Deutsche Bank has opened a new exhibition and event space on Unter den Linden in a seriously prime location next to the Staatsoper and opposite the Neue Wache. According to its creators, it is a ‘new and innovative concept intended to give as many people as possible access to art, culture and sport’. I went along to the PalaisPopulaire last week to find out the exact meaning of this bold statement.
First, some background history is needed. The PalaisPopulaire’s home is the former Prinzessinnenpalais, a rococo palace built at the beginning of the 18th Century and owned by the Hohenzollern dynasty until 1918. Designed by Prussia’s most renowned architect, Karl Friedrich Schinkel, it was the residence of the daughters of Prussian King Frederick William III, three princesses, one of whom married Russian Czar, Nicholas I. After the fall of the German monarchy after World War I, it enjoyed a brief spell in the 1930s as the Schinkel Museum until it was badly damaged by the bombing in World War II.
Photo taken in 1881
After the bombing
The historic exterior of the palace was restored by the Bauhaus-trained GDR architect Richard Paulick in the 1960s, but he insisted on a modernist interior and after reunification in 1990 there were further historic renovations to the inside of the palace. Now, Deutsche Bank architects Kühn & Malvezzi have stripped its interior to the precast concrete of its 1960s design in contrast with the historical pastiche reconstruction of the Stadtschloss (City Palace), due to open at the end of 2019 as the Humboldt Forum.
During GDR days, the palace was known as the Opernpalais Unter den Linden. It housed a disco and a restaurant, both popular meeting places for East Berliners. After the Berlin Wall came down, the Operncafé became famous throughout Berlin for its huge selection of cakes and gateaux; the Queen of Sweden, Sophia Loren, Alain Delon and Placido Domigno were among star guests. On sunny summer days the outside terrace would be packed full, and in the evenings, the restaurant was frequented by audiences from the neighbouring Staatsoper. I had great affection for the place.
Photo from 2009
At the end 2011, the Operncafé had to close its doors because the rent had become too expensive. There was a great deal of consternation about what would become of the building. Berliners hoped it would be accessible to the public and continue to be part of the Unter den Linden café scene and it looks as if their wish has been granted. Deutsche Bank has renovated the historic exterior, completely transformed its interior to accommodate 750 square metres of exhibition and event space, and also included a good-sized café. The name PalaisPopulaire suggests that is a palace for the people – the fact that its name is in French entirely befits this area of Mitte and its historic French connections. Francophile Frederick the Great would be well pleased.
The neighbouring Staatsoper
After spending the afternoon at the PalaisPopulaire last week, I feel very positive about its impact on Berlin. The whole building has a light, bright feel with three generous floors of gallery space and a stunning spiral staircase. I am also confident that the café on the ground floor – and especially outside on the terrace in summer – will become quite a magnet for Berliners and for tourists alike. There may not be such a huge array of cakes as in the old days of the Operncafé, but the same confectioner is providing them and the dozen or so creations on offer were very tempting, including the specially-commissioned Prinzessin Luise Torte. The lunch and dinner menus and drinks list are equally imaginative, and the service was excellent, with efficient, cheerful staff. When the galleries close in the evening, the restaurant will remain open until 11pm.
The opening exhibition “The World on Paper” until 7th January is well worth a visit. It comprises 300 highlights and new discoveries from the Deutsche Bank Collection and shows the fascination that the medium of paper has exerted on artists since post-war Modernism, including famous names like Joseph Beuys and Gerhard Richter. There are various audio guides for adults and children with text, audio and video information on specific artworks and a . Below are a few photographs of exhibits that had personal appeal. This link will take you to a full description of the exhibition. https://www.museumsportal-berlin.de/en/exhibitions/the-world-on-paper/
It’s important to stress that the PalaisPopulaire intends not only to mount art exhibitions, but also to showcase the Deutsche Bank’s activities in other cultural areas and in sport. There will be parkour workshops in and around the building and during exhibitions there will be music and DJ sets, with promenade concerts moving through the building. Athletes will discuss issues with actors and artists and the aim is to decidedly break away from disciplines and categories. On one floor of the current exhibition there is an installation that works with ‘Tiltbrush software’ which translates physical movements into digital brushstrokes. I tried it out for myself and experienced how athletes can create artwork that represents their own sport. It was nothing short of amazing.
The Tiltbrush technology
For further details of the PalaisPopulaire, including future events and exhibitions and how to download their App, just follow this link to their website. The PalaisPopulaire is open daily except Tuesdays and admission is free on Mondays. https://www.db-palaispopulaire.com/index_en.html
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.