It’s been a long hot summer in Berlin and cafés with shaded terraces and gardens are in high demand. A great location for fine al fresco food and drink is the Königliche Gartenakademie (Royal Garden Academy) in Dahlem, just a five-minute walk from the Berlin Botanischer Garten. The café there is a unique place where you can either sit outside on the lawn in the shade of a giant 100-year old Weymouth Pine or retreat into the light, bright greenhouses surrounded by stunning greenery and flowers.
Lunch on the lawn
As its name suggests, the Gartenakademie is a school for horticulture and the present building dates back to 1903. It was originally founded in Potsdam in 1823 by Peter Joseph Lenné, Germany’s most influential 19th Century landscape gardener, who established English landscape garden design in Germany. Since 2008 the Gartenakademie and its grounds have been run as a successful business by Gabriella Pape, a horticulturalist, garden designer, journalist and author of several gardening books, who trained at Kew Gardens.
Aerial view of the Gartenakademie
Gabriella Pape in the garden centre
The Academy itself offers a wide range of lectures, courses and workshops for keen amateurs, as well as professional gardeners from all over the world. The surrounding grounds feature show flower-beds and borders and two gardens – the Bee Garden and the Japanese Garden. The large herbaceous border is my particular favourite and reflects the English gardening tradition of the Berlin Gartenakademie.
There is an extensive plant sales area, both outside and in historic greenhouses, and customers can also buy garden furniture, accessories and books or avail themselves of the garden design service. The whole site is beautifully maintained and wonderfully colourful in summer. You can simply wander through the grounds and the greenhouses and enjoy the experience of being in a rarefied gardening world. Everything is beautifully kept and aesthetically pleasing. As a Londoner, it reminds me of a blend between Petersham Nurseries in Richmond and the Chelsea Physic Garden.
Among the roses
Plants under cover
For Berliners and other visitors who are not intent on buying plants or bulbs to stock their garden, the main attraction of the Gartenakademie is its wonderful café culture. There are tables and chairs dotted around on the lawns and inside the greenhouses, and the whole ambience has an artlessly Impressionist feel to it.
Light, bright interiors
Coffee and cakes
Bon viveurs head to the Gartenakademie for their delicious breakfasts, light lunches and home-made cakes. Apart from good coffee and teas, there are locally-produced beers and lemonade and fine wines. I recently visited the Gartenakademie for Sunday Brunch (advisable to book ahead) which is a set price of 22 euros. The buffet spread was as colourful as a summer flower garden, with plenty of seasonal dishes and the house cocktail, Gambrinus Spritz, slipped down a treat.
For further information, including an interesting video presentation by Gabriella Pape herself, follow this link to the Gartenakademie website. The opening hours are Tuesday to Saturday (closed on Mondays) from 10am until 6.30pm and Sundays from 10am until 4pm. From October to March the Gartenakademie closes at 5.30pm on weekdays. The nearest underground station is Dahlem-Dorf.
Berlin’s Alte Nationalgalerie is an exquitiste three-storey showcase of 19th Century European art. It is also one of the German capital’s iconic buildings and part of the ensemble of the five fabulous museums on the island in the River Spree. The great Prussian architect, Karl Friedrich Schinkel, who designed the first of these museums, the Altes Museum (1823-30), had a vision of Berlin as ‘Athens on the Spree’ and the Alte Nationalgalerie certainly fits this bill. A neo-classical temple raised on a plinth, decorated with antique motifs and surrounded by colonnades, it sits majestically above the River Spree providing an elegant counterpoint to the bulk of the Berliner Dom on the other side of the bridge.
The Alte Nationalgalerie, July 2018
The building was originally designed by the August Stüler, one of Schinkel’s pupils, following sketches made by King Friedrich Willhelm IV (1795-1861). The Prussian King was known to be rather a romanticist and he dreamt of creating a ‘sanctuary for art and science’ on this site opposite the palace. His equestrian statue now commands the top of the grand stone staircases above the entrance to the Alte Nationalgalerie.
