The Lenbachhaus has redesigned its Blue Rider collection. In doing so, the curatorial team has highlighted new connections between the works and their creators. The collection’s centerpieces are now prominently displayed, immediately drawing visitors’ attention, while newly restored works are on public view for the first time. The new color and spatial concept allows visitors to immerse themselves in the intense world of this avant-garde movement and offers fascinating insights into the artists’ history and visions.
Under the title “Beyond the World: The Blue Rider,” the Lenbachhaus presents its extensive collection of works by the artist group with a fresh concept that places greater emphasis on the movement’s central works and offers visitors a new perspective on this influential avant-garde movement. Centerpieces such as “Blue Horse I” by Franz Marc are presented more prominently, allowing visitors to experience firsthand Marc’s symbolic color theory and the emotional power of his work. This is complemented by newly restored acquisitions, made possible by the Freundeskreis Lenbachhaus e. V. : the abstract works “Ornamental Composition XIII” and “Ornamental Composition XV” by Wilhelm Morgner expand our understanding of the Blue Rider’s language of color and form and fit seamlessly into the exhibition’s narrative. The new color concept draws on the movement’s intense, symbolic color palettes, allowing visitors to truly immerse themselves in the visions of the avant-garde. In addition, the exhibition presents for the first time the cityscapes by Emmy Klinker and Albert Bloch, which, among other things, offer social criticism. These works impressively illustrate the connection between artistic innovation and social responsibility. At the same time, the provenance research team has gained new insights into the works in the collection, which contribute to clarifying their provenance and historical context.
Focus on Women Artists
The exhibition at the Lenbachhaus also deliberately highlights the key contributions of female artists who were unusually visible for their time. These include Gabriele Münter with her expressive paintings, Elisabeth Epstein with her haunting self-portraits, the dramatic works of the cosmopolitan Marianne von Werefkin, and the subtle still lifes and utopian children’s worlds of Maria Franck-Marc.
Together with the works of their male colleagues, these pieces demonstrate that the Blue Rider was more than just a stylistic movement: It was a transnational network of creative minds that harnessed cultural differences as a resource and, through exchanges between Germany, France, the Russian Empire, and the United States, developed a new visual language for a changing world. Many of the participants embraced unconventional lifestyles, challenged gender roles, and sought new forms of expression beyond bourgeois norms.
Over 150 works offering new insights
With over 150 works, the exhibition offers new perspectives on one of the most significant movements of the European avant-garde. In addition to classics by Franz Marc, Paul Klee, and Wassily Kandinsky, it presents, for the first time, large-scale abstract compositions, socially critical works, and performative boundary-pushing pieces. The exhibition highlights just how relevant the questions of emancipation, aesthetic practice, and cross-genre innovation remain today. The artists of the Blue Rider viewed art as a message, not merely as a play with form and color—as Else Lasker-Schüler poetically expressed in 1911: “Beyond the world.” The redesign of the collection also forms an important component of the preparations for the “100 Years of the Lenbachhaus 1929–2029” anniversary and illustrates how the museum combines traditional collection presentation with innovative exhibition concepts to bring to life the groundbreaking significance of the Blue Rider for art history.












