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Ro­man­tic lon­gings and an­ci­ent mo­nu­ments — Fried­rich Ner­ly at the Kunst­hal­le Bre­men

Na­tur und An­ti­ke — Der Ro­man­ti­ker Fried­rich Ner­ly in Rom

(Name of the exhibition in the original language)

The new ex­hi­bi­ti­on “Na­tu­re and An­ti­qui­ty. The Ro­man­tic Fried­rich Ner­ly in Ro­me” at the Kunst­hal­le Bre­men brings to life a pain­ter’s fa­sci­na­ti­on wi­th the light and forms of Ita­ly. Fried­rich Ner­ly mo­ved to Ita­ly at the age of 21, whe­re he work­ed in Ro­me, Ti­vo­li and Ole­va­no and crea­ted im­pres­si­ve dra­wings and wa­ter­co­lours on ex­ten­si­ve jour­neys to Na­p­les and Si­ci­ly. The­se vi­vid stu­dies of na­tu­re ser­ved as the ba­sis for his pain­tings, in which Ner­ly cap­tu­red a sun-dren­ched, Me­di­ter­ra­ne­an at­mo­sphe­re and re­flec­ted the lon­ging of ma­ny Ro­man­tic ar­tists for the south.

A par­ti­cu­lar high­light of the ex­hi­bi­ti­on is the res­to­red “Cam­pa­gna Land­scape wi­th Aqua Clau­dia” from 1836, who­se im­pres­si­ve de­pic­tion of the an­ci­ent aque­duct ru­ins is on pu­blic dis­play again for the first time. The pain­ting marks the be­gin­ning of a new way of loo­king at mo­nu­men­tal buil­dings and il­lus­tra­tes Ner­ly’s im­portance for the de­ve­lo­p­ment of Ro­man­tic land­scape pain­ting. The ex­hi­bi­ti­on is com­ple­men­ted by works by Ble­chen, Pi­ra­ne­si, Schirm­er and Spitz­weg as well as a se­ries of pho­to­graphs by Hans-Chris­ti­an Schink, which builds a bridge to the pre­sent and rai­ses to­pi­cal ques­ti­ons about cul­tu­ral he­ri­ta­ge and wa­ter sup­p­ly — is­sues that are par­ti­cu­lar­ly re­le­vant in times of cli­ma­te ch­an­ge.

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