All Exhibitions here
Until 15 September 2024, the "Of grandeur and grace - Maillol and Sintenis" exhibition at the Oskar Reinhart Collection ‘Am Römerholz’ will be highlighting the works of Aristide Maillol (1861-1944), bringing them face to face for the first time with those of Berlin artist Renée Sintenis (1888-1965).July 26, 2024
Aristide Maillol, "Méditerranée", 1905, Foundry plaster, 111 x 80 x 116 cm © Sammlung Oskar Reinhart ‘Am Römerholz’. 
Aristide Maillol, "Méditerranée", 1905, Foundry plaster, 111 x 80 x 116 cm & "La Méditerranée", 1905-07, Limestone, 114 x 78 x 107.5 cm © Sammlung Oskar Reinhart ‘Am Römerholz’.
Aristide Maillol, "Petite Méditerranée", 1902, Bronze, 10.5 x 13.5 x 7.5 cm (left) © Sammlung Oskar Reinhart ‘Am Römerholz’.
The exhibition also explores the diversity of materials used by Maillol through numerous small sculptures, reliefs and even a textile work, the tapestry "La Vague" (1896-99), also on loan from the Fondation Dina Vierny - Musée Maillol.
Aristide Maillol, "La Baigneuse" or "La Vague", 1896-99 © Sammlung Oskar Reinhart ‘Am Römerholz’.
View of the exhibition with the tapestry "La Baigneuse" or "La Vague" by Aristide Maillol (1896-99) (right) © Sammlung Oskar Reinhart ‘Am Römerholz’.
Engravings and drawings also feature prominently in this exhibition, with editions illustrated by the artist and sketchbooks, including one representing studies of seated women in preparation for "Méditerranée" (1904-05), from the collections of the Fondation Dina Vierny - Musée Maillol.
Aristide Maillol, ‘Esquisses de femmes assises préparatoires à “Méditerranée”’, 1904-1905, Notebook 01-26, Pencil on paper, 15.2 x 11.5 x 1 cm (top left) © Sammlung Oskar Reinhart ‘Am Römerholz’.
View of the exhibition "Of grandeur and grace - Maillol and Sintenis" at the Oskar Reinhart Collection ‘Am Römerholz’ © Andri Kaufmann Janutin
The creations of Renée Sintenis reflect the artistic evolution of Maillol. The Berlin sculptor mainly devoted herself to depicting young animals, which were smaller and more delicate than Maillol's predominantly female nudes. In 1920s Berlin, Sintenis enjoyed great fame, and her animal figures, mainly in small format, were highly prized. She was notably responsible for the Berlinale bear, now the city's emblem. Despite their differences, Maillol and Sintenis had a mutual respect and shared the same patron, Harry Graf Kessler. Part of the exhibition is devoted to Kessler, illustrating his role as sponsor and commissioner of sculptures and books. No exhibition has ever brought these two artists together, although their works are often found together in the same collections, such as that of the Oskar Reinhart Collection ‘Am Römerholz’. Maillol and Sintenis were also both represented in Germany by the same gallery owner, Alfred Flechtheim, who was one of the most astute dealers of the interwar period.
Dining room by Alfred Flechtheim, with works by Andrée Sintenis and Aristide Maillol, 1912.
The exhibition also explores the diversity of materials used by Maillol through numerous small sculptures, reliefs and even a textile work, the tapestry "La Vague" (1896-99), also on loan from the Fondation Dina Vierny - Musée Maillol.
Aristide Maillol, "Méditerranée", 1905, Foundry plaster, 111 x 80 x 116 cm © Sammlung Oskar Reinhart ‘Am Römerholz’. Until 15 September 2024, the "Of grandeur and grace - Maillol and Sintenis" exhibition at the Oskar Reinhart Collection ‘Am Römerholz’ will be highlighting the works of Aristide Maillol (1861-1944), bringing them face to face for the first time with those of Berlin artist Renée Sintenis (1888-1965).
The exhibition also explores the diversity of materials used by Maillol through numerous small sculptures, reliefs and even a textile work, the tapestry "La Vague" (1896-99), also on loan from the Fondation Dina Vierny - Musée Maillol.
Aristide Maillol, "La Baigneuse" or "La Vague", 1896-99 © Sammlung Oskar Reinhart ‘Am Römerholz’.
View of the exhibition with the tapestry "La Baigneuse" or "La Vague" by Aristide Maillol (1896-99) (right) © Sammlung Oskar Reinhart ‘Am Römerholz’.
Engravings and drawings also feature prominently in this exhibition, with editions illustrated by the artist and sketchbooks, including one representing studies of seated women in preparation for "Méditerranée" (1904-05), from the collections of the Fondation Dina Vierny - Musée Maillol.
Aristide Maillol, ‘Esquisses de femmes assises préparatoires à “Méditerranée”’, 1904-1905, Notebook 01-26, Pencil on paper, 15.2 x 11.5 x 1 cm (top left) © Sammlung Oskar Reinhart ‘Am Römerholz’.
View of the exhibition "Of grandeur and grace - Maillol and Sintenis" at the Oskar Reinhart Collection ‘Am Römerholz’ © Andri Kaufmann Janutin
The creations of Renée Sintenis reflect the artistic evolution of Maillol. The Berlin sculptor mainly devoted herself to depicting young animals, which were smaller and more delicate than Maillol's predominantly female nudes. In 1920s Berlin, Sintenis enjoyed great fame, and her animal figures, mainly in small format, were highly prized. She was notably responsible for the Berlinale bear, now the city's emblem. Despite their differences, Maillol and Sintenis had a mutual respect and shared the same patron, Harry Graf Kessler. Part of the exhibition is devoted to Kessler, illustrating his role as sponsor and commissioner of sculptures and books. No exhibition has ever brought these two artists together, although their works are often found together in the same collections, such as that of the Oskar Reinhart Collection ‘Am Römerholz’. Maillol and Sintenis were also both represented in Germany by the same gallery owner, Alfred Flechtheim, who was one of the most astute dealers of the interwar period.
Dining room by Alfred Flechtheim, with works by Andrée Sintenis and Aristide Maillol, 1912.
