Forthcoming exhibitions

Acquired from “Jewish Assets” – Prints from the Former Haymann Collection

16 April–3 July 2016

The Staatliche Kunsthalle Karlsruhe is buying back from Rinah Alexander Lior of Israel some 75 Expressionist prints, held in eight portfolios, as well as an art book. Ms. Lior is the niece and rightful heir of Dr. Hermann Haymann of Badenweiler, a Jewish doctor who originally owned the works of art.


In 1943 the Kunsthalle acquired a large collection of various books and portfolios of prints and drawings from the regional tax office in Müllheim. Five years earlier, in 1938, Haymann had been forced to pledge these works on paper as security against debts incurred through the Jewish Property Tax and the Reich Flight Tax, which were mandatorily imposed on Jewish citizens by the Nazis. Only by pledging the collection was Haymann thus able to leave Germany for the United States. After the war, this acquisition was properly reported to the US Office of Military Government as a purchase from “Jewish assets” and the artworks were returned to Hermann Haymann in 1951. However, as part of ongoing provenance research at the Kunsthalle Karlsruhe a further eight portfolios and an art book have been found, which were apparently forgotten at the time of the restitution. After determining and locating the rightful owner, they have now been re-acquired by the Kunsthalle. From 15 April to 30 June 2016, an exhibition will be held in memory of Herrmann Haymann and the fate of Jewish citizens in Baden-Württemberg and will feature this historical accession of works on paper.



Walter Gramatté (1897-1929), Lauschende (The Listener), lithograph, in: Erste Jahresgabe des Kreises grafischer Künstler und Sammler, 1921


Albrecht Dürer & William Kentridge


Albrecht Dürer (1471–1529) and William Kentridge (born 1955) – the GermanRenaissance artist and the globally active contemporary artist with South African roots –encounter each other in the medium of black-and-white printmaking, which they explorein diverse ways. Transcending the differences of epoch and culture, two visions of the artof printmaking are placed in a dynamic dialogue. The special expressive force of theirimages becomes visible in the comparison of various printing techniques such as woodcutand linocut, lithography and etching. An essential foundation of this is formed by theextensive collection of prints by Albrecht Dürer in the Kunsthalle’s Kupferstichkabinett.DOUBLE VISION is a cooperation between the Staatliche Museen zu Berlin’sKupferstichkabinett, the Centre for Advanced Studies BildEvidenz at the Free University ofBerlin and the Staatliche Kunsthalle Karlsruhe. Parallel to the DOUBLE VISION exhibition,the ZKM l Karlsruhe is showing William Kentridge’s 2015 projection More Sweetly Play the Dance.

Albrecht Dürer: The Penance of St John Chrysostom, circa 1496. Copperplate engraving. © bpk / SKK
William Kentridge: Remembering The Treason Trial, 2013, lithograph. © William Kentridge

Black and White

Companion show to DOUBLE VISION: Albrecht Dürer & William Kentridge



Complementing the presentation in the main building, the accompanying exhibition in the Junge Kunsthalle throws light not just on the two artists as prominent personalities of their epochs, but also on the development of printmaking techniques and the possibilities that have arisen from them. Albrecht Dürer and William Kentridge are connected both by the medium of the black-and-white print and by an interest in their respective eras, which they reflect in their work. In the workshops, young visitors are invited to try out various printmaking techniques. The range of activities on offer is appropriate for all age groupsand school types.

Albrecht Dürer, Rhinoceros, 1515, SKK


Major Baden-Württemberg Special Exhibition

28.10. 2017–11.2.2018

After the success of the 2014/15 exhibition Degas: Classicism and Experimentation, this exhibition takes a look at the work of his most important contemporary, Paul Cézanne (1839–1906). Due to his tendency to abstract the elements of his pictures, Cézanne counts as one of the forerunners of modernist painting. This exhibition expands this approach, interpreting Cézanne’s art from a position of productive tension, in which innovative pictorial processes become just as powerful as the creative appropriation of images from art history. The Karlsruhe exhibition is therefore consciously not arranged chronologically as a retrospective, but rather as a themed exhibition, which opens up a new perspective onto this artist’s seemingly so well-known oeuvre. more

Paul Cézanne, View of the Sea at L'Estaque, 1883-1885, SKK