巴塞尔美术馆
巴塞尔艺术馆拥有最大规模的霍尔拜因（Holbein）家族的收藏，以及文艺复兴时期其他艺术大师作品，如：康德拉•威茨（Konrad Witz）、马丁•顺高尔（Martin Schongauer）、老卢卡斯•克拉纳赫（Lucas Cranach the Elder）和马蒂亚斯•格吕内瓦尔德（Matthias Grünewald）的主要作品。这些藏品成为了世界上第一座公共市政美术馆的核心藏品。
The Kunstmuseum Basel possesses the world`s largest collection of works by the Holbein family. Further examples of Renaissance art include major pieces by masters such as Konrad Witz, Martin Schongauer, Lucas Cranach the Elder and Matthias Grünewald. They formed the core of the world`s first public municipal museum.
Kunstmuseum的故事
The Story of the Kunstmuseum
巴塞尔公共艺术藏品的悠久历史可追溯到17世纪。 随着阿么巴赫内阁的收购，受人道主义影响的藏品开始流行于新教改革前期，早在欧洲其它城市的王室收藏向公众开放之前，巴塞尔市就成为第一所拥有自己艺术藏品的城市。阿么巴赫（1533-1591），著名印刷商的孙子，杰出律师之子，伊拉兹马斯的密友，逝世之时藏品已经包罗万象，不仅包含50幅油画（其中15幅由小汉斯•霍尔拜因（Hans Holbein the Younger）所作）和一组庞大的素描和照片作品集，还包括自然、人文文物以及一座图书馆。
1661年，当阿么巴赫内阁面临被迁至阿姆斯特丹之险时，巴塞尔大学的教授们竭力阻止，并希望能拯救城市伟大的艺术收藏。市长约翰内斯•鲁道夫•韦特斯坦（Johannes Rudolf Wettstein）和市议员们对此深表赞同，于是斥资九千塔勒收购了所有藏品。三分之二的费用由市议会负担，剩下的三分之一由大学负担，并承担对艺术藏品和图书馆的责任。1671年，艺术藏品被转移到教堂广场附近的“祖尔穆克（Zur Mücke）”建筑里，并向公众开放，成为城市主要景点之一。
议会及私人捐赠也丰富了阿么巴赫艺术藏品，1823年，法学家雷米吉乌斯. 法什（Remigius Faesch）(1595-1667)创办的博物馆馆藏又加入其中，此举不仅带来了小汉斯•霍尔拜因的更多作品，还有15至17世纪莱茵河上游的艺术家的重要作品，并且也极大地充实了铜板画陈列馆的馆藏。1849年博物馆对空间的需求得到了满足，迁至由马里奥•伯塔（Melchior Berri）建造的后古典主义多功能建筑，这个位于奥古斯汀的博物馆，目前仍然作为自然历史博物馆和人文博物馆接待参观者。1833年，巴塞尔地区被分成两个半州：巴塞尔市和巴塞尔乡村，这对大学和艺术藏品同时构成了威胁。最终，藏品作为大学的财产，被以两万两千法郎的估价留在了城市，使得能够保持完整。
一位巴塞尔画家和艺术经销商塞缪尔•伯尔曼（Samuel Birrmann）的遗赠对于真正的收购政策的出台起了决定性作用。1855年，博物馆委员会主持成立了当代瑞士艺术专项基金，并至今仍然决定着艺术品的收购、遗赠和馈赠。正是在这种背景下，阿诺德.博科林（Arnold Böcklin）的大量油画作品才能被收集起来，他最具代表性的作品集亦随处可见。1903年起，巴塞尔市行政区开始小规模提供收购资金，最近一次增加补贴是在2002年。
1936年，随着建筑师鲁道夫.克莱斯特（Rudolf Christ）和保罗.波纳茨（aul Bonatz）在圣.阿尔班-地堑的专用建筑的竣工，公共艺术博物馆被迁至巴塞尔艺术博物馆，其形式一直保留至今。
The long history of Basel's public art collection, the Öffentliche Kunstsammlung Basel, extends back to the 17th century. With its acquisition of the Amerbach Kabinett, a Humanist-inspired collection begun in the pre-Reformation era, Basel became the first municipality to possess its own art collection long before princely collections were made accessible to the public in other cities of Europe. At the death of Basilius Amerbach (1533-1591), grandson of the famous printer and son of a distinguished lawyer who had been a close friend of Erasmus, the encyclopaedic collection contained not only some 50 paintings (among them 15 by Hans Holbein the Younger) and a very large portfolio of drawings and prints, but natural objects, ethnographic artefacts and a library as well.
