世界上第一座公共市政美術(shù)館——巴塞爾藝術(shù)館

巴塞爾美術(shù)館

巴塞爾藝術(shù)館擁有最大規(guī)模的霍爾拜因（Holbein）家族的收藏，以及文藝復(fù)興時(shí)期其他藝術(shù)大師作品，如：康德拉•威茨（Konrad Witz）、馬丁•順高爾（Martin Schongauer）、老盧卡斯•克拉納赫（Lucas Cranach the Elder）和馬蒂亞斯•格呂內(nèi)瓦爾德（Matthias Grünewald）的主要作品。這些藏品成為了世界上第一座公共市政美術(shù)館的核心藏品。

The Kunstmuseum Basel possesses the world`s largest collection of works by the Holbein family. Further examples of Renaissance art include major pieces by masters such as Konrad Witz, Martin Schongauer, Lucas Cranach the Elder and Matthias Grünewald. They formed the core of the world`s first public municipal museum.

Kunstmuseum的故事

The Story of the Kunstmuseum

巴塞爾公共藝術(shù)藏品的悠久歷史可追溯到17世紀(jì)。 隨著阿么巴赫內(nèi)閣的收購(gòu)，受人道主義影響的藏品開(kāi)始流行于新教改革前期，早在歐洲其它城市的王室收藏向公眾開(kāi)放之前，巴塞爾市就成為第一所擁有自己藝術(shù)藏品的城市。阿么巴赫（1533-1591），著名印刷商的孫子，杰出律師之子，伊拉茲馬斯的密友，逝世之時(shí)藏品已經(jīng)包羅萬(wàn)象，不僅包含50幅油畫（其中15幅由小漢斯•霍爾拜因（Hans Holbein the Younger）所作）和一組龐大的素描和照片作品集，還包括自然、人文文物以及一座圖書館。

1661年，當(dāng)阿么巴赫內(nèi)閣面臨被遷至阿姆斯特丹之險(xiǎn)時(shí)，巴塞爾大學(xué)的教授們竭力阻止，并希望能拯救城市偉大的藝術(shù)收藏。市長(zhǎng)約翰內(nèi)斯•魯?shù)婪?bull;韋特斯坦（Johannes Rudolf Wettstein）和市議員們對(duì)此深表贊同，于是斥資九千塔勒收購(gòu)了所有藏品。三分之二的費(fèi)用由市議會(huì)負(fù)擔(dān)，剩下的三分之一由大學(xué)負(fù)擔(dān)，并承擔(dān)對(duì)藝術(shù)藏品和圖書館的責(zé)任。1671年，藝術(shù)藏品被轉(zhuǎn)移到教堂廣場(chǎng)附近的“祖爾穆克（Zur Mücke）”建筑里，并向公眾開(kāi)放，成為城市主要景點(diǎn)之一。

議會(huì)及私人捐贈(zèng)也豐富了阿么巴赫藝術(shù)藏品，1823年，法學(xué)家雷米吉烏斯. 法什（Remigius Faesch）(1595-1667)創(chuàng)辦的博物館館藏又加入其中，此舉不僅帶來(lái)了小漢斯•霍爾拜因的更多作品，還有15至17世紀(jì)萊茵河上游的藝術(shù)家的重要作品，并且也極大地充實(shí)了銅板畫陳列館的館藏。1849年博物館對(duì)空間的需求得到了滿足，遷至由馬里奧•伯塔（Melchior Berri）建造的后古典主義多功能建筑，這個(gè)位于奧古斯汀的博物館，目前仍然作為自然歷史博物館和人文博物館接待參觀者。1833年，巴塞爾地區(qū)被分成兩個(gè)半州：巴塞爾市和巴塞爾鄉(xiāng)村，這對(duì)大學(xué)和藝術(shù)藏品同時(shí)構(gòu)成了威脅。最終，藏品作為大學(xué)的財(cái)產(chǎn)，被以兩萬(wàn)兩千法郎的估價(jià)留在了城市，使得能夠保持完整。

一位巴塞爾畫家和藝術(shù)經(jīng)銷商塞繆爾•伯爾曼（Samuel Birrmann）的遺贈(zèng)對(duì)于真正的收購(gòu)政策的出臺(tái)起了決定性作用。1855年，博物館委員會(huì)主持成立了當(dāng)代瑞士藝術(shù)專項(xiàng)基金，并至今仍然決定著藝術(shù)品的收購(gòu)、遺贈(zèng)和饋贈(zèng)。正是在這種背景下，阿諾德.博科林（Arnold Böcklin）的大量油畫作品才能被收集起來(lái)，他最具代表性的作品集亦隨處可見(jiàn)。1903年起，巴塞爾市行政區(qū)開(kāi)始小規(guī)模提供收購(gòu)資金，最近一次增加補(bǔ)貼是在2002年。

1936年，隨著建筑師魯?shù)婪?克萊斯特（Rudolf Christ）和保羅.波納茨（aul Bonatz）在圣.阿爾班-地塹的專用建筑的竣工，公共藝術(shù)博物館被遷至巴塞爾藝術(shù)博物館，其形式一直保留至今。

The long history of Basel's public art collection, the Öffentliche Kunstsammlung Basel, extends back to the 17th century. With its acquisition of the Amerbach Kabinett, a Humanist-inspired collection begun in the pre-Reformation era, Basel became the first municipality to possess its own art collection long before princely collections were made accessible to the public in other cities of Europe. At the death of Basilius Amerbach (1533-1591), grandson of the famous printer and son of a distinguished lawyer who had been a close friend of Erasmus, the encyclopaedic collection contained not only some 50 paintings (among them 15 by Hans Holbein the Younger) and a very large portfolio of drawings and prints, but natural objects, ethnographic artefacts and a library as well.

