibitions on topics of geology, paleontology and biology . Ecological aspects were also presented for the first time. During the Second World War , the building was partly used for military purposes. With few exceptions,

1704-488: The Aar Valley Railway. One of the long-term consequences was the decommissioning and dismantling of station track 11 so that the station now has only 10 tracks. Wiesbaden Hauptbahnhof was extensively refurbished and modernised at a cost of €25 million between 2003 and 2004. A redesign of the forecourt, costing €1.5 million, was carried out between mid-2006 and March 2007. The modernisation should have been completed with

1775-617: The Master of the Heisterbach Altar , the Master of the Holy Family, Lucas Cranach the Elder , Bartholomew Bruyn the Elder and Hans Muelich . The German Baroque and Classicism is represented by Johann Conrad Seekatz and January Zick , Nicolas Treu, Johann Georg Platzer und Angelika Kauffmann ( Bildnis Johann Isaak von Gerning , 1798 – "Portrait of Johann Isaak von Gerning"). English painting

1846-502: The Museum Wiesbaden. However, some interesting works are represented. French sculpture of the late 19th and early 20th centuries is presented with a work by one of its main representatives, Aristide Maillol's Badende . The German sculptors of the first half of the 20th century are represented by Max Klinger (portrait bust of Friedrich Nietzsche , ca. 1910), Franz von Stuck , Georg Kolbe , Wilhelm Lehmbruck , Gerhard Marcks , Emy Roeder and Ernst Barlach (Der Tod, 1925). Compared to

1917-545: The Taunus originate from the Devonian , an equally warm time with a high sea level. Therefore, the collection contains evidence of an enormous marine fauna: trilobites , conodonts and graptolites . Beside it are worth mentioning: a Palaeozoic and mesozoic fish collection, an extensive Mesozoic vertebrate collection , a large and complete ichthyosaur specimen of Holzmaden , a well sorted paleontological reference collection from

1988-433: The approximately 13.0 km long Breckenheim–Wiesbaden line opened in 2002. This line had been subjected to extensive analysis and discussions by 1990. Three options were investigated: The option of running under the Wiesbaden city area with a station on a north–south orientation was dismissed. Overall, this option required an ascending 10.2 km tunnel. Also rejected was the east–west option as it would have required

2059-741: The artist couple Robert Michel and Ella Bergmann-Michel , Anton Stankowski , and above all by Friedrich Vordemberge-Gildewart with the painting complex K 116 (1940). His archive is maintained by the museum. The Art collection of the Museum Wiesbaden is one of the most important art collections in Germany after 1945. It starts with Art Informel . Here the German artists Karl Otto Götz ( Krakmo , 1958), Otto Greis, Heinz Kreutz, Fred Thieler, Emil Schumacher , Hann Trier , Gerhard Hoehme and Bernard Schultze ( Venen und Tang , "Veins and Seaweed", 1955) are shown. The museum owns several of Bernard Schultze's Migofs ,

2130-453: The artist couple Robert Michel and Ella Bergmann-Michel , as well as Friedrich Vordemberge-Gildewart , form another focal point of the collection. The graphic art collection after 1945 is extensive, which is why only a few names are mentioned here. Informalism is represented by works by Karl Otto Götz , Otto Greis and Bernard Schultze . Further sheets from the 1940s and 1950s come from Willi Baumeister , HAP Grieshaber and above all from

2201-592: The artists of the Blaue Reiter-Editorial Association . Of particular note are works by Franz Marc , August Macke and above all Wassily Kandinsky's watercolour Allerheiligen ("All Saints", 1910) from the collection of Hanna Bekker vom Rath . Works by other artists of the time, such as Edvard Munch , Otto Dix , Oskar Kokoschka , Käthe Kollwitz and Pablo Picasso , can also be found. Constructivist works, including those by László Moholy-Nagy ,

