Saxony

Saxony is the 10th largest of Germany’s 16 states. It has history that spans over a millennium. Slavs and  Germanic people settled here in the first century BC.

We’re here to visit Saxony’s two largest cities.

Leipzig – The Better Berlin

Leipzig is the most populous city in the state of Saxony, Germany, with a population of 1.1 million in the metropolitan area. It sits at the intersection of the ancient Via Regia (the Royal Road) and the Via Imperii (the Imperial Road), the two most important medieval trade routes of the Holy Roman Empire. Literally, the epicenter of the commercial world.

The Leipzig Trade Fair, Leipziger Messe, was started in the Middle Ages and remains the oldest surviving trade fair in the world.

Leipzig was one of Europe’s largest centers of learning and culture prior to WWII and, although a major urban center within the GDR, its cultural and economic importance declined under the Soviets.

Since the Wall came down in 1989, Leipzig has been informally dubbed “Hero City” (Heldenstadt) in recognition of the role it played in ending the East German regime. Recently, the city has been nicknamed the “Boomtown of East Germany”, “Hypezig” or “The Better Berlin” and is being celebrated by the media as a hip urban centre. Leipzig is now considered the most livable city in Germany and is currently listed as a Gamma World City.

Leipzig Hauptbahnhof  is the world’s largest railway station measured by floor area.

There are over 20 covered passages or shopping arcades in Leipzig’s city center and Wendi dragged me through all of them.

Museums

Museum der bildenden Künste

The giant dinosaur is a fountain of sorts. Blood drips into the bucket from his mouth and is pumped back through his body in a continuous loop.

Arno Rink

The much admired German artist passed away last year at the age of 77. Museum der bildenden Künste is celebrating his life and work with a huge career spanning retrospective.

The Grassi Museum of Applied Arts

The Grassi Museum of Applied Arts in Leipzig is primarily a ceramics museum which covers a huge range of ceramic work from antiquity to the present day. The museum is laid out as a sort of passage through time. You begin in ancient Greece and finish in 20th century Europe, but it’s the contemporary work that rocked me to the core.

“Amour fou” – Carolein Smit

The 30 piece exhibition, “Amour for”, by Dutchwoman Carolein Smit is one of the singularly most fascinating, disturbing, captivating and sadistically funny shows I’ve ever witnessed. And I say witnessed as opposed to viewed because it is a little like seeing a strange crime scene. The work is so precise and polished that it’s easy to dismiss the painstaking effort and enormous talent that has gone into creating these fantastic creatures. Every pearl is hand rolled from clay, every strand of hair is individually fashioned and precisely placed with tweezers. And, my God, just think about all those strange dreams!

The museum wrote, “Carolein Smit combines opposites in her ceramic sculptures, reminiscent of an Amour fou, an apparently unreasonable and yet most passionate and addictive love.   Where does innocence turn into guilt, life into death? Where is the transfer, the turning point? Those are the questions that the Dutchwoman tries to answer. Her mysterious figurations appear as precious and tantalizing as they seem dangerous, fragile and painful. At the same time, they are filled with cryptic humor.  They are works of modern times,  but their alter egos are rooted in the world of curiosity cabinets, collections of devotional objects and mythically-fantastic little branches of art history.”

Check her out –  http://www.caroleinsmit.com – She doesn’t look weird at all.

Leipzig and the Nazis

I’m of an age where World War II shaped my thinking. Mine and all of my friend’s parents were directly effected by the war. About half my neighborhood was Jewish and every single family was rocked to the core in the aftermath of the horror in Europe.

In 1933 there were 11,000 Jews living in Leipzig. By 1942 only 2,000 remained. On June 18, 1943 the last 18 were shipped to concentration camps. Of all the Jews deported from Leipzig only 53 survived.

As hard as it is to imagine, it’s estimated that one in ten Germans still harbors anti-Semitic views. We have been to five flea markets and all of them had vendors with Nazi memorabilia, which is illegal to sell in Germany, but apparently, not enforced.  With the addition of over a million Syrian refugees the problem has just gotten worse. It has been suggested in the Bundestag that middle eastern immigrants seeking residency should be compelled to view a concentration camp and attend lectures on the holocaust to help them recover from their ingrained bias and disbelief of these factual events.

Karl Friedrich Goerdeler – A Man of Contradictions

Karl Friedrich Goerdeler was clearly a conflicted man. Elected mayor of Leipzig on May 22, 1930, he was well known as an opponent of the Nazi regime, for their evil thuggish tactics, not their anti-Semitism.

