The museums in Berlin and Munich contain ancient and modern masterpieces, and on the streets one is absorbed in the history of modern Germany.
videos + essays
Master H.L., The Breisach Altarpiece
The dancing lines and joyful subject of this 16th-century altarpiece are exuberant.
Hans Baldung Grien, Freiburg Altarpiece
Baldung’s joyous Freiburg Altarpiece is a delightful counterpart to his well-known artworks depicting witches.
Stefan Lochner, Madonna of the Rose Bower
The overriding quality of Lochner's Madonna of the Rose Bower is an intense sweetness.
Basilica of Constantine (Aula Palatina), Trier
Originally built in the 4th century, the Aula Palatina has been remade several times according to the aesthetics of each age that transformed it.
Cross of Lothair II
Large, colorful gems ornament this magnificent Ottonian cross, likely made for emperor Otto III.
Death of the Virgin, South portal, Strasbourg Cathedral
The scene of the Death of the Virgin exhibits a new naturalism and inspiration from ancient Roman sculpture.
Palatine Chapel, Aachen
The octagonal plan references earlier churches and symbolizes regeneration. Was Charlemagne’s throne at its center?
Synagoga and Ecclesia, Strasbourg Cathedral
A close look at Synagoga and Ecclesia at Strasbourg Cathedral helps to illuminate the shifting meanings of Gothic sculpture.
Adolf Ziegler, The Four Elements: Fire, Water and Earth, Air
Displayed in Adolf Hitler's Munich apartment, Ziegler's Four Elements reflects the fascist ideology of Nazi Germany.
Fra Filippo Lippi, The Adoration
This altarpiece—made for the Medici palace chapel—depicts both a biblical scene, that of the Nativity (the moments immediately following the birth of Jesus Christ), as well as an inspiration to pious prayer.
The Pergamon Altar
Greek gods battle Giants for supremacy of the universe, so deeply carved that they almost step out into our world.
Hannah Höch, Cut with the Kitchen Knife Dada Through the Last Weimar Beer-Belly Cultural Epoch in Germany
What initially might seem like random images is actually Hannah Höch’s comment on Weimar Germany’s culture and politics.
