European Stars And Stripes (Newspaper) - February 23, 1989, Darmstadt, Hesse                                .1 i i i min a i ii a of Ilia in slim maj a Hajj a is _ -. A jnmh1- to l1 r full l a ill 1. A f to mull of .1 i � in. .11 it who m i p of Toi Itell lini.5ll tvs fwd wins Oil Homer s 1874 print of a Berry gathering scene is the sort of Art that is making an impression on europeans at a West Berlin exhibit. Art West Berlin exhibit opens european eyes by Terrence Petty associated press trappers canoeing on a Lazy River a storm in the Rocky mountains and other americana scenes have entranced viewers of a West Berlin exhibit put together by a German striving to open european eyes to he Quality of Early american paintings. Pictures from the new world incorporates some of America s most famous 18th-and 19th-Century paintings in a display that is a rare event for most germans and other europeans. European museums pay Little attention to paintings from the United states formative years says German Art historian Thomas Gathgens. He decided that it was time to Start making some changes. Gathgens brought works by Thomas Eakins Winslow Homer John Singleton Copley and other great american artists to West Berlin for the first Public German exhibition of its kind. The result says Gathgens astonishment among Many germans that the United states had such a Rich and unique tradition in painting. More than 60,000 people have seen the temporary exhibit since it opened last nov. 22 at West Berlin s famed baroque Charlottenburg Palace. The show was financed with West Berlin government funds. West Germany s major newspapers have praised the exhibit in Multi Page reviews that included photographs of some of the works. This showing. Speaks with a Quality that is unique the daily newspaper die we of said. This is a real discovery for germans and for All europeans Gathgens says. We know a lot about american modern Art but the Richness of earlier american paintings is rarely noticed  visitors to the exhibit walk past such american classics As Copley s Watson and the shark Fredric Edwin Church s Jerusalem from the mount of olives George Caleb Bingham s the Jolly Flat batsmen and the trappers return and Albert Bierstadt s huge a storm in the Rocky mountains. Depictions of tranquil american Rural life scenes from the old West and late 19th-Century still life paintings Are also represented. About half the works Are borrowed from renowned american institutions such As the metropolitan museum of Art in new York and the National gallery of Art in  remainder Are on loan from the private Art collection of Hans Heinrich Baron Thyssen Bornemisza the German industrialist who lives in a Palace in Switzerland. The Baron was Happy to participate. He said take what you please " Gathgens says. Some american museums were at first hesitant to Send their valuable paintings overseas Gathgens says but they happily jumped on the bandwagon when he told them that he wanted to show europeans what is unique about american Art. According to Gathgens Many europeans know Little about 18th and 19th-Century paintings or consider some of the work derivative of what was being created on the continent at the same time. Europeans Are sometimes narrow minded in their thinking. Sometimes we tend to think the cultural production of those times was All  but the West Berlin exhibit has transformed Many sceptics into fans of 18th and 19th-Century american paintings he says. A lot of people have told me this is not possible. We never knew the americans had such Good Art during this period " Gathgens 48, the chairman of the Art department at West Berlin s free University based his Choice of paintings for the exhibition on aspects that make them distinct As american works of Art. I tried to get paintings that would demonstrate that there is an american tradition he explains. Gathgens adamantly disagrees with any suggestions that some american painters borrowed their styles from europeans. Yes of course some came to Europe to study but they already had this feeling of american landscapes in their heart he says. It s quite Clear that americans really Learned How to paint in the United  to illustrate his Point Gathgens Points to Bierstadt s monumental a storm in the Rocky mountains a dark and Moody work that suggests the insignificance of Man in the wilderness. Bierstadt went to the Rocky mountains looking for the wilderness. This has to do with discovery with going to the West going to the Golden land. This is part of the american experience he says. Placing the american paintings inside the Charlottenburg Palace helps underline the differences Between these artworks and those created by europeans. The Palace is used As an Art museum that includes German romantic paintings in one of its wings. People can go into the other Side of the Palace and look into the German romantic rooms. When you do that the uniqueness of the american paintings becomes very Clear Gathgens says. Gathgens would like to see More study of pre modern american painters in Europe and far More exhibitions of their works. It s extremely important for the understanding of each other that we study one another s cultural history he says. 24 stripes Magazine february 23, 1989