Voices | Staatliche Kunstsammlungen Dresden

What do the Friedrich-paintings Das Große Gehege (The Great Enclosure) (1832), Hünengrab im Schnee (Dolmen in the Snow) (1807), Abtei im Eichwald (Abbey in the Oak Wood) (1818), Frau vor der untergehenden Sonne (Woman in Front oft the Setting Sun) (1818) and Nordische Landschaft/Frühling (Northern Landscape/Spring) (1825) have in common? Correct, they all include motifs recorded by Caspar David Friedrich between April and June of 1804 in a booklet, which is called the "Karlsruhe Sketchbook" today. Here you can flip through it.

The Kupferstich-Kabinett is home to a significant collection of Cuban prints and posters that came to the GDR after the Cuban Revolution in 1959. While they were earmarked for the collection as part of the cultural exchange between the two socialist states, its director often did not welcome them with open arms. Olaf Simon, conservator at the Kupferstich-Kabinett, wrote about how they came to be part of the collection.

The same motif, again and again – Jane Boddy on two works by Eberhard Havekost that are currently on view in the study room of the Kupferstich-Kabinett, and on the (im)possibility of repetition.