Wiesbaden Hauptbahnhof - Misplaced Pages Continue

2272-423: The building is formed of yellow sandstone, in contrast to the exterior. The roof over the actual platform area consists of steel and glass. During its renovation in 2004, the station was largely restored to its original appearance. The monumental nature of the concourse is now restored to its full advantage as distracting objects have been removed. It is served by the following long-distance services: The station

2343-405: The busy collection activities and new acquisitions. The call for a new building became louder and louder. After the three museums came under Prussian control in 1866, the city of Wiesbaden took over these institutions in 1899. This change was generally accepted because Wiesbaden had sufficient funds at the end of the 19th century to promote culture. According to plans by architect Theodor Fischer ,

2414-518: The collection ever since. In addition, there are five paintings by Karl Schmidt-Rottluff, among which the painting Selbstportrait ("Self portrait", 1919), and two paintings by Max Beckmann , including the famous painting Weiblicher Akt mit Hund ("Female Nude with Dog", 1927). After this great enrichment, further individual works from this collection were acquired, to mention above all Jawlensky's painting Heilandsgesicht: Ruhendes Licht ("Face of Salvation: Resting Light") from 1921. Constructivist art

2485-509: The collection has been extended by eleven paintings and three drawings from the Hanna Bekker vom Rath Collection in 1987, including the portrait Bildnis Marianne von Werefkin ("Portrait of Marianne von Werefkin") from 1906. From 17 September 2021, to March 2022 the museum shows Alles! 100 Jahre Jawlensky in Wiesbaden (All! 100 years of Jawlensky in Wiesbaden) – an anniversary show celebrating

2556-614: The collection of paintings, the graphic art collection is less important. Work before 1800 is scarce. In the 19th century, on the other hand, there are a number of works by Ludwig Knaus , Arnold Böcklin , Hans von Marées and Max Slevogt , among others. In the first half of the 20th century, the expressionists stand out, especially Alexej von Jawlensky (see Alexej von Jawlensky -Collection, excellently represented with drawings, woodcuts and Lithographs ). These include works by Die Brücke-artists such as Ernst Ludwig Kirchner , Erich Heckel and Karl Schmidt-Rottluff , as well as works by

2627-516: The collection survived the Second World War. A large part of the collection is documented in catalog, on index cards and digitally. Larger gaps exist especially in the areas of geology and invertebrate animals. Digital photographs are also available of numerous items in the collection. The mineral collection is still completely in its 19th-century form, as the exhibition combines both scientific and display collections in vitrines. In addition to

2698-505: The collection. The American post-war art is featured by some of its main protagonists by works of Mark Rothko , Ad Reinhardt and Agnes Martin . Also listed in the collection are artists such as Sol LeWitt , Donald Judd , Robert Mangold , Fred Sandback , Dan Flavin and Brice Marden . The museum also has the largest collection of works (graphics, paintings and objects) by the German-American Eva Hesse . One of her works

2769-453: The collection. The museum possesses five paintings by Richter, including the famous Ein Wunder rettete ("A Miracle Saved", 1964). Surrealism is illustrated by two paintings by Max Ernst . In 1962 the legendary first Fluxus Festival took place in the museum. Of this period, the museum holds works by Joseph Beuys , Wolf Vostell and Nam June Paik . His work Zen for Head (1962) is part of

2840-475: The collections survived the war unscathed. However, the exhibitions were dismantled and most of the showcases were damaged. Only slowly the rooms were able to regain their original function after renovation. This delay had another reason: the Americans , who moved to Wiesbaden after 1945, turned the museum into a Central Collecting Point . Temporarily stored art treasures were shown, such as the bust of Nefertiti or

2911-509: The counterpart of the Munich School . The Leibl-Kreis in Munich is represented extensively, especially by Wilhelm Trübner , but also Hans Thoma , Carl Schuch and Otto Scholderer are present with paintings in the collection. French realism is featured with works by Gustave Courbet , Jean-François Millet and Charles-François Daubigny , while Russian realism is represented by a work by

