Open Windows 10

December 2020

Online periodical regarding research of the works of the Collection

Emil Nolde. Joven pareja
Emil Nolde

Resonance Chamber

Museum Folkwang and the Beginning of Hans Heinrich Thyssen-Bornemisza’s German Expressionist Collection

 

Nadine Engel

In the Museo Nacional Thyssen-Bornemisza’s current exhibition, Guillermo Solana has been able to show that Hans Heinrich’s embrace of modern art was not a sudden decision, but grew gradually, influenced by a variety of events and personal encounters.

Pages 2 — 12

El barón Thyssen-Bornemisza y su esposa Fiona Campbell-Walter durante la subasta 36 del Stuttgarter Kunstkabinett, mayo de 1961

On Baron ThyssenBornemisza’s beginnings as a collector of modern art

Juan Ángel López-Manzanares

 

Hans Heinrich Thyssen-Bornemisza visited R. N. Ketterer’s gallery in Campione d’Italia on 14 September 1964 and wrote in the guest book: ‘Expressionism is a drug / here I am again [...]’.

Such a statement attests to the powerfully engaging efect German Expressionism came to have on the baron, who put it into words years later in interviews and articles.

Pages 13 — 33

La dama de malva. Lyonel Feininger
Lyonel Feininger

‘The Blue Four’: Galka Scheyer and the promotion of Feininger, Jawlensky, Kandinsky and Klee in California

Clara Marcellán

 

‘Have you heard about the Blue Four? If not yet, you are destined to hear much about them soon’.

This article traces the fortunes of her endeavour, which involves three of the works now in the Museo Nacional ThyssenBornemisza.

Pages 34 — 46

Quappi con suéter rosa. Max Beckmann
Max Beckmann

Quappi, much more than Frau Beckmann

Leticia de Cos Martín

 

During our preparations for the exhibition Beckmann. Exile Figures that opened at the Museo Nacional Thyssen-Bornemisza in the autumn of 2018, we examined some of the recent studies published on Beckmann in order to update the information we had on the four works the museum owns by this artist, considered a leading name in German twentiethcentury art.

Pages 47 — 64