The grand entrance
Walking through a colonnade
August Stüler died in 1865 and his plans were realised by another of Schinkel’s pupils, Heinrich Strack. The Nationalgalerie, as it was then called, was ceremoniously opened to the public on 21st March 1876 for the birthday of Kaiser Wilhelm I, becoming the third museum on the island in the Spree. It originally housed a substantial art collection bequeathed to the Prussian state by a banker and consul named Johann Wagener in 1861 and a display of cartoons by Peter von Cornelius.
Photo from 1912
The primary objective of the gallery had been to collect contemporary Prussian art; above the columns is the inscription: ‘Der Deutschen Kunst’ (‘dedicated to German Art’). But after 1896, a new director called Hugo von Tschudi, acquired major works by French Impressionists. This ended the collection’s focus on Germany and caused considerable conflict with the Kaiser. In 1909 Ludwig Justi took over as director and many Expressionist works were added as well. When the National Socialists came to power, Justi was dismissed and in 1937, the collection suffered badly from the Nazi purging of ‘Entartete Kunst’ (Degenerate Art) when hundreds of 20th Century works of art were either sold abroad or destroyed.
Goebbels views ‘Entartete Kunst’
At the outbreak of war in 1939, the Berlin museums closed to the public and their contents were removed for safekeeping. Despite allegedly being fireproof because of its sandstone and iron construction, the Nationalgalerie suffered severe damage during the bombing, especially after a direct hit in 1944. Only some of the interiors on the ground floor survived. The building partially re-opened in 1949 and restoration continued until 1969.
Destruction and partial reopening in 1949
By now all the museums on Museumsinsel found themselves in communist East Berlin and although many of the works from the Nationalgalerie’s pre-war collection had been returned, there were scores of others that had landed up in West Berlin. The contents of all Berlin’s museums and galleries ended up being arbitrarily divided between East and West Berlin depending solely on the place to which they had been evacuated during the war and in 1968 a second Nationalgalerie opened in West Berlin.
Neue Nationalgalerie in West Berlin
When I visited the original Nationalgalerie for the first time in 1985, the Neues Museum alongside it was still a pile of rubble and it was a rather gloomy and forbidding place. The inside was as grand and ornate as its exterior, with marble floors and pillars and beautifully decorated ceilings, but the lighting was poor and the whole atmosphere was sombre and dull, despite its impressive collection which in those days included works by great German artists such as Schinkel, Friedrich, Menzel, Blechen and Schadow, French Impressionist paintings by Manet, Monet, Renoir and Rodin and 20th Century works by socialist artists and sculptors such as Dix, Nagel, Kolbe and Kollwitz. I noted at the time that Goya’s ‘Maypole’ was hidden away in a corner and that one small room contained three enormous canvasses which needed ten times the space to be appreciated.
‘Maypole’ by Francisco Goya
Fast forward 33 years and the Berlin art scene is unrecognisable from the dark days of the city’s division. After the fall of the Berlin Wall and the reunification of the German capital, there had to be a major reorganisation of the city’s museums and galleries and there are now six national art collections in Berlin, each dedicated to its own artistic remit and located in three separate boroughs of Berlin. They are the Alte Nationalgalerie (home of the original Nationalgalerie on Museumsinsel), the Neue Nationalgalerie near Potsdamer Platz (the former West Berlin Nationalgalerie), the Hamburger Bahnhof (Museum for Contemporary Art Berlin), the Friedrichswerdersche Kirche, Museum Berggruen and the Sammlung Scharf-Gerstenberg. If you follow this link to the website of Berlin State Museums you can explore the history and contents of each collection.
Schadow’s ‘Two Princesses’ greet visitors to the Alte Nationalgalerie
Between 1998 and 2001, the historic building of the Alte Nationalgalerie on the Museumsinsel underwent extensive renovation and restoration and reopened in 2001 to become arguably one of the most beautiful art galleries in the world.
