Expressionist show in the Kallmann Museum Ismaning – Munich

The big names are not missing. This is important. Not so much because that part of the public whose visit motivation is more guided by the canon of art history would otherwise not even consider a visit to the Kallmann Museum in Ismaning. But because the juxtaposition of works by Max Beckmann, Erich Heckel, Käthe Kollwitz, Lyonel Feininger or Karl Schmitt-Rottluff and the numerous works are more presumptive no names, which can be seen in the exhibition “Kaleidoscope Expressionism – from the dawn of modernity to Nazi ostracism” raises an enlightening question: how can so many of these artists, who in the first half of the 20th century flourished in expressive diversity in contributed to Germany, be (almost) unknown?

One speaks of the lost generation, the losers of art history, the second generation of modernity. Because that subtly suggests second-class status for some, Gerhard Schneider prefers the term “younger generation of modernity”. The works presented in Ismaning are all from the 83-year-old’s collection and represent a cross-section of the art movements between 1910 and 1937: Early Expressionist works, socially critical city scenes, religious motifs, landscapes, portraits, caricature-like drawings; many prints, but also watercolors, etchings, oil paintings. “These are unbelievable works. Insane quality,” explains museum director Rasmus Kleine.

This is shown by a tour of the museum, which follows chronological events and begins with the initial spark of modernity – in the form of the founding of the artist group “Brücke” in 1905 – and its effects: Heinrich Maria Davringhausen, who in his early work spoke of an almost delicate Rhenish Expressionism was shaped, Franz M. Jansen with socio-critical caricaturesque woodcuts (“Großstadt”) and Erich Fraass with works inspired by the horrors of the world war. But also Fritz Fuhrken with the watercolor “Destructed City”, Erna Schmidt-Caroll, who used a pointed line, Otto Nagel (“Street Scenes”) and Fritz Duda with his suggestive self-portrait.

In addition, a stock of prints is shown that were presented in the fare show in Munich (“Degenerate Art”) in 1937 – such as the cycle “Our Father” by Max Pechstein, works by Ludwig Meidner, Otto Pankok and Schmidt-Rottluff. Gerhard Schneider’s art collection, which has been devoted to artists who have been ostracized as “degenerate” for almost four decades, is visiting the Kallmann Museum for the second time after 2016: the exhibition “‘Degenerate’ Art – Persecution of Modernism in the Nazi State” received a lot of attention at the time. The current exhibition, for which a catalog is being prepared, focuses in particular on the variety of expressive forms of expression – which, in addition to expressive objectivity, includes “New Objectivity” and “Magical Realism”. “The complete renunciation of emotions: isn’t that also a form of expressionism?” asks Schneider.

Open detailed view

The starting point at that time was a new “inner” way of seeing in art: anyone who only depicts the world as it appears to the eye does not penetrate it. Deformation as a form of expression, the liberation of forms and colors from the compulsive function of representation, advanced to state of the art.

“The younger generation fell disproportionately out of sight,” says Schneider. One of his main motivations is to save these artists – whose careers were slowed down in 1933 and whose works were partly destroyed in the Second World War – from oblivion. One of the few who also suffered under the Nazi cultural policy, but was successful again after 1945, is the namesake of the museum: Hans Jürgen Kallmann. His works can also be seen, including a powerful portrait of fellow painter Lovis Corinth. The Kallmann Museum was opened on July 16, 1992, so it will soon be 30 years old. “I couldn’t have imagined a more suitable exhibition than this one for this occasion,” says the host, Kleine. Kallmann’s vita is also paradigmatic for the upheavals in German art history in the 20th century.

Kaleidoscope Expressionism – from the dawn of modernity to Nazi ostracism, until October 16, Kallmann Museum, Ismaning, Schloßstr. 3b