462:. The three middle halls of the Pergamon Museum once again housed architectural exhibits, and the central hall again housed the Pergamon Altar. In the right-hand Room was housed Roman architecture, and in the right Wing itself the Near East Museum on the first floor and the Islamic Art museum on the upper floor (as it had been before 1939). In the left hall was housed Greek architecture, with ancient sculptures (formerly in the Altes Museum) in the left wing, and for a short time ancient coins were displayed in the
331:
to its full height, with innovative use of natural light. There was no discussion as to the form of this presentation, leading to some embittered disputes that became known as the "Berliner
Museumskrieg" ("Berlin museum war"). Through connections between the three archaeological museums, from 1930 until the museums' closure on the outbreak of war in 1939 visitors were able to undertake a tour through the early high cultures of ancient Egypt, the ancient Near East and the antique world for the next nine years.
351:, and in the vaults of the Berlin Mint. With the bombing becoming worse, these places (especially the Flak-towers) seemed unsuitable, and on 10 March 1945 it was decided to move the artworks to mines west of Berlin. After about ten convoys had started to move the collections there, however, it became too dangerous to do so, and this was postponed to the first week of April. So a large part of the small art and the supply of the magazines of the antique collection was instead taken to the
627:
243:. Even at this stage - thanks to Gerhard - the focus was not merely on displaying works of art, but also on scientific research and development, then a novelty in museums. A sign of this scientific approach was the beginnings of a systematic catalogue (with drawings) of the museum's ancient artworks from Italy and Greece. This collection of drawings grew fast and its 2500 leaves are used by researchers even in the present day.
265:
years but not been accessible to the public) was put on show, whilst on the upper floor, the cast collection was set up according to designs by Stüler. The rooms' decor and wall paintings were designed specifically to fit the relevant subject or epoch. This new layout, however, did not last long, as in 1879 the vases collection was moved out of the
Antiquarium into the new building.
221:. The collection was predominantly Greek and Roman in the beginning, though it also included some medieval and modern sculptures. In the course of the 19th century, many further purchases were made, including in 1831 the Dorow-Magnus collection of 442 vases. The vase collection was expanded significantly in the following years by the bequest of the archaeologist
232:, in which was exhibited the first display of sculptures, as chosen by von Humboldt's commission. Off it extended two halls, one of classical gods, the other of classical heroes, to which were joined two rooms with statues of Roman emperors, portraits, sarcophagi, cinerary urns and reliefs. Small objects were initially housed in the Antiquarium room.
370:
The worst, however, came after the end of the battle, with the guards everywhere deserting their posts and leaving all the stores to be plundered by both
Germans and Russians. In two fires in the Flakturm Friedrichshain in May 1945 a large part of the art treasures stored there was probably destroyed
330:
The old left wing became the
Deutsche Museum, to relieve severe space problems at the Kaiser-Friedrich-Museum. The right wing was reserved for the Near East collection and the museum of Islamic art. The three middle halls - after large extensions were added - were able to present ancient architecture
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between 1843 and 1855 to the north of the original building. In this new building, ideas of arranging the archeological collections into a full chronological and conceptual timeline began to become reality. In the lower floor of the museum the
Egyptian collection (which had already existed for some
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During his term of office, Gerhard did not restrict himself to acquiring 'star objects', but instead tried to look at the whole breadth of the collection and to expand it in a variety of areas. In order to produce a complete overview of ancient art-history, he also went against opposition to casts
528:
In contrast to its East Berlin counterpart, the collection had access to the international art market, and was able to make its first postwar acquisition in 1958, the "torso of a falling wounded man". Up until reunification, as well as the existing material on the museum island, more than 600 new
295:
The collection was enriched in the early 20th century by acquisitions as well as by excavations, such as that of smaller objects belonging to
Friedrich L. von Gans in 1912, the glass collection purchased in 1913 from M. von Rath, the "Thronende Göttin" (Enthroned Goddess) in 1916, the statue of a
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The majority of the antiquities were scattered among the royal castles in the 1770s, or shown in a specially built ancient temple in
Potsdam where they were not accessible to the public. 1797 saw the first thoughts of public access, with the plan to erect a public museum in Berlin to show off the
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How great the losses were over the whole collection could first be investigated and documented after the reunification of the collection, with the first catalogue of losses appearing in 2005. This catalogue named five large bronze statues (including the
834:
Staatliche Museen zu Berlin--Preußischer
Kulturbesitz. Antikensammlung; Knittlmayer, Brigitte; Heilmeyer, Wolf-Dieter; Staatliche Museen zu Berlin--Preußischer Kulturbesitz; Staatliche Museen zu Berlin--Preußischer Kulturbesitz. Antikensammlung (1998).
