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in New York in 1985. Soon after, the city's Museum of
Cultural History set aside two rooms for a permanent exhibition. In 1991, Osnabrück decided to dedicate a museum to one of its natives, Felix Nussbaum, a Jewish painter murdered in the Holocaust. In 1996,
169:, calls it "a masterpiece...in architectural dialogue with the paintings hung on its walls." Detractors, however, have said that Nussbaum's work is powerful enough on its own that it would have benefitted from being exhibited in a more neutral space.
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where
Nussbaum painted his last canvasses. The metal volume displays the artist's newly discovered paintings. The interior is labyrinthine and many paths lead to dead ends. The museum's sides face three cities where Nussbaum studied art:
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volume houses
Nussbaum's prewar art. The second volume, which slices violently through the first, is made from concrete and contains the paintings Nussbaum made while in hiding from the
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By the 1980s, the city of Osnabrück, Germany, had begun to embrace
Nussbaum as a native son. An exhibition of his major works was organized at the
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245:"Ein Museum gegen das Vergessen - Eröffnung des Felix-Nussbaum-Hauses von Daniel Libeskind in Osnabrück"
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Pearman, Hugh (July 27 – August 1, 1998). "Walls hold back the forgetting". Zeitgeist. pp. 26–27.
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Worsley, Giles (July 22, 1998). "The museum of no way out". The Daily
Telegraph. p. 20.
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to design the building, which was completed in 1998. The new museum was inaugurated by
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where he was killed. The galleries house approximately 160 of
Nussbaum's paintings.
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Glancey, Jonathan (July 27, 1998). "Right side of the wall".
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The museum consists of three intersecting "volumes." The
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187:"Terrifying Fantasies That Augured Reality"
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321:(July 29, 1998). "In Memory of Pain".
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98:competition
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173:References
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368:8°2′20″E
149:Reaction
126:Brussels
249:BauNetz
139:Hamburg
83:Origins
74:painter
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