Wiesbaden Hauptbahnhof - Misplaced Pages Continue

2982-672: The extensive Ernst Wilhelm Nay collection. Minimalist tendencies are shown in the works of Sol LeWitt . Pop art is represented by Thomas Bayrle , among others. Compared to the 19th and 20th century collections, the Old Masters are rarely represented in the museum. The focus is on Italian and Dutch artists from the 15th century onwards. The most important Italians are Prospero Fontana , Albertino Piazza ( Heimsuchung Mariae , "Visitation of Mary"), Domenico Tintoretto , Marietta Robusti , Sebastiano del Piombo , Alessandro Rosi , Luca Giordano , Francesco Solimena , Sebastiano Ricci , Cristoforo Munari and Gennaro Greco . Dutch painting

3053-426: The federal government. Patronage of services on the line have been disappointing and services have been cut back from those originally operating so that there are now only two services each way on week days only. The station building is connected to a five-span train-shed, originally with eleven tracks (now only ten are in operation), which are located in front of a broad vaulted concourse that extends eastward beyond

3124-534: The first half of the 20th century who spent the last twenty years of his life in Wiesbaden. The prize is awarded every five years and has so far been awarded six times. The prize includes the purchase of a work for the Museum Wiesbaden and a special exhibition on the work of the winner in the Museum Wiesbaden. The previous laureates were: The Otto Ritschl Prize was established by the Museumsverein Otto Ritschl e. V. in 2001. Otto Ritschl (1885–1976)

3195-412: The foundation stone for a new building with three wings was laid at the corner of Wilhelmstraße/Rheinstraße in 1913. Previously, the banker's mansion Mons had stood there, in which the reception building of Ludwigsbahnhof was housed until 1906. The interior design of the three houses was influenced to a large extent by the three directors and the curators, as there were different needs. The first to open

3266-529: The history of the collection with a complete exhibition of the works of expressionist Alexej von Jawlensky. Even before World War II , the Museum Wiesbaden had an important collection of works by the Expressionists . In addition, the collection of the Wiesbaden art collector and patron Heinrich Kirchhoff was regularly exhibited, with which many modernist works could be shown. With the Nazi confiscation campaign under

3337-861: The hydrobiic layer of the Mainz Basin, an extensive Cephalopods collection, a well sorted Brachiopodes collection and an extensive collection of fossils from the Taunus quartzite (incl. Trace fossils ). In 2023 the museum was one of seven German museums and universities to return Māori and Moriori remains to the Museum of New Zealand Te Papa Tongarewa in New Zealand. Baroque Revival architecture The Baroque Revival , also known as Neo-Baroque (or Second Empire architecture in France and Wilhelminism in Germany),

3408-543: The last twenty years of his life in Wiesbaden, are outstanding in the collection of the Museum Wiesbaden. With 57 paintings and 35 graphics, the museum has the largest collection of this artist besides the Norton Simon Museum in Pasadena . The collection includes early works such as Stillleben mit Krug und Buch ("Still Life with Jug and Book", around 1902), many expressive major works such as Dame mit Fächer ("Woman with

3479-425: The most important in Germany, especially in the area of the 19th and 20th centuries. The Museum Wiesbaden endeavours to identify Nazi plunder in its own collection and, if necessary, to return it to the legitimate heirs. In October 2014, the museum therefore launched a spectacular campaign entitled Wiesbaden schafft die Wende! ("Wiesbaden is making the turn!") The painting Die Labung by Hans von Marées , stolen by

3550-486: The north and south wings were to be renovated. In the north wing, the natural history collection can be shown again from 2013 onwards. According to press reports and reports from the state government, the collection of Nassauian antiquities SNA was handed over to the city of Wiesbaden in 2009. The Old Masters are to be shown in the freed south wing. From 1994 to 1997, the Kassel architects Schultze and Schulze completely renovated

3621-555: The oldest artefacts of Hesse were found. One of the most important collections is related to the following two earth ages. It is the largest part of the legacy of the brothers Guido and Fridolin Sandberger . The Mainz Basin bears witness to the impressive world of life in the Paleogene . In this warmer phase after the extinction of the dinosaurs, the Mainz basin was regularly connected to