He resigned in 1937 after his Nazi deputy ordered the destruction of the city’s famed statue of Felix Mendelssohn. On Kristallnacht in 1938, the 1855 Moorish Revival Leipzig synagogue, one of the city’s most architecturally significant buildings, was deliberately destroyed. Following this Karl Goerdeler was overwhelmed with despair over what he considered to be the triumph of evil and hatched an ill fated plan to help save Jews deported to Polish Concentration Camps. He was captured and imprisoned by the Nazis, and yet, while on death row he was still anti-Semitic. In 1944, in his “Thoughts of a Man condemned to Death”, he wrote, “We should not attempt to minimize what has been happening, but we should also emphasize the great guilt of the Jews, who had invaded our public life in ways that lacked customary restraint^”.

He was finally hanged on February 2, 1945. In a farewell letter Goerdeler wrote of himself and his co-conspirators,  “I ask the world to accept our martyrdom as penance for the German people.”

Dresden

Dresden has a long history as the capital and royal residence for the Kings of Saxony, who for centuries furnished the city with cultural and artistic splendor. During the 19th century, the city became a major centre of economy, including motor car production, food processing, banking and the manufacture of medical equipment. By the early 20th century, Dresden was particularly well known for its camera works and its cigarette factories. Between 1918 and 1934, Dresden was capital of the first Free State of Saxony. Dresden was a centre of European modern art until 1933, when the Nazis came to town.

We are here for two exceptional museums,

Gemäldegalerie Alte Meister

The Gemäldegalerie Alte Meister, houses old masters, mostly Italian and German. It’s located in the Semper Gallery and is part of the much larger Zwinger Courtyard. This is an amazing site, but I’ll try to keep it short with just a few things I thought were fun.

Canaletto

With the aid of a Camera Obscura, Canaletto created precise urban views known as vedute. His paintings are almost photographically realistic images of 18th century Venice.

He sold his diffuse atmospheric paintings of the lagoon city to aristocrats who traveled through Europe on their educational Grand Tour.

This is the courtyard we are in today.

Camera Obscura

As a drawing aid, the camera obscura allowed tracing the projected image to produce a highly accurate representation and an easy way to achieve a proper graphical perpspective. The camera obscura box was developed further into the photographic camera when camera obscura boxes were used to expose light-sensitive materials to the projected image.

The Tower of Babel

According to the tale, humanity was united in the generations following the Great Flood and spoke a single language. While migrating eastward they came to the land of Shiner and agreed to build a city and a tower tall enough to reach heaven. God observed this and was so upset that he confounded their speech, so that they could no longer understand each other, and scattered them around the world.

I love the whole notion of the Tower of Babel. As a parable is addresses a few issues, why we speak multiple languages, why we have many different cultures and are not united by either a common goal or belief system. It sort of puts the blame on God’s shoulders by suggesting that he has punished us for trying to physically reach him and the kingdom of heaven before our time is due. I think, at least in Western cultures, most people no longer think of Heaven as an actual physical place you could climb to but more as a spiritual or ethereal plane. But perhaps I’m wrong. The great American singer and songwriter David Bryne, wrote in his song Heaven that it’s a place where nothing ever happens and “they play my favorite song over and over”, presumably for eternity. A dire prediction, indeed.

This pastel painting by the Swiss artist, Jean-Étienne Leotard, was already famous in the 18th century. Leotard has completely eliminated all traces of brushwork and produced immaculately modulated tones, creating the impression of utmost perfection. After a lengthy trip to Constantinople, the much-travelled portraitist began wearing Middle Eastern costumes and referred ti himself as” le painter turn” – the Turkish painter.

Anton Graff

Graff was a court painter in Desden and was much esteemed as a portraitist by the aristocracy and bourgeoisie. His numerous self-portraits reflect the self-confidence and pride of an artist that has won fame. He devotes particular attention to the intense, concentrated gaze, through which he conveys his character and individuality.

Young Lady with Drawing Utensils

Looted in April 1938 from the Jewish sisters Jenny and Bertha Rosier. Both died in Treblinka Concentration Camp in 1942 and the painting passed through the hands of German art dealers until it was finally restituted to the heirs of the original owners in 2010.

The Albertinum

The Albertinum was built between 1884 and 1887 by extending a former arsenal. Damaged in the February 13, 1945 bombing of Dresden in World War II, the Albertinum was restored by 1953. It now hosts the New Masters Gallery and the Sculpture Collection. The museum presents paintings and sculptures from Romanticism to the present, covering a period of some 200 years.

When the First World War erupted, Otto Dix volunteered for the German Army. He was assigned to a field artillery regiment in Dresden. In the autumn of 1915 he was a non-commissioned officer of a machine-gun unit on the Western front and took part in the Battle of the Somme. In November 1917, his unit was transferred to the Eastern front until the end of hostilities with Russia. By February 1918 he was stationed in Flanders. Back on the western front, he fought in the German Spring Offensive. He earned the Iron Cross and reached the rank of vizefeldwebel. In August of that year he was wounded in the neck. He was discharged from service in 22 December 1918 and was home for Christmas.

Dix was profoundly affected by the sights of the war and later described a recurring nightmare in which he crawled through destroyed houses. He represented his traumatic experiences in many subsequent works. The “War” triptych is one of Otto Dix’s  most famous.

