Was it merely a Verschwendung of Geld or the Anhäufung of Gold in Form von Kunstschätzen? That’s the question some pondered about Franz Armin Morat’s passion. We are standing before the Morat-Institut für Kunst und Kunstwissenschaft Stiftung. It embodies Morat’s dedication. This institute represents a fusion of art and intellectual exploration.
The Morat-Institut began with the Heinrich-Heine-Stiftung in 1970. It critically examined philosophy. By 1983, the focus shifted. Art became central to the foundation’s mission. The Morat-Institut für Kunst und Kunstwissenschaft was founded that year. In 1984, it merged with the Heine-Stiftung. The institution continued under its current name.
Franz Armin Morat was an archetypal collector. Kennerschaft drove him. Leidenschaft fueled him. Entdeckungsfreude motivated him. He pursued his ideas through various paths. Some considered it a waste of money. Others saw it as accumulating art treasures. These treasures were shared with the public.
Morat’s contributions are immense. He cared about the artistic imprint. He wanted a lasting cultural footprint. Social prestige was not his concern.
The Morat-Institut gained worldwide attention. It displayed works by Morandi, Schuch, Hoehme, and Kocherscheidt. Its collection of Goya, Rembrandt, and Dürer etchings is unique. The extensive library is a treasure for connoisseurs. The Morat collections stand apart. They are characterized by a broad view. They have a clear vision of art beyond trends. The foundation and its founders embody a culture of commitment.
Several significant events marked the Stiftung’s history. In 1981, Franz Armin Morat curated a comprehensive retrospective. It showcased Giorgio Morandi’s work at the Haus der Kunst in Munich. The exhibition then traveled to North America. Franz Armin Morat gave his collection to the newly formed Stiftung in 1984.
The Morat-Institut hosted a Georges Seurat symposium in 1983. Participants included Gottfried Boehm and Robert L. Herbert. In 1986, the Kunsthalle Mannheim held Carl Schuch’s first major retrospective. A Gerhard Hoehme symposium followed in 1987.
Kurt Kocherscheidt, an Austrian artist collected by the Stiftung, was invited to the Dokumenta in 1992. In 1993, the Stiftung’s Morandi collection was exhibited in several cities. The Renaissance medal collection was featured in an exhibition in Duisburg in 1994. West African sculptures were displayed in 1995. The complete collection of Goya etchings toured twenty Central European cities in 1996.
The Morat-Institut continued to organize exhibitions and symposia. These events highlighted various artists and themes. These included Kurt Kocherscheidt, Wolfgang Rihm, and Carl Schuch. The institute also addressed social issues. In 2011, it organized an exhibition on the Chernobyl disaster. The Morat-Institut remains a vital center. It promotes art and intellectual exchange.
Sadly, after 40 years, Eva-Maria and Franz Armin Morat have retired. They stepped back from active foundation management. The exhibition operations are currently paused. Their sons, Franz Robert Morat and Prof. Dr. Daniel Morat, have joined the foundation’s board. They are discussing the collection’s preservation with the city of Freiburg.
We stand here now. The Morat-Institut’s future is uncertain. Its past contributions are undeniable. It stands as a testament to one man’s passion. It shows his dedication to art and culture. It also shows his commitment to sharing it with the world.