Therefore, special temporary exhibitions featuring portions of the collection of the Kupferstich-Cabinet need to be organized. These would allow us to systematically exhibit our holdings; perhaps one winter the old German copperplate engravers would be featured; at some other point the old Italians; then the seventeenth-century Dutchmen or the eighteenth-century Frenchmen. We also intend to mount exhibitions of our photographs, and to do so according to the same principle – i.e., to show a particular school within its historical context for a set length of time. Introductory notes in various newspapers would have to accompany these events. A separate hall next to the entrance has been set aside for these purposes; this will prevent the reading room from being disturbed by visitors on their way through. Special exhibitions from private collections – one such loan featuring the work of Ludwig Richter has already been promised to us by one gentleman present today – may be added as the opportunity arises.
Our special assignment begins with teaching activity in a narrower sense. Here, we can point to the example of the Industry Museum, which understands and appreciates the importance of its own educational function.
The Kunsthalle, however, incorporates collectibles of a different type and thus demands a unique approach, so we cannot simply copy their model.
Initially, we intend to hold lectures in the museum in front of the objects themselves. Thanks to your dedicated cooperation, we have already been able to start constructing a lecture hall adjacent to the graphic section. It is necessary to have this hall inside our building, since we want to avoid transporting the art objects. Our goal is not to pursue the study of art history and the philosophy of art and aesthetics separately, but to formulate a comprehensive approach to contemplating art. We do not intend to talk about objects, but rather of objects and in front of objects. If, in the process, we rely on the art of the past as well, it will not be to divert attention away for our own contemporary art, but rather to prepare for it. It will be our special task to introduce the English section. We have prepared for this assignment by conducting studies in England, by maintaining continuous contact with the English art scene by visiting the great English exhibitions. We propose to begin introducing audiences to the English section as early as next fall.
In general, we do not wish to present expansive lecture series that would require attendance on certain days throughout the entire winter; rather, we aim to address discrete subjects in various series ranging from 4 to 8 lectures each: e.g., the history of Protestant art; the history of genre painting; Rembrandt; the Dutch portrait; and likewise Italian, Spanish, and French art. Incidentally, as far as Dutch art is concerned, our Old Masters collection provides us with sufficient material.
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