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Von einer Dauerleihgabe zur Schenkung –

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Ein Selbstbildnis von Max Liebermann

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Mai 1995 “ backgroundcolor=““ icon=““ iconflip=““ iconrotate=““ iconspin=““ iconcolor=““ circlecolor=““ circlebordersize=““ circlebordercolor=““ outercirclebordersize=““ outercirclebordercolor=““ image=““ image_id=““ image_max_width=““ link=““ linktext=“Read More“ link_target=““ animation_type=““ animation_direction=“left“ animation_speed=“0.3″ animation_offset=““]

öffnete die Stiftung Neue Synagoge Berlin – Centrum Judaicum ihre Türen und damit auch ihre erste Dauerausstellung „Tuet auf die Pforten“. An dieser Ausstellung in den wiederhergestellten und restaurierten Räumen unter der goldenen Kuppel der Neuen Synagoge, die unter der Leitung von Jochen Boberg, Museumspädagogischer Dienst, und Hermann Simon, dem Gründungsdirektor des Centrum Judaicum entstand, waren viele beteiligt. Auf mehr als 500qm wurden Fundstücke und Objekte ausgestellt, die Berliner jüdische Geschichte erzählten. Zum ersten Mal in einer ständigen Präsentation, war auch ein Werk eines privaten Leihgebers darunter: Ein Selbstbildnis von Max Liebermann. Der Künstler, Berlins Ehrenbürger und Präsident der Akademie der Künste, hatte das Bild 1928 gemalt, ein Jahr nach seinem 8o. Geburtstag. Es zeigt ihn sitzend von vorn, den Betrachter direkt anschauend.

Schon 1936 war das Gemälde in der Max-Liebermann-Gedächtnisausstellung des Berliner Jüdischen Museums in der Oranienburger Straße 31, in direkter Nachbarschaft zur Neuen Synagoge, ausgestellt. Dies ist in einem kleinen Katalog zur Ausstellung und durch Fotos von Abraham Pisarek zur Eröffnung der Ausstellung am 9. Februar 1936 dokumentiert.

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„Was vom Leben übrig bleibt sind Bilder und Geschichten“[1] heißt es bezugnehmend auf das Werkverzeichnis von Mathias Eberle: „1937 Bern, verkäuflich, Privatbesitz“[2]. Vom vormaligen Besitzer wissen wir heute, dass sich das Gemälde seit zwei Generationen in Privatbesitz befand.

Doch wem gehörte das Bildnis vor 1936? Wer gab dieses Gemälde als Leihgabe in die Max-Liebemann-Gedächtnisausstellung? Nach Recherchen zur Liebermann-Ausstellung im Centrum Judaicum 1997 ist davon ausgegangen worden, dass es „die wesentlichen privaten Leihgeber waren, Heinrich Stahl und Martha Liebermann“[3], von denen das Berliner Jüdische Museum für die Gedächtnisausstellung entleihen konnte. Was geschah mit dem Gemälde nach dem Ende der Ausstellung im März 1936? Wieso ging es nach Bern und auf welchem Weg kam es wann nach Deutschland zurück?

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Vom letzten Besitzer konnten wir erfahren, dass er in den 1960er Jahren die Ruine der Neuen Synagoge als Wahrzeichen und Ort der Erinnerung und Zerstörung wahrgenommen hatte. In den 1990er Jahren wurde er durch einen Fernsehbeitrag auf das Centrum Judaicum und die geplante Rekonstruktion der Liebermann-Gedächtnisausstellung aufmerksam und wandte sich in Folge an Hermann Simon.

Zusammen mit zwei Kollegen aus den Staatlichen Museen Berlin, Dr. Lothar Brauner und Dr. Ruth Strohschein, besuchten Hermann und Deborah Simon Ende März 1994 den Eigentümer. Weitere Schritte wurden vereinbart und der Leihvertrag im März 1995 unterschrieben.

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der Leihgeber sicher, dass dieses Gemälde an einen Ort wie die ehemalige Neue Synagoge gehört und der Öffentlichkeit zugänglich und für sie sichtbar gemacht werden sollte. So bekräftige er seinen Wunsch bei Vertragsverlängerung der Dauerleihgabe in einem Brief vom 26.9.1996:

„wenn Gemälde von prominenten Künstlern in Privathaushalten ‚verkümmern‘ und nicht der Öffentlichkeit zugänglich sind, ist es doch sehr schade. Deshalb hatten wir uns primär auch an […] [Sie] gewandt.“

Das Centrum Judaicum war eben der Ort in dessen unmittelbarer Nachbarschaft sich das Berliner Jüdische Museum von Januar 1933 bis November 1938 befand.

Über viele Jahre, bis zur Neukonzeption der Dauerausstellung 2018, war dieses Selbstbildnis von Max Liebermann im Rahmen des ersten Berliner Jüdischen Museum und der Max-Liebermann-Gedächtnisausstellung zu sehen. Nach der Neugestaltung und Wiedereröffnung steht nun eines von Liebermanns letzten Selbstbildnissen, das der Künstler 1933 dem Jüdischen Museum geschenkt hatte, im Zentrum unserer heutigen Ausstellung[1]. Das Gemälde von 1928 sollte daher bis zu seiner geplanten Rückgabe an den Eigentümer im Sammlungsdepot des Centrum Judaicum verbleiben.

