Inventur—Art in Germany, 1943–55

, Special Exhibitions Gallery, Harvard Art Museums
  • West Berlin 1953
  • West Berlin 1958
  • West Berlin 1956
  • East Berlin 1957
  • Berlin 1947
  • Bombed Out
  • Male Head
  • Hermaphrodite
  • Victory Avenue
  • Bird on the Roof
  • Untitled (Unter Krahnenbäumen)
  • Corner of  Schnorr and Gutzkowstr. (Dresden Destroyed)
  • Löbtauerstr. (Dresden Destroyed)
  • Landscape with Ruins
  • Job
  • Plastic Curtain
  • Untitled
  • Untitled
  • Embers
  • Botanist
  • Sartre
  • Still Life at the Window
  • Untitled (Portrait A. H.)
  • Large Montaru
  • Ceiling lamp
  • Mirroring in Water II
  • Vibration No. 107/56
  • Sheet Metal Components for Transporters (Volkswagen Factory)
  • Rear Fenders (Volkswagen Factory)
  • Figuration in Front of Blue
  • Archaic Group of Figures
  • Variation of Forms I/V, from
  • Variation of Forms I/III, from
  • Actors
  • Head of a Woman
  • Untitled (Head)
  • 9/53
  • Variation of Forms I/I, from
  • Variation of Forms I/IV, from
  • Saffron Green with Blue-Red
  • Prometheus Bound II
  • June 1954/II
  • Still Life with Fish
  • Red Textile Sheet
  • Dead Girl
  • Portrait of Berlin
  • Sibyl
  • Et Nies (Agnes) (Unter Krahnenbäumen)
  • Little Dog in the Window (Unter Krahnenbäumen)
  • Ferdinandstr. (Dresden Destroyed)
  • Rosenstr. (Dresden Destroyed)
  • Zöllnerstr. (Dresden Destroyed)
  • Four Folds on Orange Next to Three on Grey-Blue
  • Bombing Raid on a City
  • Technical District I, Blue
  • High Voltage Picture
  • Gilgamesh XX (Variation)
  • Fabric “Legende,
  • Untitled
  • Untitled
  • Frankfurt Main Station
  • Air-Pump Study
  • Head
  • Frankfurt in Rubble
  • Untitled
  • Composition AP 5
  • Untitled (Advertising Photograph of Wallpaper by Pickhardt & Siebert, Gummersbach)
  • Streetlights on Place de la Concorde 3
  • Untitled (Mirroring in Water)
  • Front Cover Plates (Volkswagen Factory)
  • Berlin 1943
  • Poetry about a Smokestack
  • Steel Sculpture (Arch)
  • Space Sculpture Black, Yellow, and Red
  • Head (Kopf)
  • Reading Woman Sitting on the Protruding Wall of a Ruin (Johannstraße Tram Stop)
  • Shop Window
  • Spatial Refraction of a Rectangle
  • Bombed Out Buildings
  • Spatial Refraction of a Rectangle
  • Fabric “Montabaur,” Color No. 7
  • Fabric “Montouri,” Color No. 6
  • Untitled
  • Untitled
  • Untitled
  • Red Horizon (with Marbleization)
  • Untitled
  • Untitled
  • Flying People
  • Untitled
  • Ecce Homo Dying Warrior
  • Untitled (As the Fire Fell From the Sky)
  • Untitled (As the Fire Fell From the Sky)
  • The Shop Window
  • Street
  • Untitled
  • Figures
  • Untitled (Advertising Photograph of Wallpaper by Pickhardt & Siebert, Gummersbach)
  • In the Air and in the Water
  • In Front of Red
On View Locate on Floor Plan Special Exhibitions Gallery, Harvard Art Museums

The first exhibition of its kind, Inventur examines the highly charged artistic landscape in Germany from the mid-1940s to mid-1950s. Taking its name from a 1945 poem by Günter Eich, the exhibition focuses on modern art created at a time when Germans were forced to acknowledge and reckon with the atrocities of World War II and the Holocaust, the country’s defeat and occupation by the Allies, and the ideological ramifications of the fledgling Cold War. Chosen for the way it helps characterize the art of this period, the word Inventur (inventory) implies not just an artistic stocktaking, but a physical and moral one as well—the reassurance of one’s own existence as reflected in the stuff of everyday life. The exhibition, too, “takes stock,” introducing the richness and variety of the modern art of this period to new audiences, while prompting broader questions on the role of the creative individual living under totalitarianism and in its wake.

Inventur includes more than 160 works, encompassing nearly 50 artists; many of the works have never been on view outside Germany. The exhibition draws from the Harvard Art Museums’ Busch-Reisinger and Fogg collections and is complemented by works from more than 50 public and private collections in the United States and in Germany. It includes key artists from across Germany who worked in an array of media: photography, collage, photomontage, drawing, painting, sculpture, and commercial design.

The exhibition is accompanied by a fully illustrated catalogue with two essays and sixty in-depth object entries written by the curator and emerging scholars in the field. This publication, the first of its kind in English, will contribute a wealth of new knowledge to scholarly understanding of 20th-century German art.

Organized by the Harvard Art Museums. Curated by Lynette Roth, the Daimler Curator of the Busch-Reisinger Museum and Head of the Division of Modern and Contemporary Art at the Harvard Art Museums.

Support for this project was provided by the German Friends of the Busch-Reisinger Museum (Verein der Freunde des Busch-Reisinger Museums) and by endowed funds, including the Daimler Curatorship of the Busch-Reisinger Museum Fund, the M. Victor Leventritt Fund, and the Richard L. Menschel Endowment Fund. In addition, modern and contemporary art programs at the Harvard Art Museums are made possible in part by generous support from the Emily Rauh Pulitzer and Joseph Pulitzer, Jr., Fund for Modern and Contemporary Art.

Share your experience on social media: #Inventur

Online Resources
Watch Konrad Klapheck, a renowned German artist whose work is featured in the Inventur exhibition, deliver the February 8 opening night lecture “War and Peace in German Art after World War II”.