The "Einraumausstellung: Fontane bei Liebermann" expands the documentation of "Liebermanns Welt" by a look at Max Liebermann's contemporary Theodor Fontane. It is the prelude to the series of one-room exhibitions that will put Max Liebermann in dialogue with important contemporaries.
On the occasion of the 200th birthday of Theodor Fontane (1819-1898), the first installment illuminates the relationship between the poet and Max Liebermann. Both artists were separated for a quarter of a century, but they had much in common: a sober view of their surroundings as well as of themselves, their wit, and the tension between challenge and fame. Fontane ultimately sits portrait for Liebermann.
"Fontane bei Liebermann" shows one of the 1896 portraits of Fontane, which Liebermann made partly at Fontane and partly in his studio on Pariser Platz. Two chalk drawings were created at that time (today Kunsthalle Bremen and Staatliche Museen zu Berlin). Both drawings differ in their style of painting and their message. While the Bremen sheet shows an interrogative-looking fontane, the Berlin example on display radiates dignity and representation. The latter is the basis of a lithograph that was also presented and published in the magazine "Pan" in 1896.
In the same year, Fontane's "Effi Briest" was first published as a book. 30 years later Liebermann produced 21 lithographs for this novel. It was a commissioned work for the Maksimilian-Gesellschaft, a bibliophile society, which had the publication designed as an annual edition in 1926/27. For this, real places from Liebermann's surroundings such as Pariser Platz or his villa at Wannsee were incorporated.