The contents have stayed true to their original roots, featuring 19th Century art ranging from the ‘Age of Goethe’ to the Realist movement. The collection includes numerous Romantic and Impressionist masterpieces as well as having a stunning collection of paintings by the German Realist master, Adolph von Menzel. This artist was very much admired in his day and at his funeral in 1905, the Kaiser walked behind his coffin.
‘At the Beer Garden’ by Adolph von Menzel
This summer, the Alte Nationalgalerie is running a special exhibition called ‘Wanderlust’ – one of those compound German nouns, like Zeitgeist and Schadenfreude, which needs no translation. At the end of the 18th Century, Rousseau’s call to “get back to nature” and Goethe’s Sturm und Drang poetry, were part of a reaction against the rapid social changes that began with the French Revolution. ‘Wandern’ – taking long walks in the countryside – became a central motif in painting, both as part of Romanticism’s love of nature and as a symbolic exploration of new paths and of life’s journey itself. Artists began to discover nature for themselves, exploring it on foot and looking at it from new angles. The ‘Wanderlust’ exhibition has great current appeal as travelling on foot has become part of the ‘slow’ movement that advocates decelerating our pace of life.
Poster for the exhibition
Starting from Caspar David Friedrich’s masterpiece ‘Wanderer above the Sea of Fog’, a loan from the Hamburger Kunsthalle, ‘Wanderlust’ brings together around 120 works since 1800 that depict walking. Some are from the Nationalgalerie’s own collection and others from significant museum collections in Europe and the USA. They include works by Friedrich, Blechen, Schinkel, Dahl, Courbet, Hodler, Renoir, Nolde, Gauguin, Kirchner, Dix and Barlach. The exhibition shows how powerful the motif of the wanderer was in 19th Century art. Certainly it was a prominent feature of German Romanticism – an era when poets like Heinrich Heine roamed remote corners of the country and Franz Schubert composed his ‘Winterreise’ based on nature poems by Wilhelm Müller.
‘Alpinist’ by Karl Heinrich Gernler
The artworks in ‘Wanderlust’ are grouped in themed rooms on the first floor of the Alte Nationalgalerie. There is a good explanation of the various headings, which include: The Discovery of Nature; Life’s Journey; Artists’s Wanderings; Caspar David Friedrich and Wandering; Landscapes of the Wandering North of the Alps; Works on Paper; The Promenaders; Italy: Land of Longing; Departure. Below are a few of the photographs I took in the ‘Wanderlust’ exhibition but you can follow this link for a photo gallery of the exhibition. If you don’t make it to Berlin before 16th September when the exhibition finishes, many of the works in ‘Wanderlust’ are from the permanent collection of the Alte Nationalgalerie. Among its treasures are moody landscapes by Romantic heart-throb Caspar David Friedrich, epic canvasses by Franz Krüger and Adolph von Menzel glorifying Prussia, Gothic fantasies by Karl Friedrich Schinkel, and an interesting selection of French and German Impressionists.
‘Landscape with a River Valley’ Richard Wilson
‘Gothic Church Ruin’ by Carl Blechen
‘Walk among Flowers’ August Macke
‘Winter’ Emil Nolde
The long, grand boulevard of the Kurfürstendamm, referred to by Berliners as the Ku’damm, dates back to 1542 and takes its name from the Kurfürsten (Prince Electors) of Brandenburg when it was a bridle-path to their Grunewald hunting lodge. Since the days of the Kaiser this avenue has been lined with shops, hotels, theatres, restaurants and street cafés. Tall, black wrought-iron street lamps bow elegantly above bold pavement display cases introduced by the Nazis and the buildings are set well back from the road to allow plenty of room for promenading. The street corners have quaint kiosks and the old-style ‘Litfaβsäule’, columns plastered with advertisements of all the current shows and concerts. In summer the four rows of magnificent plane trees hide the parked traffic in the central reservation and in winter their branches sparkle with white lights.
