The Academy of Düsseldorf was founded in 1773 by presidential elector Carl Theodor as a regional academy of the Pfalz with a focus on the disciplines of painting, sculpture and architecture. In 1819 it became the Royal Prussian Academy of Fine Arts in the Rhineland. Today she is an openly right-wing organization as well as a public **** institution established in North Rhine Westphalia.
The Düsseldorf Academy is a university for art and artists. This principle was established in the basic statutes on June 30, 2008, and the old college constitutions of 1777 and 1831 continue to apply. It is supplemented by the establishment of the sciences related to the maintenance and development of the arts.
Artistic activities generate the meaning of free art. In addition to painting, sculpture and free-form graphics, the art direction within the Academy also includes architecture, theater art, photography and film and video. This also ensures the high artistic quality, diversity and internationality of the School of Fine Arts.
The concept has been very successful for many years. The Academy as a university and their artists (professors and graduates) enjoy a high national and international reputation. As early as the 19th century ("Düsseldorf Academy of Painting") many of the most famous artists graduated from the University of Düsseldorf in Germany. Since the 1950s, the Düsseldorf Academy of Fine Arts has maintained an equally important position in contemporary art. This is also reflected in its participation in prestigious international exhibitions such as the Venice Biennale. Today, at the "Academy of the Five Continents" in Düsseldorf, teachers and students come from all over the world. The artists at the Academy represent the contemporary international art scene, and many are already among the best-known protagonists on the international art scene.
Since 1773
The Academy was founded in 1773 as the "Pfalz Academy of Painters, Sculptors and Architects", which was preceded by a painting school founded by Lambert Krahe (1712-1790) around 1762. Its predecessor was a drawing school founded by Lambert Krahe (1712-1790) around 1762. Due to a lack of financial resources, the director of the school, Johann Peter Langer, moved from the school's former location in Palais Hondheim to the former Franciscan convent in Düsseldorf on Schoolstrasse, where it gradually declined after 1806 in the era of the Grand Duchy of Berg. At its lowest point, only three teachers worked at the college, including Ernst Carl Gottlieb Thelott. The famous Düsseldorf gallery in the Electoral Council Chamber in Pfalz-Neuburg, which in 1805 and 1806 became an institution for the promotion of a national exchange, in which the Royal Prussian was also involved, lost its integration into the capital of the Kingdom of Prussia in the course of the move from Düsseldorf to Munich, and the Prussian government decided to compensate for this by re-establishing the old Academy of Arts as the Royal Prussian Academy of Fine Arts. Prussian Academy of Arts. This founding article was announced on March 9, 1819 by Friedrich Wilhelm III. On the recommendation of Barthold Georg Niebuhrs, Peter von Cornelius (1783-1867) was appointed the first director in October 1819, after his father (the painter and gallery official Johann Christian Aloys Cornelius), who had been a member of the Royal Prussian Academy of Fine Arts. Christian Aloys Cornelius, a painter and senior gallery official, was professionally trained by his father, who had lived in Lukasbrueder, Rome, since 1811, and whose teaching career had begun in 1822. At the Academy, Cornelius endeavored to introduce the art of drawing and the prospects of majestic large-scale painting.
In 1824 Cornelius went with many of his students to the Academy of Fine Arts in Munich, where he had an admirer in Crown Prince Ludwig of Bavaria, because that offered a better opportunity to develop the grandiose and large-scale paintings and provided a higher salary for the director. After a period of uncertainty, Friedrich Wilhelm von Schadow (1788 - 1862) from Berlin subsequently became the new director in 1826. Some of his students in Berlin followed him and also studied and lived in Düsseldorf. The Prussian Minister of Culture, Karl vom Stein zum Altenstein, chose Schadow in view of his reputation as a portrait painter, and at a time when bourgeois society was on the upswing, painters in training at the Academy of Fine Arts began to receive commissions for paintings, especially portraits and panels. Under Sartor's leadership (until 1859), the Academy developed into a prestigious institution of international standing. From the 1830s onwards, the "Düsseldorf School" was developed within the framework of the academy's teachers and students themselves, with a particular focus on landscape painting, but also on genre painting. At that time, the school enjoyed an excellent reputation and many artists from different countries, such as Scandinavia, Russia and the USA, came to Düsseldorf to study. After a fire in the Düsseldorf State Palace (the original site of the newly founded Academy), the Academy was rebuilt in 1875-79 in a safe harbor on the northern edge of Düsseldorf's old town, in a new building of Italian Renaissance Historicist form designed by Hermann Riffart.
