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14/7/2008

A Room full of Gods

Pinakothek der Moderne, Munich

King Ludwig I invited the artist Julius Schnorr von Carolsfeld (Leipzig 1794–1872 Dresden) to Munich in 1825 and commissioned him to paint frescoes in the substantial new extensions to the Residence. From 1832 onwards, Schnorr worked on designs for the king’s private apartments on what is today Max Joseph Square in Munich. Two recently discovered cartoons by Gustav Jäger (1808–1871), a pupil of Schnorr’s, served as preparatory sketches for two frescoes from this cycle. Dr. Stephan Seeliger’s generous gift of the Apollo cartoon to the Staatliche Graphische Sammlung provides a perfect opportunity to exhibit all the designs for the wall paintings in the Salon de Service known today.

Leo von Klenze, the building’s architect, planned the Royal Apartments to be decorated with wall paintings based on scenes from Antiquity. Schnorr designed images to fit the picture fields already marked out in the Salon de Service based on the ‘Homeric Hymns’, a collection of songs of praise to most of the major gods that were performed in honour of the respective god before tragedies. The designs for the frieze, rich in detail, are now held in the Staatliche Graphische Sammlung München and form part of this exhibition.

The principal picture fields on the walls were designed for paintings approximately one metre square, dedicated to the four protagonists of the ‘Hymns’ – Demeter, Aphrodite, Apollo and Hermes. The two cartoons by Gustav Jäger which have recently resurfaced, served as preparatory works for the wall paintings of Aphrodite and Apollo. For the first time, these works enable the impression of the room’s design in its original size to be experienced once again.

In 1835 the decoration of the room was completed. Together with the Nibelung Rooms and designs for the Banqueting Hall next to the Court Garden, these belong to Schnorr’s principal works. The Salon de Service was completely destroyed during the Second World War and, unlike other rooms in the Royal Apartments, was not rebuilt.

Apart from these designs, a documentation of Klenze’s plans and historical photographs are also included in the exhibition, helping to bring the overall effect of the room back to life. In addition, they also provide a look at the work processes involved in designing such a large decorative cycle – a task that was not uncommon in the first half of the nineteenth century.

Press preview July 15, 2008, 11.00

Pinakothek der Moderne
Barer Strasse 40 Munich

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