Martin Sonnabend has not even imagined what it will be like to no longer be surrounded by the greatest works all the time.

He just didn't have time for it.

Because when Sonnabend, who came to the Liebieghaus as a trainee in 1987 and was curator and head of the Graphic Collection until 1750, leaves the Städel Museum on September 30, his last major exhibition is only just beginning.

It is called “Before Dürer” and shows nothing less than that moment when copperplate engraving becomes art.

Eva Maria Magel

Senior cultural editor of the Rhein-Main-Zeitung.

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Sonnabend explains what it looks like, how it started, using the central poster motif of the exhibition, Martin Schongauer's "Saint Antonius, tormented by demons", created around 1470. Individual approach, an unusual motif with demons and demons composed of animal details, a signature with Monogram.

One understands why Sonnabend suggests viewing the graphics as objects, as three-dimensional – and also what the much-vaunted artistic freedom is all about.

Graphics, keen to experiment, without a commission, circulating widely among viewers and fellow artists become art identification cards.

And on Saturday she knows how to decode the visitors.

Decrypted for the audience

Friends, colleagues and visitors are always equally fascinated by his guided tours and what he holds, just like the Städel donor once did.

Sonnabend claims that he had "no idea" about graphics when he came to the Städel from the neighboring building in 1989.

With one exception: The French 19th century, which he was familiar with because of his dissertation - "I learned an awful lot from Margret Stuffmann," says Sonnabend about the long-standing head of the Graphic Collection, who died in 2020.

The experience of art was essential for them, as it was for the museum director Georg Swarzenski (1876-1957), who emphasized the "artistic experience" in the museum.

"It is the museum's job to make the experience possible for everyone," says Sonnabend, a job that cannot be accomplished without science.

“Johann Friedrich Städel invited friends in the evening, collectors, dealers, artists, we looked at something together and talked about it.

I believe that is the origin of the museum.” He sees the common thread running through Städel's museum work to this day.

“The museum is a place that is absolutely authentic.

Each work is unique.

And even today, with so many digital images, you need the actual, authentic experiences.”

“Experience cannot be achieved without science”

That's how Sonnabend found his way to art, always interested, but without the background of the so-called educated middle class: "I just slipped into it".

During his studies, after he had initially aimed at history, he noticed how comfortable he felt in art history.

"Lucky!

And lucky to come across this collection.

The quality of the collection determines the joy and success at work,” says Sonnabend.

And the quality at the Städel Museum is outstanding.

"The Städel is in the top league," he says - this also enabled him to make contact with international colleagues, "a network of many interesting personalities," as he says: "I thank Mr. Städel for that every time I pass his bust".

First, knowledgeable art lovers, then the art scholars ensured that the quality of the collection continued and grew.

"I think that's something beautiful, by citizens for citizens." A big difference to the museums created from princely collections is that and "very Frankfurter".

As Frankfurter as Sonnabend has long since become.

He likes the city and doesn't want to move away now that the daily commitments are gone.

Now he has more time for his second passion, acting.

"Theater is already related to what we do here in the Städel: a space in which you deal with a work of art and create tension."

Became a Frankfurter long ago

The Kellertheater, where he has been involved for many years, is also a typical Frankfurt institution as a voluntary association.

He hasn't come there too much recently, because of Corona and because of the intensive preparations for the exhibition.

He only worked on "Gretchen 89 ff" under corona conditions, now he wants to start a new theater project.

Even as a schoolboy and student he did a lot of theater, it was "already a dream job", but today he thinks it's a blessing that he didn't pursue it: "I would have perished," he believes.

But he is also a bit of a performer in his highly popular guided tours, which are now coming to an end.

Sonnabend doesn't seem melancholy about it: "Being able to let go is central to the quality of life," he says.

Vor Dürer opens at the Städel Museum on September 28th and can be seen until January 22nd.