363:. In the course of the war, the Altes Museum and the Neue Museum were destroyed, and the Museumsneubau and some of the exhibits were damaged. In spite of the concern over their safety, the art treasures in the Flaktürmen were hardly damaged during the
251:- was connected to the museum in 1842. In the following decades, the collection expanded to become one of the largest of its type. The combination of originals and copies in time came to support the museum's encouragement of research and scholarship.
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culture) and sarcophagus (among others, a large sarcophagus of a Roman general well known since the 16th century). Along with these single acquisitions, some larger complexes also came into the possession of the museum. In 1976 an ancient coin from
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as "spoils of war", and have still not been returned. How much was taken in this way is still unknown; 25 Greek vases that can be shown to belong to the Berlin collection were shown in 2005 at an exhibition entitled "Archaeology of the War" in the
268:
Even though the vase collection had outgrown the storage capacity of the old building, the available space was still not enough, so in 1883 it was decided to separate off the post-ancient sculptures into their own collection, to be housed in the
273:(now known as the Bode Museum, or the Skulpturensammlung und Museum für Byzantinische Kunst i.e. the Sculpture Collection and Museum for Byzantine Art) that was already in the planning stages. Yet the 1884 purchase of the collection of
509:. The objects displayed were the core of the collection of small artworks (including the well-known bronze statue of the "Cretan ram-carrier"), most of the former vase collection, the ancient gold jewellery collection (including the
501:) were returned to Berlin. Though a repatriation to the Museum Island was out of the question, other homes were found for the objects. In 1961 the antiquities (already on public display from 1960 in Stüler's barrack buildings at
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was appointed to select the exhibits. At the same time as this new museum was coming into existence, further important purchases were made, for example in 1827 the collection of bronzes and vases belonging to the consul-general
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A new entrance was formed in 1982, that led now directly into the middle hall and, from there, to the
Pergamon Altar. In 1983–84 the ancient sculptures were redisplayed, this time in a chronological sequence, beginning with
408:
Victory"), approximately 300 marble and stone statues, more than 40 reliefs, more than 20 stone architectural elements, approximately 30 stone vases, more than 1500 vases and vase-fragments (including pieces by the
307:. It was opened 1901 and in its light well was displayed the Pergamon altar and other architectural examples. Yet problems with the foundations soon led to its closure and demolition closed and dismantled.
319:
caused building work to come repeatedly to a standstill. In 1930, at the collection's centenary, a new museum (named the
Pergamonmuseum from 1958) could be delivered finally at the public, designed by
521:. The display of antiquities, including the arrangement of the treasure chamber in the first floor of the Stüler building, was expanded in 1976. In 1987 the first floor became home to the vases from
470:
and choice pieces from the collection of small-objects. There was no room, however, for the art of ancient Cyprus until the Altes Museum was rebuilt and these objects had to remain in storage.
392:(13 of the 19 vases are demonstrably from the Berlin collection), and several portrait busts that were loaned from 1908 to the Schloss there, were subsumed by Poland in 1945 into the
485:. Only in a few cases could the collection be enriched by new acquisitions, such as an outstanding Greek marble relief of two horsemen and seven precious vases from private owners.
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silver hoard), parts of the glass collection, the existing mummy portrait collections (with the addition of one of the few surviving ancient panel paintings, the
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until 1786. the collection was significantly expanded in 1758 through the inheritance of the Markgräfin von Ansbach-Bayreuth's collection, which included the "
280:
To expand of the collection, the museum had since 1875 carried out its own excavations around the Mediterranean, starting with the ruins of Olympia. In 1878
164:, which included the well-known figure of the "girl playing a game of knucklebones". He acquired in 1747 the already famous bronze statue of the so-called "
54:. It contains thousands of ancient archaeological artefacts from the ancient Greek, Roman, Etruscan and Cypriot civilizations. Its main attraction is the
695:
Król Władysław IV zgromadził w pałacu swój zbiór antycznych rzeźb, które później padły łupem elektora brandenburskiego Fryderyka Wilhelma Hohenzollerna.
