\n
\t\t\t\t\t\t\n\t\t\t\t\tMax Slevogt: Portrait Suzanne Aim\u00e9e Cassirer<\/em>, 1901.<\/span><\/p>\n\t\t\t\t\t\t\t\t\tOliver Ziebe, Berlin<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n\n\tIn the 19th century, French art predominated: This was both the advantage and the eventual controversy of Cassirer\u2019s gallery. The dealer funneled foreign paintings to both private collectors and Berlin public collections at a time when the state was working to promote a German national style. Cassirer initially founded the Kunstsalon with his cousin Bruno in 1898, but the two soon split and Cassirer took over operations in 1901. Based in the fashionable Tiergarten district, Cassirer\u2019s gallery had a sumptuous interior designed by the Art Nouveau architect Henry van de Velde. There, he displayed paintings in what were considered relatively spare, single row arrangements at a time when all-over salon-style hangs were in vogue.<\/p>\n
\n\tIn addition to Degas and Renoir, Cassirer exhibited Monet, Manet, C\u00e9zanne, and van Gogh, as well as non-French artists including Edvard Munch. He did so for the love of art but also for profit: As a contemporary caricature of the gallerist quipped\u2014\u201cfrom Monet and Manet to money.\u201d Cassirer was trained in art history and exhibited early Monet works, like the 1866 Jar of Peaches<\/em> on view at the Alte Nationalgalerie, a painting that balances the restraint and containment of a glass jar of fruit with an expressively marbled tabletop. Shown at the same exhibition as the more radical Impression, Sunrise<\/em> (1872), the inclusion of early still lives allowed Cassirer to construct a lineage for the movement that his patrons could follow. Manet\u2019s great scandal, the 1863 Dejeuner sur l\u2019herbe,<\/em> was also shown at the Kunstsalon, though it did not find a buyer.<\/p>\n\n
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\t\t\t\t\t\t\n\t\t\t\t\tView of the 2026 exhibition \u201cCassirer and the Breakthrough of Impressionism\u201d at the Alte Nationalgalerie, Berlin.<\/span><\/p>\n\t\t\t\t\t\t\t\t\tPhoto David von Becker<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n\n\tOne of Cassirer\u2019s strategies was to repeatedly exhibit unsold works as a way of acclimating the public to new styles, a strategy that resulted in what was then the largest ever exhibition of van Gogh in 1914, with 151 works. There are only 2 van Gogh works on view in the current exhibition at the Nationalgalerie, emphasizing a divide between what Cassirer showed and what the state wanted to collect. Van Gogh\u2019s Boulevard de Clichy<\/em> (1887), exhibited in 1905 and 1908 at Cassirer\u2019s gallery, resonates with German Impressionist Curt Hermann\u2019s Snow-Covered Roofs<\/em> (1908\/09), hung nearby. Both urban scenes are flecked with vivid color, an argument for the influence of French on German art.<\/p>\n\n\tMounting French influence was a problem for a cadre of German artists working to defend a conservative nationalist vision. In 1911, the landscape painter Carl Vinnen authored a \u201cProtest by German Artists\u201d against the influx of French work and gathered 140 signatures, to which Cassirer responded as part of a \u201cReply to a Protest by German Artists\u201d organized by artists more sympathetic to internationalism, Wassily Kandinsky and Franz Marc. Already three years prior, the head of the Nationalgalerie, Hugo von Tschudi, had been ousted for his acquisition of French art via Cassirer as Kaiser Wilhelm II held an increasingly tight grasp on the national collections and preferred to promote German nationalism: This attempt to constrain museums to patriotic ends finds an uncomfortable echo in the US today, where museum exhibitions are increasingly under pressure from state priorities.<\/p>\n
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\t\t\t\t\t\t\n\t\t\t\t\tEdgar Degas: Orchestra Musicians<\/em>, 1872.<\/span><\/p>\n\t\t\t\t\t\t\t\t\t\u00a9St\u00e4del Museum, Frankfurt am Main<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n\n\tCassirer\u2019s story ended tragically, by suicide amid divorce proceedings. But his legacy for German art remains vividly present, not only in the works on view but in demonstrating the merit of greater transparency in the formation of museum collections and the motivations, spoken and unspoken, that shape them.<\/p>\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"
Three women greet viewers to \u201cCassirer: Breakthrough of Impressionism\u201d at Berlin\u2019s Alte Nationalgalerie: Edgar Degas\u2019s Miss La La (1879), Pierre-Auguste Renoir\u2019s Lise with a Parasol (1867), and Max Slevogt\u2019s 1901 portrait of Cassirer\u2019s own daughter, Suzanne Aim\u00e9e Cassirer. Two French, one German, all three paintings are connected to Paul Cassirer, the Berlin dealer who is […]<\/p>\n","protected":false},"author":1,"featured_media":7068213,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[100],"tags":[8271,16902,3006,20552],"dealstore":[],"offerexpiration":[],"class_list":["post-7068212","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art","tag-dealer","tag-impressionism","tag-international","tag-sensation"],"yoast_head":"\n
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