With a self-mocking gesture, the 70 year old Michaelis playfully explores the question as to whether and how a person’s character and frame of mind can be captured on canvas. With his head slightly twisted and his lips pressed together, he examines his subject in this self-portrait.

“Socialist Contemporary Art” 1961 – 1967

In 1961 an indépendant department of “Socialist Contemporary Art” was established to implement the “Bitterfeld Way” whose purpose was to introduce workers to art and to eliminate the division between art and daily life.

Depictions of Workers

In the officially sanctioned artistic style of Socialist Realism, man is the focal point. The SED propagated an idealized socialist image of man, which was developed programmatically in the 1950s under the utopian concepts of the “New Man” and from the 1960s onwards as the “socialist personality”. The New Man was characterized as somebody who possessed a wide range of knowledge and skills, was hard-working, had a pronounced socialist consciousness, always behaved is a disciplined and moral way in accordance with socialist principles, was interested and active in the areas of culture and sports, and generally demonstrated a positive, optimistic attitude to life. Sounds like advertising to me.

“Schirmer’s Carpentry Brigade” – This portrait of a brigade of carpenters in Leipzig, was exhibited at the 7th Art Exhibition of the GDR in 1972 and sparked a controversial debate. The contrast between a modern theme and an old masterly-Renaissance style of painting was disconcerting.

“Seamstresses” – The bustling but concentrated activity of a working day in a nationalized company in the GDR is the subject of this painting. Metzkes developed a reputation as the “Cézannist of Berlin”, a soubriquet derived from his realistic, restrained portraits and his affinity to the French artist. 

“Chess Player” – The man in the painting is recognizable by his clothing as a worker while playing chess represented the ideal of the “all-round developed socialist personality”.

“House Peace Committee” – This painting was not purchased until 1960 because of it’s controversial loose style. So-called “discussion pictures’ were intended to demonstrate the value of the democracy established in the GDR.

“Woman In Uniform” – The concept of the uniform dress runs counter to the female role in the traditionally male field of the military. With this picture, Schröter was campaigning against the nightmare of a law requiring women to perform military service in the GDR.

“The New Owner” – The catalogue for the 1979 “Weggefährten-Zeitgenossen” exhibition in Berlin stated, “The aim was to impress on the public consciousness the image of the new social status of the worker. An early example, in which the composition and posture of the subject merged to form an intrinsic unity, is Hermann Bruse’s “The New Owner”. The prestigious picture format in which the subject is depicted from the hips up, or as a full-length, seems now to have become standard for portraits of workers in the GDR.”

“After Deployment” –  Christoph Wetzel’s graduation project at the Hochschule for Bildende Künste Dresden is the only painting in the collection showing a member of the GDR army, the Nationale Volksarmee. Rather than depicting a combat-ready defender of his country, Wetzel presents him as a vulnerable man with his back bared.

Nazi Footnotes

Looted Art

The destruction of Dresden allowed Hildebrand Gurlitt, a major Nazi museum director and art dealer, to hide a large collection of artwork that had been stolen during the Nazi era. During interrogation after capture, Gurlitt told US Army authorities that his art collection and documentation of transactions had been mostly destroyed at his home in Kaitzer Strasse. The authorities seized 115 pieces of art but returned them after he had convinced them that he had acquired them lawfully. He claimed he was a victim of Nazi persecution due to his Jewish heritage. Gurlitt was released and continued trading in art works until his death in a car crash in 1956.

On 22 September 2010, German customs officials at the German–Switzerland border found €9,000 in cash on his son Cornelius Gurlitt, which led to a search warrant of his apartment in Schwabing, Munich. On 28 February 2012 they found 1,406 artworks, with a present estimated worth of one billion Euros. Priceless art treasures hung on every wall. Authorities initially banned reporting on the raid, which only came to light in 2013.

The Bombing of Dresden

The bombing of Dresden by the Royal Air Force and the United States Army Air Forces between February 13 and 15, 1945. The sheer scale of the attack remains controversial. Over 5 tons of incendiary and high explosive bombs on the city. The combination of bombs damaged and incinerated buildings, denying their use by retreating German troops and refugees. Widely quoted Nazi propaganda reports at the time, claimed 200,000 deaths, but in 2010, after five years of research, the German Dresden Historians’ Commission concluded that casualties numbered between 18,000 and 25,000. The Allies described the operation as the legitimate bombing of a military and industrial targets, but several researchers have argued that mostly women and children died. Allied military authorities have stood by the decision to carry out the bombings, reaffirming that it reduced the German military’s ability to wage war.

The End

I hate to end on such a somber note, but it is, what it is. We love to share what we are lucky enough to see and do. We hope you enjoyed some of it. See you next time.

Tot Ziens En Veel Succes – Good Bye and Good Luck