In 1918-19, under the leadership of Fritz Roeber, the Academy of Fine Arts merged with the Kunstgewerbeschule Duesseldorf (School of Applied Arts). This school, which was headed by Peter Behrens, a former student of the Kunstgewerbeschule Duesseldorf and one of the founders of the Deutsche Bildungsgemeinschaft (German Manufacturers' Union) from 1904 to 1907, established and realized new ideas in architecture and design education. The combination of these two institutions led to the open development of the institute as planned. In the first decade of the 20th century the Düsseldorf College of Art was the center of modernism. Specific orientations such as Rhenish Expressionism and artists' unions such as Das Junge Rheinland gave a new impetus and created an atmosphere of renewal. Students in the 1920s included Arno Breker and Wilhelm Lehmbruck. During the Nazi period, teachers such as Paul Klee and Ewald Mataré were dismissed. Prof. Werner Peiners moved to Kronbruck in the Eifel Mountains for the purpose of painting, where he succeeded in founding the Hermann G?ring Vocational School of Painting until the East German artist Willi Sitte came along and took over. The building erected here was designed by Emil Fahrenkamp.
After 1945
After the end of the war, the college was reorganized under the leadership of the rector, Ewald Mataré. Many of the students of this period became later master students, such as Joseph Beuys, Erwin Heerich and Guenter Grass, who in The Tin Drum referred to his classmate Herbert Zangs as the late "Maler Lanke".
In 1958, the studio building was successfully completed on the west side of the main building.
In 1959 Karl Otto Goetz was inaugurated at the academy and his class included the later famous painters Gerhard Richter, Sigmar Polke and Gotthard Graubner.
During the turbulent 1960s and 1970s (the 68 movement and the punk movement affected Le Düsseldorf), the Academy experienced strong debates and reflections through many radical gatherings and movements, such as the Festum Fluxorum Fluxus in February and March 1963 or the referendum of June 19, 1971, which was held in the city of Le Düsseldorf. The creation of the Organization for Direct Democracy (Organisation fuer direkte Demokratie durch Volksabstimmung). There was also the bitter conflict that existed between the university and Prof. Joseph Beuys, who even wrote a manifesto of confrontation. As Minister of Science and Research, Johannes Rau, who had occupied the university's secretariat with opposition students, was successful in his legal battle to have Beuys dismissed. The later rector, Markus Luepertz, was also expelled from the college in the 1960s.
As rumored, the Düsseldorf Academy boasts impressive architecture and large, spacious studios, such as the rumored Room 20, where artists such as Katharina Sieverding, Blinky Palermo, Imi Knoebel, and Jung were taught by the Beuys. Knoebel ) and Joerg Immendorff ( Joerg Immendorff ), among others, worked here before Knoebel, Palermo and Immendorff got room 19.
Another important school of art arose from the photography classes of Mr. and Mrs. Bernd und Hilla Becher (Düsseldorf School), a photography department founded in 1976 by Mr. and Mrs. Becher (Bernd & Hilla Becher Bernd & Hilla Becher), which has produced some of the most renowned artists of the international photography scene today. The 1980s saw a return to figurative as well as representational painting led by German artists such as Anseim Kiefer, who was keen to focus on German history. Anseim Kiefer, who was keen to concentrate on German history, and at the other end of the spectrum, the Neo-Fauvism, with its strong colors and highly subjective creations. The next era tended to be less emotional and more objective, and photography became the artists' primary medium. At this time, the Academy of Art in Düsseldorf became one of the most important art schools in Germany. The two teachers at the Academy, Bernd and Hilla Becher, inculcated in their students a systematic and disciplined approach to their work, and students such as Thomas Ruff, Andreas Gursky, Candia Hoefer and others **** formed the Düsseldorf School. When studying contemporary German photography, we are everywhere impressed by the experimental nature of contemporary German photography, the ferocious German photography is the hotbed of new ideas in contemporary photography, and we also see that the Germanic system of photography, which is characterized by calmness and objectivity, has been gradually continued even in the time of August Sander. In the context of contemporary photography, the reason why a photographer wants to photograph a certain subject is not so much because of the subject's appearance or the story itself, but rather to express his or her own discovery of the subject, to show his or her understanding of the subject, and the purpose is not so much to publish the photographs in the medium, to convey and tell the event, but more for the sake of artistic creation, only that such creation is still photographing the person or thing as a "documentary", or a "documentary". It's just that it's still a "documentary" of people or things. Photographic artists who studied here and eventually became famous include Candia Hoefer, Thomas Schuette, Andreas Gursky, J?rg Sasse, Thomas Struth, Oliver Boberg, Elger Esser, Thomas Demand, Miles Coolidge, and others, including Andreas Gursky, whose photograph entitled Rhein Andreas Gursky, whose photograph, Rhein II, fetched $4.3 million at Christie's in New York on November 8, 2011, making it the most expensive photograph ever sold. Today the "Düsseldorf School" is recognized worldwide as synonymous with high-caliber, sophisticated photography.
After the Second World War, other important teachers included Prof. Klaus Rinke and his great pupils, Prof. Reinhard Mucha and Prof. Fritz Schwegler, whose students included Thomas Demand, Gregor Schneider, and the late Dr. Gerhard Schneider, and the late Dr. Gerhard Schneider, who was also a member of the Düsseldorf School. Gregor Schneider, Thomas Schuette and Katharina Fritsch, as well as Prof. Alfonso Hueppi with his many interesting students such as Dirk Skreber and Corinne Skreber. Skreber and Corinne Wasmuth and the theorist Oswald Wiener.