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Inmitten der Corona Pandemie wurde zu unserer Überraschung nun das Gemälde dem Centrum Judaicum als Schenkung angeboten. In einem Telefonat im März 2020 bekräftigte der Eigentümer seinen bereits 1996 formulierten Wunsch, das Gemälde in der Nähe zum vormaligen Ausstellungsort der Max-Liebermann-Gedächtnisausstellung von 1936 zu wissen und es vor allem der Öffentlichkeit und Forschung zugänglich machen zu wollen.

Aus einer anfänglich halbjährigen Leihgabe wurde eine Dauerleihgabe von 25 Jahren und nun eine Schenkung unter neuen Vorzeichen. In einer herzlichen und erfrischenden Begegnung mit dem Eigentümer wurde das Gemälde am 4. August 2020 der Stiftung übereignet.

Weitere Fragen, die sich im Vorfeld stellten, galt es in Zusammenarbeit mit einem Gemälderestaurator abzuklären. Es waren diese:

Wann wurde das Gemälde, doubliert? Das Werkverzeichnis von Eberle und der Katalog von 1997, Nr. 49, nennen keinen Zeitpunkt. Wurde noch zu Liebermanns Lebzeiten oder für die Gedächtnisausstellung 1936 eine schützende Rückwand eingefügt und wenn ja, warum? Rückschlüsse darauf lassen sich nicht ziehen. Die Leinwand des geschenkten Gemäldes weist keinerlei Schadstellen auf, die auf eine notwendige Doublierung hinweisen.

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Durch Ausrahmen und Sichtbarmachung der Nagellöcher ließ sich feststellen, dass das Gemälde in drei verschiedenen Breiten aufgespannt gewesen war. Das kann bedeuten, dass das Gemälde, das heißt die Leinwand zum leichteren Transport von Berlin nach Bern (wenn es denn in Bern jemals war) entrahmt und gerollt werden konnte, um später in einem neuen Rahmen präsentiert zu werden.

Die dritte und spannendste Frage betrifft die Signatur: Rechts unten im Bild steht mit dunkler Farbe „M Liebermann“ geschrieben. Die Signatur zeigt in ihrer Struktur Brüche und Unsicherheiten, die nach dem Urteil von Kennern dem Maler Max Liebermann nicht eigen waren. Aufgrund diverser Gutachten zu und Vergleichen mit Signaturen anderer Liebermann-Gemälde unterscheidet sich diese Unterschrift – nach Aussagen des Restaurators – erheblich.

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Auf einem Foto des Gemäldes von Abraham Pisarek aus der Gedächtnisausstellung 1936 ist an dieser Stelle ebenfalls eine Signatur zu erkennen. Dieses Foto existiert jedoch nicht als Negativ, sondern liegt nur als Originalabzug des Fotografen in der Größe von 13 x 18cm vor. Somit lässt sich selbst durch sehr hohes Einscannen kein genaues hereinzoomen in die Signatur ermöglichen; vergleichbare Details mit der Signatur auf dem Gemälde können nicht sichtbar gemacht werden.

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Ein anderer Gedanke wurde von dem Restaurator ins Gespräch gebracht: Vielleicht wurde die Signatur erst nach dem Ableben von Max Liebermann aufgetragen. Zum jetzigen Zeitpunkt lässt sich darüber nur spekulieren, warum und von wem diese Signatur „M Liebermann“ hinzugefügt worden war.
Das Gemälde gibt uns also noch einige Rätsel auf, auch 92 Jahre nach seinem Entstehen.

Anna Fischer, 04.09.2020

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[1] „Was vom Leben übrig bleibt sind Bilder und Geschichten“ Max Liebermann zum 150. Geburtstag. Rekonstruktion der Gedächtnisausstellung des Berliner Jüdischen Museums von 1936. Einer Ausstellung der Stiftung Neue Synagoge Berlin – Centrum Judaicum, 5. Mai bis 3. August 1997.

[2] Hrsg. von Hermann Simon, Stiftung Neue Synagoge Berlin – Centrum Judaicum in Zusammenarbeit mit dem Museumspädagogischen Dienst Berlin, „Was vom Leben übrig bleibt sind Bilder und Geschichten“ Max Liebermann zum 150. Geburtstag. Rekonstruktion der Gedächtnisausstellung des Berliner Jüdischen Museums von 1936. S. 250.

[3] Ebd., S. 13.

[4] Erworben wurde das Gemälde im Oktober 1997 mit Mitteln der Stiftung Deutsche Klassenlotterie.

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VERANSTALTUNGEN

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TEMPORÄRE
AUSSTELLUNGEN

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HISTORISCHES ARCHIV
– BILDARCHIV –

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NEWS

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