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and encouraged their acquisition by the collection instead of expensive original statues. The cast collection - in existence since 1796 at Berlin's
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For the presentation of all these pieces of ancient architecture, another new museum building was required. Between 1897 and 1899, the architect
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in Moscow. Further vases were discovered in the Muscovite Historic Museum. Several vases, that were loaned in 1903 to the Provincial-Museum at
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Kept out of the international art market, the collection was restricted to maintaining and presenting the existing collection on the
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586:'s collection, gold jewellery from Tarentum in 1980, a vase collection from a grave in Tarentum in 1984 (including ones by the
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478:, through classical originals, Hellenistic sculptures and Roman copies of classical originals, and ending with Roman art.
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292:. Further excavations followed in Priene, Magnesia, Miletus and Baalbek, but these excavations entailed new problems.
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works of art were acquired by purchases and donation. These included numerous ancient vases (among others, the
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Also in 1958 the objects that had been evacuated to Thuringia during the war (then moved by the Americans to
458:, but with both the Altes and Neue Museum destroyed a new home was acutely needed for the collections on the
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74:. In addition, the collection includes a large number of ancient sculptures, vases, terracottas, bronzes,
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most important pieces in the royal collections, among other things. A commission under the direction of
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and in 1828 the collection of 1348 antique vases belonging to the general Franz Freiherr von Koller.
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collection) is one of the most important collections of classical art in the world, now held in the
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892:. 3., vollständig überarbeitete und erweiterte Auflage, Verlag Philipp von Zabern, Mainz 2007
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The old museum-building soon became too small for the collection and a further building, the
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woman holding an apple in 1925, and a collection of mummy portraits from the Fayum in 1929.
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The building's central room was the Rotunda, one of the earliest examples of purpose-built
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Collection of ancient Greek, Roman, Etruscan and Cypriot artwork and archaeological finds
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began excavations in Pergamon, which brought the museum its most famous object, the
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exchanged, among other things, 36 valuable statues for two dragoon regiments with
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Staatliche Museen zu Berlin--Preußischer Kulturbesitz; Michaelis, Rainer (1995).
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and other measures began. What could be moved was largely taken to the
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bought the important collection belonging to the Roman archaeologist
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731:"Przyczynek do historii wojennych grabieży dzieł sztuki w Polsce"
437:), 100 pieces of gold jewellery and more than 150 engraved gems.
327:. The three existing middle halls were reserved for ancient art.
451:
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including several antiquities. Others were confiscated by the
239:, and its first archeological curator (from 1833 to 1855)
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The collection's foundations were laid in the time of the
132:. This core of the collection, originally housed at the
637:
573:), numerous marble busts (including a portrait bust of
225:'s collection and became one of the best in the world.
837:
Die Antikensammlung : Altes Museum Pergamonmuseum
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In French, "Sabouroff", hence "the Sabouroff Painter".
311:in 1907 planned a new building, begun in 1912, but
235:The new museum's first director was the sculptor
577:), sculptures (including a feminine idol of the
58:and Greek and Roman architectural elements from
795:Antikenmuseum Berlin – Die ausgestellten Werke
788:Weltschätze der Kunst – der Menschheit bewahrt
517:), and the collection of ancient helmets from
839:(in German). Mainz am Rhein: Ph. von Zabern.
781:Bilderhandbuch der Kunstsammlungen in der DDR
774:Die Meisterwerke aus dem Antikenmuseum Berlin
140:in 1671. Acquisitions continued in 1698 when
8:
610:) and the contents of a late Roman grave in
120:. The obtained sculptures were purchased in
700:"Apartamenty królewskie (Royal apartments)"
466:. On the upper floor were Roman portraits,
205:The collection found its first home in the
168:", which was set up on the terrace of the
160:'s purchase of the collection of cardinal
888:Andreas Scholl and Gertrud Platz (eds.):
277:again caused an acute shortage of space.
