Leseprobe

13 “Collectors are Happy People!” (Johann Wolfgang von Goethe) On the Genesis of the Collection of the Berlin Kunstgewerbemuseum Alongside conservation and research, collecting – a core trait of human behavior, after all – is a primary element of museum work. From a cultural perspective, the collecting of exquisite objects and works of art has always been associated with the accumulation and transfer of knowledge, as well as with an appreciation of handicraft skill and artistic achievement. Collected objects call attention to themselves by virtue of their characteristic materiality, the specialized skills required for their production, and their aesthetic and artistic qualities. Objects are collected and displayed in countless different ways: one approach is characterized by admiration and astonishment; another by discernment and comprehension. Very early on, galleries of art and cabinets of curiosities were set up in royal palaces and in the homes of wealthy patricians. Beyond simply serving the private edification of their owners, they served as markers of prestige, of reputation, and – not least of all – of educational attainment. Increasingly beginning in the 18th century, members of the bourgeoisie collected art with comparable enthusiasm. Today, many of these diverse collections form the foundations of museums. But how were the collections of the Berlin Kunstgewer­ bemuseum – which opened its doors for the first time in 1868 – actually assembled? The first of its kind in Germany, it embodied a completely new type of museum. Devoted entirely to arts and crafts, to the applied and industrial arts, it was intended to create a link between art and industry. In connection with the social utopias of the 19th century, it assumed the task of refining the tastes of manual workers, manufacturers, and of social strata not previously engaged in consumer activity to any notable degree. On the one hand, it was felt that the improved training of designers and tradesmen would raise the quality of consumer goods, hence spurring the economy; on the other, it was hoped that as many people as possible would learn to appreciate art and design. Accordingly, the collections of the Berlin museum – first known as the Deutsches Gewerbe-Museum zu Berlin – was conceived not primarily for connoisseurs of art, but instead for a broad public. Foregrounded was practical training with reference to objects, and education in relation to outstanding handcrafted products. It was hoped that such edifying contemplation would elevate the visitor’s taste, promoting more aware consumption. Contributing to the development of the museum of applied arts as a type, meanwhile, were altered conditions SABINE THÜMMLER