When the Amerbach Kabinett was in danger of being removed to Amsterdam in 1661, professors from the University of Basel intervened in the hope of saving the wonderful collection for their city. Mayor Johannes Rudolf Wettstein and the municipal parliament were sympathetic to the cause, and so the collection was purchased for the substantial sum of 9000 Reichstaler. Two thirds of the costs were borne by the Municipal Council, the remaining third by the university, which was to assume responsibility for the collection and associated library. In 1671 the art collection was transferred to the house "Zur Mücke" near Cathedral Square and opened to the public, becoming one of the city's major attractions.

In 1823 the Amerbach art collection, which had already been enhanced by donations from the Council and private donors, was joined by the holdings of a museum started by jurist Remigius Faesch (1595-1667). This brought not only further paintings by Hans Holbein the Younger, but also important works by 15th- to17th-century artists from the Upper Rhine region into the collection, also adding substantially to the holdings of the Kupferstichkabinett. The ever more obvious need for space was answered in 1849, with the removal to the late classicistic, multi-purpose building by Melchior Berri in Augustinergasse, which still houses the Museum of Natural History and the Museum of Ethnography (Museum der Kulturen) today. The division of the territory of Basel into two half cantons, Basel-Stadt and Basel-Land, in 1833 posed a threat to both the university and the art collection. As university property, the collection was ultimately left to the city for the valuation price of 22,000 francs, which enabled it to stay togerintact.

A bequest by Samuel Birrmann (1793-1843), a Basel painter and art dealer, was decisive to the introduction of a genuine acquisition policy: in 1855 a fund earmarked for contemporary Swiss art was established under the aegis of the Museum Commission, who continue up to the present day to make decisions about purchases, bequests and gifts. It was in this context that a large group of paintings by Arnold Böcklin - the most representative collection of his works to be found anywhere - was able to be assembled. Starting on a very modest scale, the Canton of Basel-Stadt, too, has been providing acquisition funding since 1903. Subsidies were last increased in 2002.

With the completion of a purpose-built building by architects Rudolf Christ and Paul Bonatz in St. Alban-Graben, the Öffentliche Kunstsammlung moved into the Kunstmuseum Basel in its present form in 1936.

博物館藏品

The Collections

從15世紀(jì)初至今的赫然歷史跨度，全世界獨(dú)特的藝術(shù)作品群和卓越的個(gè)人作品集，使巴塞爾藝術(shù)博物館和美術(shù)館的藏品別具一格。這里曾被看作為經(jīng)典畫廊，19世紀(jì)末和20世紀(jì)的雕塑豐富了藏品種類，20世紀(jì)60年代末，藏品中開(kāi)始融入新媒體，如：裝置、錄像和攝像，加上電子媒體，這些已經(jīng)成為當(dāng)代藝術(shù)收藏的重要組成部分和當(dāng)代收購(gòu)政策的焦點(diǎn)。

從19世紀(jì)到古典現(xiàn)代主義時(shí)期（直到1960年）的大師收藏和藝術(shù)作品在藝術(shù)博物館展出，而巴塞爾藝術(shù)博物館和伊曼紐爾-霍夫曼基金會(huì)的當(dāng)代收藏品在當(dāng)代藝術(shù)博物館展出。

The collection of the Kunstmuseum Basel and the Museum für Gegenwartskunst distinguishes itself through the impressively wide historic span from the early fifthteenth century to the present and through worldwide unique groups of artworks and outstanding individual works of art. Conceived as a classic gallery and enhanced by sculptures of the late nineteenth and twentieth century, the collection also began to integrate new media such as installation, video and photography by the end of the 1960s. Together with electronic media, these have become a significant part of the holdings of contemporary art and are the focus of the current acquisition policy.

While the Old Master collection and works of art from the nineteenth century and Classic Modernism (up to about 1960) are exhibited in the Kunstmuseum, the contemporary collection of the Kunstmuseum Basel and Emanuel-Hoffmann Foundation are shown in the Museum für Gegenwartskunst.

Tips

開(kāi)放時(shí)間/Opening Hours

10:00 – 18:00, 周二至周日

10:00 – 18:00, Tue - Sun

門票/Admission

19歲以上成人票：21瑞士法郎

13-19歲青少年：8瑞士法郎

20-30歲學(xué)生：8瑞士法郎

Adults over 19 years: 21 CHF

Teenagers 13-19 years 8 CHF 8 CHF

Students 20-30 years 8 CHF 8 CHF

生成海報(bào)

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