805:(in German). Mainz: Philipp von Zabern.
454:returned much of this war bounty to the
662:
339:In 1941, safeguarding the objects with
594:, the painter of Copenhagen 4223, the
180:, and in 1764 through the purchase of
507:Prussian Cultural Heritage Foundation
7:
972:Museums of ancient Greece in Germany
801:Staatliche Museen zu Berlin (1990).
148:. After a longer interval, in which
741:from the original on 8 January 2010
672:Sztuka Warszawy (The art of Warsaw)
505:) were placed in the charge of the
446:The collection on the Museum Island
400:, where they are still held today.
25:
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489:The collection in Charlottenburg
674:(in Polish). PWN. p. 121.
670:Mariusz Karpowicz, ed. (1986).
793:Wolf-Dieter Heilmeyer (eds.):
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779:Gerhard and Ursula Stelzer,
967:Staatliche Museen zu Berlin
828:Bertelsmanns Museums-Führer
706:(in Polish). Archived from
275:Peter Alexandrovich Saburov
260:(New Museum), was built by
184:'s antique gem collection.
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864:Dokumentation der Verluste
830:, Gütersloh / München 1992
209:'s 1830 building (now the
776:, Stuttgart / Zürich 1980
347:at the Berlin Zoo and at
237:Christian Friedrich Tieck
86:History of the collection
803:Pergamon- und Bodemuseum
772:Belser Kunstbibliothek,
618:The collection re-united
249:Prussian Academy of Arts
910:(in German and English)
271:Kaiser-Friedrich-Museum
262:Friedrich August Stüler
207:Karl Friedrich Schinkel
146:Giovanni Pietro Bellori
957:Antikensammlung Berlin
786:Exhibition catalogue,
634:This section is empty.
503:Schloss Charlottenburg
441:The collection divided
201:The collection to 1939
156:, followed in 1742 by
154:Augustus II the Strong
105:by ancient sculptures
32:Antikensammlung Berlin
584:Heinrich Amersdorffer
190:Wilhelm von Humboldt
162:Melchior de Polignac
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571:Triptolemos Painter
464:Münzkabinett Berlin
335:The "Kriegsinferno"
230:museum architecture
150:Friedrich Wilhelm I
103:Friedrich Wilhelm I
710:on 17 October 2013
604:Underworld Painter
563:Pistoxenos Painter
375:and taken back to
303:created the first
182:Philipp von Stosch
134:Berlin City Castle
126:Sigismund III Vasa
962:Museums in Berlin
933:52.519°N 13.398°E
704:Pałac Villa Regia
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596:Loebbecke Painter
476:archaic Greek art
423:Edinburgh Painter
317:Wall Street Crash
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130:Władysław IV Vasa
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309:Wilhelm von Bode
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519:Lipperheide
435:Pan Painter
313:World War I
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282:Carl Humann
174:Nile mosaic
166:praying boy
112:Villa Regia
97:Brandenburg
36:antiquities
951:Categories
924:13°23′53″E
921:52°31′08″N
735:zabytki.pl
657:References
547:KY Painter
511:Hildesheim
357:Kaiserroda
215:Lustgarten
91:Foundation
76:sarcophagi
614:in 1986.
406:Calvatone
381:Leningrad
361:Thuringia
353:Grasleben
345:Flaktürme
213:) in the
195:Bartholdy
178:Praeneste
882:33074616
855:48796478
821:23892157
739:Archived
606:and the
579:Cycladic
569:and the
373:Red Army
341:sandbags
315:and the
64:Magnesia
34:(Berlin
612:Cologne
567:Smikros
427:Exekias
176:" from
100:Elector
72:Falerii
68:Baalbek
52:Germany
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602:, the
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559:Paseas
398:Poznań
390:Poznań
377:Moscow
118:Warsaw
114:Palace
107:looted
60:Priene
48:Berlin
551:Myson
495:Celle
122:Italy
878:OCLC
868:ISBN
851:OCLC
841:ISBN
817:OCLC
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747:2009
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676:ISBN
452:USSR
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