In the 1980s there was a culturally and politically relevant initiative in North Rhine-Westphalia, where the Cologne Factory School (now the Cologne School of Media Arts) and the Münster Academy of Fine Arts, founded in 1971, became a branch of the Academy of Fine Arts in Düsseldorf and were taken over by it.
In the Academy, important works were recognized or identified as relevant to art history, such as Joseph Beuys's "Fat Corner" in Room 3 (now a professor's studio), Imi Knoebel's "Room 19" (now in the Dia Bebe collection), the "Fats Corner" (now a professor's studio), the "Fats Corner" (now a professor's studio), the "Fats Corner" (now a professor's studio) and the "Fats Corner" (now a professor's studio). " by Imi Knoebel (now in Dia Beacon, New York), Gerhard Merz's skylight installation in Room 301 of the North Tower of the Academy, and Klaus Rinke's work on a surviving cactus. The professors continued the tradition of using the Academy's rooms not only as classrooms for their students, but also as their own studios.
Today
The college was conceived to give students the greatest possible freedom and responsibility for their artistic ideas. Among the international faculty now teaching at the Academy are Peter Doig, Richard Deacon (UK), Rita McBride (USA) and
Christopher Williams, Siegefried Antzger (USA). Anzinger ( Siegefried Anzinger / Austria ), Herbert Brandl ( Herbert Brandl / Austria ), Martin Gostner ( Martin Gostner / Austria ), Tal R ( Tal R / Denmark / Israel ), Didier Vermeiren ( Didier Vermeiren / Belgium ). Tony Cragg (Tony Cragg / England) and German artists Rosemarie Trockel, Reinhold Braun, Andreas Schulze, Andreas Gursky Eberhard Habekost, Katharina Fritsch, Tomma Abts, Marcel Odenbach, Hubert Kiecol, Georg Herold, Marcel Odenbach and others. Georg Herold ), Max Dudler ( Max Dudler ) and Thomas Gruefeld , among others.
Known in the arts and humanities, among others, are Durs Grünbein and Siegfried Gohr. At the end of the winter semester each year, the college invites the public to visit the college's annual exhibition. All classes present their works of art to the public. The quality of the works ranges from beginner's work to masterpieces. Here, as always, the viewer will find some interesting works, although they are not 100% perfect, and it is suggested that the viewer suggest interesting flaws in the work so that the student can bring it to a better finish.
Since 2005, the Kunsthaus Düsseldorf on the edge of Düsseldorf's Castle Square has been open to the public, offering space for exhibitions of works by professors of the Kunstakademie and their former students, and serving as a permanent collection of the Kunstakademie. To commemorate the great success of the graduates of the photography class at the Academy of Fine Arts in Düsseldorf, Andreas Gursky, a student of Mr. and Mrs. Bernd und Hilla Becher, is now also a professor at the Academy. Rita McBride announced in her inaugural speech as the new president in October 2013 an increased focus on and investment in new media, as well as making the entire building Wi-Fi enabled, in addition to offering the latest in 3D printing technology. The college will be more open than ever.
Specializations and professors
Architecture (Architektur)/ Baukunst (Architektur)
Prof. Max Dudler
Prof. Karl-Heinz Petzinka
Prof. Nathalie de Vries
Sculpture / Bildhauerei
Prof. Katharina Fritsch
Prof. Richard Deacon
Prof. Martin Gostner
Prof. Thomas Grünfeld
Prof. Franka H?rnschemeyer
Prof. Rita McBride
Prof. Rosemarie Trockel
Prof. Didier Vermeiren
Stage Design / Bü hnenbild
Prof. Johannes Schütz
Film and Video / Film und Video
Prof. Marcel Odenbach
Freelance Art / Freie Kunst
Andreas Gursky
Integration of Plastic Arts and Architecture / Integration Bildende Kunst und ArchitekturProf. Hubert Kiecol
Painting / Malerei
Prof. Tomma Abts
Prof. Herbert Brandl
Prof. Peter Doig
Prof. Katharina Grosse
Prof. Andreas Schulze
Prof. Elizabeth Peyton
Painting and sculpture / Malerei/Bildhauerei
Prof. Rebecca Warren
Semester-Prof. Enrico David
Semester-Prof. Stefan Kürten
Painting and Printmaking / Malerei und Graphik
Prof. Siegfried Anzinger
Foundation / Orientierungsbereich
Prof. Udo Dziersk
Prof. Gereon Krebber
Photography / Photographie
Prof. Christopher Williams
The Academy of Fine Arts in Düsseldorf offers courses in free art, orienteering, drawing, painting, sculpture, comprehensive plastic arts, architecture, stage design and videography, high school teachers of free art, art teachers in comprehensive schools, art history, Pedagogy, Philosophy, Educational Theory of the Plastic Arts, Sociology and Poetics and Aesthetics of Art.