SECTION 50

#1732858883330

3692-590: The opening of the high-speed line to Cologne , but was postponed several times due to lack of funds. Next door is the Lilien-Carré shopping centre opened in March 2007 on the site of the former main post office. As part of the economic stimulus package, the train shed roofs have been renovated at a cost of €35 million since late 2010. Wiesbaden Hauptbahnhof is connected to the Cologne-Frankfurt high-speed line by

3763-438: The option largely agreed with the route promoted by nature conservation and environmental groups. A proposed branch off the link along the A 66 and connecting to the high-speed line towards Frankfurt, which would be served only by regional services has not been realized. As part of the connection to the new line, a platform in Wiesbaden station was extended to the length of long ICE trains. The cost of €1.7 million were funded by

3834-482: The originally three museums traces back to the citizens of the city and to Johann Wolfgang von Goethe , who stayed in Wiesbaden in 1814/1815 for a rehabilitation measure, and worked hard to establish such a cultural institution. In 1825 he persuaded the Frankfurter private collector Johann Isaac Freiherr von Gerning  [ de ] to donate his extensive collections of works of art, antiquities and in kind to

3905-476: The painting The Man with the Golden Helmet , which was attributed to Rembrandt at the time. After their return, a collection was rebuilt from the 1950s onwards with very few resources. Clemens Weiler played a major role in the construction of the Alexej von Jawlensky -Collection, which is today the most important collection of the house. The Natural Science Museum was largely rebuilt by Friedrich Heineck, who

3976-644: The recent history of the earth there are testimonies from the Pleistocene , which originate in particular from the Mosbacher Sande  [ de ] . Regularly Rhine and Main had dammed up in front of the Middle Rhine Valley and bones carried along remained in the sediment. Especially from the warm periods numerous fossils are preserved. A second focal point is the find area at the Caves of Steeden , where

4047-472: The rooms of the art collection, from 2003 to 2006 the roofs, the entrance area and the lecture hall and opened up new exhibition rooms of the art collection. From 2007 to 2012, the north and south wings were renovated. Since 2013, the natural history collection is now on show in the north wing. The Collection of Nassau Antiquities is now shown at the Stadtmuseum am Markt in Wiesbaden. In the freed south wing,

4118-562: The second half of the 19th century, and are integral to the Beaux-Arts architecture it engendered both in France and abroad. An ebullient sense of European imperialism encouraged an official architecture to reflect it in Britain and France , and in Germany and Italy the Baroque Revival expressed pride in the new power of the unified state. There are also number of post-modern buildings with

4189-677: The site of the Museum Wiesbaden. Originally the collection was intended to cover nature of the Duchy of Nassau . However, as the duchy lacked a university and international collections had to be integrated with the founding of the museum, this approach was abandoned. Nowadays the Natural History Collections belong to the larger ones in Germany with material from all regions of the world. About one million individual objects and series are available to science and public relations. Several thousand first described specimens serve in particular research into biodiversity . With few exceptions,

4260-403: The spa every May and a platform was established for him and other aristocrats. The first train ran into the new station on 15 November 1906 around 2:23 a.m. In the station building the relics of the former images of crowned heads, with the faces removed, can still be seen in many places. The new Hauptbahnhof was located outside the town at the time of its building at the south-eastern end of

4331-523: The surrounding seas, in between these connections were lost, the inland sea sweetened out, a lake was formed and finally the water disappeared completely. In this change numerous animal species lived here, so there are traces of, amongst others, Manatees , Basking sharks , reef-forming mussel banks, but also land creatures, such as the Deinotherium , which was found in Eppelsheim . Especially artefacts from

