“A magnificent building of rare purity of style and beauty of form” That’s how the press described the Museum Neues Weimar upon its grand opening in 1869. But its story is far more dramatic than those initial accolades suggest.
Today we stand before this stunning building a testament to both artistic brilliance and remarkable resilience. The Museum Neues Weimar wasn’t always this grand. It began its life in 1864 as the Grand Ducal Museum a project of Prague architect Josef Zítek. Zítek’s design a masterpiece of Neorenaissance style was overseen by Grand Ducal Chief Architect Carl Heinrich Ferdinand Streichhan with Carl Martin von Stegmann leading the construction. Its location in Weimar’s burgeoning railway district a decision influenced by Ernst Heinrich Kohl was a significant statement. The museum showcased the art collection of the Grand Duchy of Saxe-Weimar-Eisenach and later works from the Weimar School of Painting.
However the museum’s existence wasn’t always smooth sailing. The beautiful Vimaria Fountain by Robert Härtel that once graced its forecourt disappeared after 1937 when the building was incorporated into the Weimar Gauforum. Then came the devastating air raids of March 1945. The museum’s roof was damaged by aerial mines. Even more devastating the post-war years saw the building stripped of its valuable materials. Its heating system ironically ended up in the rebuilt German National Theatre. By 1948 the Museum Neues Weimar was little more than a ruin some even suggested demolishing it completely.
But hope remained. Before the Peaceful Revolution of 1989-1990 dedicated citizens of Weimar demanded its restoration. In 1988 securing measures began and between 1996 and 1998 the building was painstakingly reconstructed on the remaining solid foundation. Its reopening in 1999 as the Neues Museum sparked debate over its name. Volker Wahl advocated for reinstating the Landesmuseum title.
Today the Museum Neues Weimar houses a permanent exhibition Van de Velde Nietzsche and Modernity around 1900. This exhibition which opened in April 2019 presents international works of early Modernism. It features artists from the Weimar School of Painting to Henry van de Velde. Nietzsche himself serves as a key figure exploring early Modernism’s position in Weimar. This includes works by the avant-garde promoted by Harry Graf Kessler ranging from Claude Monet to Max Beckmann. The exhibition also highlights the shared aspirations of Kessler van de Velde and Elisabeth Förster-Nietzsche to create a ‘New Weimar’.
Inside you’ll find more treasures. Friedrich Preller the Elder’s paintings depicting themes from Homer’s epics are a highlight. His bust is there too. In the staircase stands the monumental sculpture Goethe and Psyche. Carl Steinhäuser created it in 1851 based on Bettina von Arnim’s design. Carved from Carrara marble it was a massive undertaking to move this ten-ton statue from its original location. The Stegmann House even commemorated this incredible feat. And finally a more modern addition Thomas Schütte’s bronze sculpture Big Spirit No 4 greets visitors at the entrance.
The Museum Neues Weimar is more than a museum. It is a living testament to the enduring spirit of art innovation and the unwavering belief in cultural preservation. It shows how even from ruins great things can be rebuilt. It is a story of destruction and rebirth a story that echoes through its very walls and is waiting to be discovered.