Pavement display cases
After the Prussians defeated the French in 1871, Bismarck wanted the Ku’damm to become Berlin’s version of the Champs-Élysées in Paris. It was widened to about 53 metres and construction started on some of the city’s most prestigious addresses. These buildings had ornate façades with columns, gables, towers, huge bay windows and grand entrances with equally impressive interiors. Over half these magnificent structures were destroyed during the bombing in the Second World War, but many have been lavishly restored.
Commerzbank at 59, Ku’damm
A good way to admire the Ku’damm architecture is to take a ride on the top deck of one of the buses that run up and down the boulevard. Haus Cumberland at 193-194, Ku’damm is among the finest buildings along the route. This listed building was originally constructed in 1911-12 and named after Ernst August of Hanover, Third Duke of Cumberland, who was stripped of his English title when he sided with the Germans in the First World War. Haus Cumberland has a colourful history. It covers 10,000 square metres and was conceived as a ‘Boarding Palast’ or apartment hotel, with three elaborate courtyards forming the heart of the complex. Unfortunately, the owner was declared bankrupt before the final opening. After this venture failed, the building was briefly used by the Imperial Arms and Ammunition Procurement Office and then converted into a grand hotel.
The original ‘Boarding Palace’ in 1912
One of the courtyards and the reading and writing room
In the years that followed the First World War, Haus Cumberland contained the main post office building and the Ministry of Economic Affairs, as well as theatres and cinemas. In the Nazi era it housed government finance offices that played a part in the expropriation and plundering of Jewish property. From 1966 to 2003, the Berlin Regional Tax Office was the new landlord and from 2003 it stood empty, apart from the shops on the ground floor, and the interior was sometimes rented out as a backdrop for Hollywood films.
Haus Cumberland in 1968
After new plans for a luxury hotel failed, the property was sold to a business consortium in 2010.The building was meticulously renovated for heritage status and the Ku’damm façade was returned to its original state. There are now 185 apartments at the rear of the complex and a number of shops at the front.
New apartments and courtyards
Behind the grand entrance to Haus Cumberland is the much-vaunted café-restaurant ‘Grosz’, named after Berlin artist George Grosz (1893-1959), best known for his socially critical paintings from the 1920s, who lived in nearby Savigny Platz during the Golden Twenties.
Entrance to ‘Grosz’
Berlin street scene by Georg Grosz
‘Grosz’ opened its doors to the public in 2012 – a century after Haus Cumberland was originally completed. At the time, the Berlin press proclaimed it as a great example of how the Ku’damm and West Berlin are on the road to being cool and hip again, although the truth of this statement is debatable. But ‘Grosz’ is definitely worth a visit, both for its atmosphere and for its food and drink. Run by the owner of ‘Borchardt’, the famous celebrity dining establishment in Berlin-Mitte, ‘Grosz’ exudes the same sophistication. The interior décor looks genuinely historic and expensive and the waiting staff are crisply-dressed in white and black.
As ‘Grosz’ is a coffee house, bar and restaurant all in one location, you don’t have to order food with your drink. But if you are calling in for coffee it’s hard to resist the display of exquisite cakes by the entrance. Beyond it is a bar area serving fine cocktails which opens into the actual restaurant rooms with the highest ceilings imaginable, ornate pillars and walls covered with antique mirrors and paintings.
Sweet treats ……
….. and the bar
The ambience of ‘Grosz’ is best described as a mixture between a Vienna café of the Art Nouveau era and a French Brasserie. I went there for dinner soon after it opened and had a memorable meal. The menu focuses around classics like oysters served on a silver pedestal, various steak cuts and seasonal dishes with a French twist. At lunchtime there is always a plat du jour. Five years ago, the food and the service were both excellent, but the place was rather empty and I felt that things had yet to get into their stride. Recently, I have returned to ‘Grosz’ both for an evening drink and for a Berlin-style Sunday breakfast. It seems to have a more laid-back feel to it now, without losing its elegance and wow factor and almost succeeds in capturing the elusive Berlin feeling of bygone days.
