Winter am Ufer der Syr

Metadata

Artist | Manufacturer:: Nico Klopp (1894-1930) | Graveur.se

Title:: Hiver au bord de la Syr

Date:: Création : vers 1910 - 1930

Inventory Number:: 2019-222/008

Collection:: Luxembourg Art

Domain:: Estampe

Designation:: Estampe

Iconography:: Paysage

Material | Technique:: Gravure sur papier

Measurements:: H x L : 21.1 x 18.5 cm

Inscription(s):: Signature (NK); Signature (g.s.b. nico klopp); Titre (hiver au bord de la Syr); Mention d'édition (1/10); Numérotation (I)

Location:: Dépôt

Acquisition method:: Cet objet a été rétroinventorié. Les circonstances de son arrivée dans la collection ne sont actuellement pas connues. Si vous disposez d'informations pouvant être utiles à la détermination de la provenance de l'œuvre, veuillez contacter digital@mnaha.etat.lu .

Copyright:: Work: Domaine public
Image(s): CC0 1.0 Universel (CC0 1.0) | Collection du Musée national d’archéologie, d’histoire et d’art Luxembourg (MNAHA) / Photo : Tom Lucas
Metadata: CC0 1.0 Universel (CC0 1.0)

Photographer:: Tom Lucas

Beginning of existence

Acquisition

8 MuseoMag N°II 2024 A curated selection of works from our modern and contemporary art collection is now on display at the Nationalmusée um Fëschmaart. COLLECTIONS/REVELATIONS Unveiling our new permanent presentation of modern and contemporary art The long-awaited day has finally arrived! After almost four years, the permanent exhibition of modern and contemporary art reopened to the public this March after extensive renovation work, including a brand-new parquet floor. We are deligh- ted that the diverse array of works from the collec- tion of modern and contemporary art will once again be on view on the 4th floor of the Nationalmusée um Fëschmaart. THE THEMATIC MODEL For the new permanent display of our modern and contemporary art collection, we opted for a thematic approach, similar to the manner in which many other art museums around the world choose to present their modern art collections. Rigid classifications according to periods and schools can be limiting, failing to adequately reflect the complex inter- connections and links in the history of art. Conse- quently, describing modern art as a single, linear and evolutionary phenomenon becomes impossible, just as artistic practices do not neatly begin and end in a clear chronological fashion. When Tate Modern opened in 2000, it was one of the first major museums to deviate from the tradi- tional way of presenting modern art to what they described in their press release as a “radical break with the tradition of exhibiting works in chronologi- cal order and by school”. The objective was to show- case the permanent collection of modern art from 1900 onwards, arranged in four thematic groups, with the works on display covering the entire 20th cen- tury. This innovative approach not only transformed the way museums present their collections today, but also reshaped our understanding of art history, diverging from the conventional perspec- tive of a single, definitive art canon. Since then, numerous museums around the globe have em- braced a similar approach. FROM CHAOS TO NATURE The five themes we have chosen for Collections/ Revelations include: Chaos, Nature, Forms and Shapes, Faces and Colour. They evoke ideas and ways of thinking that are not exclusively tied to spe- cific times or movements in art history. Instead, they serve as overarching concepts that have been conti- nuously explored and questioned by artists across © MNAHA / tom lucas

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fullscreen: MuseoMag 2024_02

Beginning of existence

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