The new heart of the building is the room, created in 2009, in which masterfully executed copies of Venetian Renaissance painting are hung, completed for Count Schack by Franz von Lenbach, among others.
Schack’s chief aim as an art collector was to promote the work of underrated and young, unknown artists. Among those he supported by means of regular purchases and commissions were Moritz von Schwind, whose idealistic approach had been relegated to the sidelines as a result of the triumphant progress of Realism, and the young painters Arnold Böcklin, Anselm Feuerbach and Hans von Marées, whom the contemporary art market disregarded. Although Schack was familiar with the French art of his day and greatly admired Eugène Delacroix, he deliberately acquired work only by German-speaking artists.
Schack’s paintings, the genres to which they belong and their subjects, reflect his own interests and predilections. His notion of art was fundamentally idealistic, and that automatically precluded all forms of Realism. ‘Poetry is the mother of all the arts,’ he wrote, ‘and both painters and musicians may be termed genuine artists only when they are imbued with the poetic spirit in the way that poets are.’ Most works in the collection are therefore history paintings or landscapes. With one or two exceptions, notably works by Spitzweg, the genre painting so popular in Schack’s day is absent.
4 / 3 EUR,
Sonntag/Sunday: 1 EUR
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