A ‘Grosz’ breakfast
A cool dog at the next table
‘Grosz’ is only a few bus stops from Zoo Station or a 20-minute can stroll up the Ku’damm. All the location details and menus can be found on the Grosz website at http://grosz-berlin.de/?lang=en For an interesting read about the Ku’damm’s history and buildings, I can highly recommend ‘A Walk Along The Ku’damm: Playground and Battlefield of Weimar Berlin’ by Brendan Nash.
Surrounded by waterways, Moabit is a diverse neighbourhood to the north of the Tiergarten and the Reichstag. Barely off the main tourist track, it has managed to keep below the radar and is a great place to be among Berliners without having to go too far afield. There are already two blogs about Moabit on the Berlin Unwrapped website. ‘The History Garden’ (History and Politics, September 4th, 2015) features a fascinating park on the site of Moabit’s infamous former prison and ‘Putting Moabit on the Map’ (Small Worlds, September 25th, 2015) has a wealth of information about Moabit’s history and some of its attractions. You can find them both by scrolling down the blogs in the relevant categories. Now, a sunny day strolling down Turmstraβe, stopping for lunch in the covered market and then meandering along the north bank of the River Spree has inspired me to write more about Moabit.
Outside the market in Moabit
We started our walk at the Hauptbahnhof, crossed the road into the Geschichtspark hidden behind its high prison walls and walked through to Seydlitzstraβe at the eastern end of Moabit’s busy Turmstraβe. Passing the imposing building of the Amtsgericht Tiergarten (District Court) on our left, we soon reached the Kleiner Tiergarten. These pretty public gardens provide shaded paths through the tall trees; quintessential Berlin. Before the fall of the Wall, Moabit was part of the West Berlin district of Tiergarten but now it belongs to the central borough of Mitte.
The Arminius Markthalle is on the other side of Turmstraβe, opposite the U-Bahn station. It may not be as big and hip as the Markthalle Neun in Kreuzberg, but it’s still a great place for street food. The historic building dating back to 1891, with its elaborate cast-iron archways. pillars and Gothic proportions has a cool and colourful interior.
Inside the market
As well as the market stalls, there are plenty of places to eat. We headed for the ‘Hofladen’ at the back of the hall and opted for the fish set lunch menu, a Friday favourite and great value. The Markthalle is open in the evenings until 10pm, so it’s a fun place to go for supper too. For more foodie tips follow this link.
Seating inside the Markthalle
The ‘mother of all tables’!
The mandatory coffee post-prandial coffee stop was at ‘Antjes Café natürlicher Lebensraum’ on Jonasstraβe just outside the market. Its long name suggests a homely parlour and with its home-made cakes, tea and coffee served on pretty china this is an apt description. There are a couple of intimate rooms at the back, as well as seating on the pavement outside and I have it on good authority that breakfast here is delicious too.
Sitting in the window at Antje’s
One of the back rooms
Now heading towards the River Spree, we crossed the square in front of the tall, red-brick Lutheran church of ‘Heilandskirche’ competing with the height of the trees in the parkland between Turmstraβe and Alt-Moabit.
Photo montage by Gruss aus Berlin)
Then we meandered our way through the network of streets south of Turmstraβe, named after cities in Westphalia, North-West Germany. In this part of Moabit, there are several interesting-looking shops and restaurants dotted amongst the patrician apartment blocks. On Krefelder Straβe there was ‘Berlin Edition’ wine in the window of the ‘Weinschmiede’ and in the ‘Buchkantine’ a contemporary bookshop and café on the corner of Bochumer and Dortmunder Straβe, we noticed bottles of ‘Moabit London Dry Gin’ with 14 botanicals.
Weinschmiede and Buchkantine
By now we had reached the Bundesratufer (Upper Parliament House Bank) which runs along the north bank of the River Spree. There were plenty of families about, enjoying the afternoon sunshine and the playpark on the green area between the path and the river. After Lessingbrücke (Lessing Bridge) we were confronted with the massive glass and steel towers of the Spree-Bogen business and residential complex.