SECTION 60

#1732858883330

4402-620: The then newly constructed ring road (the Kaiser-Friedrich-Ring and the Bismarckring ), which runs in an arc to the west of the historic pentagon ( Historische Fünfeck ) at the centre of Wiesbaden. During the period up to the First World War the town developed towards the new station. On 25 September 1983, the Hauptbahnhof was affected by the closure of a line. Passenger services were discontinued between Wiesbaden and Bad Schwalbach on

4473-507: The title Entartete Kunst all modern works of art were removed from the museum, so that one had to start again after the war. High quality works were purchased from Paula Modersohn-Becker , Otto Mueller ( Liebespaar ) ("Love Couple", 1925), Emil Nolde , Walter Jacob , Conrad Felixmüller ( Familienbildnis Kirchhoff , "Kirchhoff family portrait", 1920), Karl Hofer and above all from Jawlensky's companion Marianne von Werefkin ( Schindelfabrik , "Schindel Factory", around 1910). In addition,

4544-424: The train-shed and at right angles to it to a vaulted lobby to the east of platform track 1. The exterior is formed of red sandstone and has rich Baroque Revival forms. The highlight is the lobby on the eastern side, which has a 40-metre-high (130 ft) clock tower with a curved canopy . The former entrance on the western side is surmounted by a copper dome. The roof is adorned with green tiles. The interior of

4615-508: Was an architectural style of the late 19th and early 20th centuries. The term is used to describe architecture and architectural sculptures which display important aspects of Baroque style, but are not of the original Baroque period. Elements of the Baroque architectural tradition were an essential part of the curriculum of the École des Beaux-Arts in Paris, the pre-eminent school of architecture in

4686-413: Was an important German post-war artist who lived in Wiesbaden until his death. An international jury awards the prize at irregular intervals, which is associated with a cash reward and an exhibition at the Museum Wiesbaden. The previous laureates were: The originally independent Museum of Natural History in Wiesbaden was founded in 1829 by citizens of the region with the support of the Duke together with

4757-521: Was elected by the International Association of Art Critics (Association Internationale des Critiques d' Art (AICA)) as Museum of the Year . From 1994 to 1997, the Kassel architects Schultze and Schulze completely renovated the rooms of the art collection, from 2003 to 2006 the roofs, the entrance area and the lecture hall and opened up new exhibition rooms of the art collection. From 2007 to 2012,

4828-851: Was equally important as Adolph von Menzel , is represented in practically no other museum here. His Spaziergang im Tuileriengarten ("Walk in the Tuilerie Garden") of around 1855 is an early approach to Impressionism , from which he later withdrew. The Düsseldorf school of painting is represented by several works of the brothers Andreas Achenbach and Oswald Achenbach . The Deutschrömer – German artists and writers who lived in Rome – are represented by Anselm Feuerbach ( Nanna , 1861), Arnold Böcklin and Hans von Marées . Karl Friedrich Lessing and Johann Wilhelm Schirmer are also featured. Carl Spitzweg ( The Butterflycatcher , around 1840), Wilhelm von Kaulbach , Franz von Lenbach and Franz von Stuck form

4899-410: Was impeached of office during the war. It was the aim of the museum to show in particular info on the biomes in the exhibitions. The reconstruction was not entirely successful, partly because rooms were still being used by other people (e. g. by an American library and an urban archive). In 1973 the three museums came into the possession of the state of Hesse . Since that time they have been united in

4970-483: Was now available for other purposes. In contrast to other cities, at a very early stage it was possible to find rooms for the cultural assets collected by the citizenry . In 1821 the three museums and the regional library of Hessen were thus able to move into the palace, which is nowadays the seat of the Chamber of Commerce and Industry of Wiesbaden. Around the middle of the 19th century the building became too small, due to

5041-618: Was the Gemäldegalerie on 1 October 1915. In the same year the Natural Sciences Collection was also able to move into the new building, but it was not until after the end of the First World War that the Natural Sciences Museum and the Museum of Nassau Antiquities reopened on 15 July 1920. Half of the picture gallery was to be used for changing exhibitions, which were carried out by the Nassauischer Kunstverein in

#329670