When the Amerbach Kabinett was in danger of being removed to Amsterdam in 1661, professors from the University of Basel intervened in the hope of saving the wonderful collection for their city. Mayor Johannes Rudolf Wettstein and the municipal parliament were sympathetic to the cause, and so the collection was purchased for the substantial sum of 9000 Reichstaler. Two thirds of the costs were borne by the Municipal Council, the remaining third by the university, which was to assume responsibility for the collection and associated library. In 1671 the art collection was transferred to the house "Zur Mücke" near Cathedral Square and opened to the public, becoming one of the city's major attractions.
In 1823 the Amerbach art collection, which had already been enhanced by donations from the Council and private donors, was joined by the holdings of a museum started by jurist Remigius Faesch (1595-1667). This brought not only further paintings by Hans Holbein the Younger, but also important works by 15th- to17th-century artists from the Upper Rhine region into the collection, also adding substantially to the holdings of the Kupferstichkabinett. The ever more obvious need for space was answered in 1849, with the removal to the late classicistic, multi-purpose building by Melchior Berri in Augustinergasse, which still houses the Museum of Natural History and the Museum of Ethnography (Museum der Kulturen) today. The division of the territory of Basel into two half cantons, Basel-Stadt and Basel-Land, in 1833 posed a threat to both the university and the art collection. As university property, the collection was ultimately left to the city for the valuation price of 22,000 francs, which enabled it to stay togerintact.
A bequest by Samuel Birrmann (1793-1843), a Basel painter and art dealer, was decisive to the introduction of a genuine acquisition policy: in 1855 a fund earmarked for contemporary Swiss art was established under the aegis of the Museum Commission, who continue up to the present day to make decisions about purchases, bequests and gifts. It was in this context that a large group of paintings by Arnold Böcklin - the most representative collection of his works to be found anywhere - was able to be assembled. Starting on a very modest scale, the Canton of Basel-Stadt, too, has been providing acquisition funding since 1903. Subsidies were last increased in 2002.
With the completion of a purpose-built building by architects Rudolf Christ and Paul Bonatz in St. Alban-Graben, the Öffentliche Kunstsammlung moved into the Kunstmuseum Basel in its present form in 1936.
博物馆藏品
The Collections
从15世纪初至今的赫然历史跨度，全世界独特的艺术作品群和卓越的个人作品集，使巴塞尔艺术博物馆和美术馆的藏品别具一格。这里曾被看作为经典画廊，19世纪末和20世纪的雕塑丰富了藏品种类，20世纪60年代末，藏品中开始融入新媒体，如：装置、录像和摄像，加上电子媒体，这些已经成为当代艺术收藏的重要组成部分和当代收购政策的焦点。
从19世纪到古典现代主义时期（直到1960年）的大师收藏和艺术作品在艺术博物馆展出，而巴塞尔艺术博物馆和伊曼纽尔-霍夫曼基金会的当代收藏品在当代艺术博物馆展出。
The collection of the Kunstmuseum Basel and the Museum für Gegenwartskunst distinguishes itself through the impressively wide historic span from the early fifthteenth century to the present and through worldwide unique groups of artworks and outstanding individual works of art. Conceived as a classic gallery and enhanced by sculptures of the late nineteenth and twentieth century, the collection also began to integrate new media such as installation, video and photography by the end of the 1960s. Together with electronic media, these have become a significant part of the holdings of contemporary art and are the focus of the current acquisition policy.
While the Old Master collection and works of art from the nineteenth century and Classic Modernism (up to about 1960) are exhibited in the Kunstmuseum, the contemporary collection of the Kunstmuseum Basel and Emanuel-Hoffmann Foundation are shown in the Museum für Gegenwartskunst.
Tips
开放时间/Opening Hours
10:00 – 18:00, 周二至周日
10:00 – 18:00, Tue - Sun
门票/Admission
19岁以上成人票：21瑞士法郎
13-19岁青少年：8瑞士法郎
20-30岁学生：8瑞士法郎
Adults over 19 years: 21 CHF
Teenagers 13-19 years 8 CHF 8 CHF
Students 20-30 years 8 CHF 8 CHF
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