The word ‘Spreebogen’ simply means any large bend in the River Spree. In Berlin it can denote the whole meander between Museum Island in the east and the junction with the Landwehrkanal in the west, or different sections of this meander. The Spree-Bogen in Moabit refers to the redevelopment of the huge site once owned by the famous Berlin dairy, opened in 1879 by Carl Bolle. From 1933 until 2011 there was a large chain of Bolle supermarkets in Berlin and today Bolle still runs a spectacular event venue in the former factory chapel and ballroom of the Bolle dairy.
The original Bolle Meierei
Bolle milk deliveries
The Bolle ballroom today
Today, between the massive glass and steel buildings of the Spree-Bogen complex and the River Spree, the Ernst Freiberger Foundation has created a memorial called the ‘Straβe der Erinnerung’ (Street of Remembrance). It consists of a wide path lined with ‘Helden ohne Degen’ (Heroes without daggers) – bronze busts of German heroes who “achieved extraordinary things and behaved in an exemplary way in the most difficult of times”. Among the most famous names are resistance fighter Georg Elser, Nobel prize-winning author Thomas Mann, architect Ludwig Mies van der Rohe, industrialist and politician Walther Rathenau, politician Ludwig Erhard, philosopher and nun Edith Stein, physicist Albert Einstein and artist Käthe Kollwitz.
Käthe Kollwitz on the Straβe der Erinnerung
At the end of the Straβe der Erinnerung is a sculpture depicting a figure breaking through the Berlin Wall. It’s called ‘Wir sind das Volk’ (We are the people) and commemorates the citizens of East Germany whose peaceful revolution led to the fall of the Berlin Wall. They, too, are moral heroes and have a place in Berlin’s deep memory. In the photograph below you can see a section of the Berlin Wall – also part of the Straβe der Erinnerung.
‘Wir sind das Volk’
The river bank in Moabit now winds its way back to the Hauptbahnhof, with wonderful views of the Tiergarten across the Spree. But on this particular Friday afternoon, we stopped at the Moabiter Brücke, admired the restaurant ship ‘Patio’, and turned left up Kirchstrasse towards Alt-Moabit.
‘Patio’ restaurant ship
On the pavement outside 22 Kirchstraβe, we looked down at two Stolpersteine (Stumbling Stones) to mark the homes of Betty and Frieda Brasch who were deported by the Nazis in 1943. There are over 357 of these small brass commemorative plaques embedded in the streets of Moabit alone and we had already seen several on our walk. On 8th May this year they were cleaned and polished as part of an initiative started by the SPD in Berlin (Social Democrat Party of Germany) to mark the day the German capital was liberated from the grip of the Nazis in 1945.
Stolpersteine on Kirchstraβe
On our circular tour we had enjoyed Moabit in the spring sunshine, but we had been reminded of darker days. Despite its liberal and laid-back atmosphere, Berlin never lets us forget the fragility of our freedom.
Berlin is not among the prettiest cities in Europe, at least not on the surface. But it is undeniably one of the most fascinating. Much of its beauty lies entangled in history and drama and its inherent determination and generosity of spirit has brought it into the 21st Century with new vitality. For an insight into Berlin’s unique attraction, the art exhibition, ‘Die Schönheit der grossen Stadt’ (‘The Beauty of the Big City’), at the Ephraim-Palais Museum until 26th August, is an absolute must.
Showcase with original copy of Endell’s book
The title of the exhibition is taken from a book published in 1908 by philosopher and architect August Endell. He invited readers to open their eyes to the big city and also to picture its future development. Using Endell’s basic ideas as a starting point, the exhibition shows how artists over the past two centuries have interpreted the urban and social structure of Berlin. The paintings are grouped into themes and clearly demonstrate how the city’s external appearance has, over the years, reflected its inner beauty and its soul.
