The yearning for an idyll beyond the turbulent metropolitan transmission left around 1900 not only economically powerful entrepreneurs and industrialists, but also architects and artists from Berlin to Wannsee.
Here, the banker Wilhelm Conrad had founded a villa colony in which Oscar Begas, Carl Becker, Anton von Werner, Hugo Vogel and Philipp Franck settled since the beginning of the 1870s, a number of renowned Berlin painters, in their work and in their homes reflect contemporary artistic and architectural currents between tradition and modernity.
The beginning of this development was the influx of the history and portrait painter Oscar Begas (1828-1883), who in 1872 with his villa in the style of the Italian Renaissance at the Kleine Wannsee not only a paradisiacal retreat, but also a place of creative work and social exchange created. Just like the academy professor Carl Becker (1820-1900), whose Florentine-style villa in Conradstrasse 13 is still in place today and reminiscent of the history painter. While Oscar Begas and Carl Becker were indebted to academic painting for a lifetime, the historical painter Anton von Werner (1843-1915) and Hugo Vogel (1855-1934), in the works of Wannsee, are already thematically and stylistically drawn to light, air and light Seeing the sun, which finally came to perfection in the Impressionist works of Philipp Franck (1860-1944) and Max Liebermann (1847-1935). This modernity was also expressed in the respective artists' houses. When Max Liebermann moved into his summer house at Wannsee in 1910, it was the culmination of decades of development.
For the first time, the Liebermann-Villa illuminates the networks of the painters at the Wannsee in their exhibition Longing for Idyll and presents the respective life and creative worlds of the artists on the basis of exemplary works and contemporary historical documents.