The Museum im Kulturspeicher Würzburg is a municipal art museum opened in 2002 within a converted river-side warehouse that provides 3,500 m² of exhibit space in 12 rooms. It contains two distinct collections: the municipal art collection, founded in 1941 as the Städtische Gallerie and originally located in Hofstraße; and the Peter C. Ruppert Collection of European concrete art from World War II to the present day.
The municipal collection exhibits regional art, primarily from Franconia and Southern Germany, ranging from Biedermeier-style portraits and landscapes of the first half of the 19th century, through German impressionism and painters of the Berlin Secession, including Robert Breyer, Philipp Franck, Walter Leistikow, Joseph Oppenheimer, and Max Slevogt, as well as members of the Weimar Saxon-Grand Ducal Art School including Ludwig von Gleichen-Rußwurm and Franz Bunke. It also includes works by Bauhaus painter Hans Reichel and works from the estate of sculptor Emy Roeder, as well as about 30,000 graphics works.
The Ruppert collection includes concrete art from 22 European countries, incorporating a broad spectrum of materials and media, exhibited within six galleries. Artists include Max Bill, John Carter, Andreas Christen, Ralph Eck, Christoph Freimann, Gerhard von Graevenitz, Erwin Heerich, Malcolm Hughes, Norbert Kricke, Richard Paul Lohse, Maurizio Nannucci, Nausika Pastra, Henry Prosi, Bridget Riley, Peter Sedgley, and Anton Stankowski.
References:The Pilgrimage Church of Wies (Wieskirche) is an oval rococo church, designed in the late 1740s by Dominikus Zimmermann. It is located in the foothills of the Alps in the municipality of Steingaden.
The sanctuary of Wies is a pilgrimage church extraordinarily well-preserved in the beautiful setting of an Alpine valley, and is a perfect masterpiece of Rococo art and creative genius, as well as an exceptional testimony to a civilization that has disappeared.
The hamlet of Wies, in 1738, is said to have been the setting of a miracle in which tears were seen on a simple wooden figure of Christ mounted on a column that was no longer venerated by the Premonstratensian monks of the Abbey. A wooden chapel constructed in the fields housed the miraculous statue for some time. However, pilgrims from Germany, Austria, Bohemia, and even Italy became so numerous that the Abbot of the Premonstratensians of Steingaden decided to construct a splendid sanctuary.