Inside the exhibition
Any exhibition at the Ephraim-Palais is worth a visit, if only to pay homage to this gem of a building, once home to Veitel Heine Ephraim, a wealthy Jewish court jeweller, banker and mint master to Frederick the Great. His exquisite rococo palace was built between 1762 and 1766 and soon became known as the “most beautiful corner in Berlin”. In 1936, the Ephraim-Palais was dismantled when the Mühlendamm was extended as part of Hitler’s grandiose plans for his new capital of ‘Germania’. Sections of the façade were stored in the district of West Berlin borough of Wedding. Eventually, they were handed over to the East Berlin authorities who reconstructed the building as a museum to form part of their official celebrations for Berlin’s 750th Anniversary in 1987.
The Ephraim-Palais now stands just a few metres from its original location in the Nicolaiviertel, the heart of medieval Berlin, and belongs to the Berlin Stadtmuseum (Berlin City Museum). The exterior is still wonderfully ornate and the gold spiral staircase is breath-taking. The exhibition rooms are arranged over three floors and are quite plain and relatively small. But many of them have large windows looking on to the streets below and with their combination of natural light and polished parquet flooring they provide a perfect setting for an exhibition of paintings of Berlin.
The stunning staircase
This exhibition challenges the visitor to look at Berlin from diverse perspectives. The theme chosen for each room of paintings is introduced on a large display board and the paintings themselves each have an explanatory paragraph giving their context. All this information is given both in German and in clear English. I took photographs of the paintings which, for me, had the most appeal and summed up the theme of the room best. But there were so many others which made an impact and captured the essence of the city at a particular time and from a different angle. After reaching the last room on the top floor, suitably showcasing Eduard Gaertner’s rooftop paintings, I walked back down to the reception area to buy a couple of postcards. Quite by chance, I noticed that a rather zany black and white film of pre-war Berlin was running in the room to the left of the entrance door. It added another dimension to the ‘beauty’ of the big city and echoed August Endell’s words, displayed elsewhere in the exhibition:
“Because this is the astonishing thing: the big city, despite all the ugly buildings, despite the noise, despite everything for which it can be condemned, remains a miracle of beauty and poetry for those who would wish to see it, a fairy-tale more colourful, more varied, more manifold than anything ever told in a poet’s word.”
Below is my selection of paintings from ‘The Beauty of the Big City’ exhibition, listed by theme. The Ephraim-Palais Museum is only a few minutes walk from either Alexanderplatz or Klosterstraβe Station and is open from 10am until 6pm on Tuesday, Thursday, Friday, Saturday and Sunday, and from 12pm until 8pm on Wednesdays . Entrance to the exhibition is €7 for adults, with free entrance on the first Wednesday of each month. For further details, including tours in English, follow this link.
Young Bricklayer, 1953, Otto Nagel
Under a pale sky
Knaackstraβe, 1974, Harald Metzkes
The city and the human being
Man in front of Wall, 1988-89 and Man with Suitcase, 1983, Klaus Killisch
Nights in the big city
At Friedrichstraβe Station, 1888, Lesser Ury
Above the rooftops
Witzleben Broadcasting Station, 1982, Ernst Fritsch
Architecture and texture
Urban Landscape, 1982, Joachim Böttcher
On the edge of the city
Winter Landscape at Lichterfelde, 1912, Waldemar Rösler
The city torn apart
On Potsdamer Platz, 1973, Karl Oppermann
Landscapes of history
East Berlin, 1982, Julie de Bastion
Playground in Friedrichshain, 1913, Paul Paeschke
The Big Window, 1938, Willy Robert Huth
Wittenbergplatz, 1960, Werner-Viktor Toeffler
In the neighbourhood
Berlinbild, 1920, Ernst Fritsch
The city as a metaphor
Nollendorfplatz, 1912, Ernst Ludwig Kirchner
City of work
Borsig’s Engineering Works in Berlin,1847, Carl Eduard Biermann
Berlin from above
View of the Friedrichsforum, 1835, Eduard Gaertner
Athens on the Spree
The Granite Bowl in the Lustgarten, 1831, Johann Erdmann Hummel