“German Art since 1960 from the Collection of Prince Franz of Bavaria”

Haus der Kunst

München, Schlusslicht der deutschen Kunstszene” (Munich, taillight of the German art scene): this battle cry didn’t seem much of an exaggeration at the end of the ’70s, and if Munich, as the former seat of the Wittelsbach family, upheld its reputation as an art capital, it was thanks only to the cultural monuments of its former royal house. Ludwig I’s visionary daydreams of a neoclassical Athens-on-the-Isar, or the romantic kingdom of God conceived by Ludwig II along the lines of a Gesamthunstwerk, failed to inspire the native Bavarian citizens to comparably significant visions of their own, excepting perhaps the anarchic worlds of Karl Valentin or Herbert Achternbusch. Some recent fresh winds excepted, this exhibition was symptomatic of the predominant climate of the Munich art world. Once again, it was not a private citizen but Prince Franz of Bavaria, a descendant of that line of

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