Germany – Deutschland Breads and Museum
The country is increasingly becoming famous for its high quality of life, its long, paid vacations and its openness to foreigners. Germany is famous for many things, in this blog will be discussing about Bakeries and Museum in Germany. Economy of Germany is doing pretty well, relatively speaking. eDespite its size, Germany ranks fourth in the world based won its GDP.
Bakeries in Germany
Backwaren Täglich Brot
When you ask German expats what they are missing most since they have left their country, they will sooner or later mention bread. Germans incline to have an exceptional relationship not only with bread but bakery produce in general. When visiting Germany, you will soon realize that there are bakeries all over the place, from big franchise chains to small, family-owned businesses. The vast range of goods might confuse someone, but almost everything is at least worth a try.
The Basics of German Bakeries
There are more than 300 various types of bread known in Germany, not to mention the several styles of bread rolls. Over 1.200 types of those so called Brötchen are known, but nobody can accurately proof because almost every bakery has its style, recipe or unique product. To end the confusion about German bakery produce, let’s start with some basics: There are dark and light styles of breads and rolls available. The classic style of German bread is usually dark whereas the regular roll is light, but there are of course many exceptions. You will also find many styles from other countries or cultures in German bakeries such as French Baguettes, Italian Ciabatta or Turkish Flatbread. Toast is also typical – not at bakeries but in the supermarket as a packed product. For Germans, toast is just toast and not real bread – real bread has to have a brown crust and a soft, brown or gray crumb. This type of bread called Graubrot is like the auspicious grail of German bread customs. You will find it in many different varieties, but all of them have in common that they are dense and very satisfying. That is why it’s a fundamental part of the traditional Abendbrot – a German dinner containing bread and numerous variations of cheese, ham, sausages and vegetables like pickles or tomatoes. It is also one of three ingredients to the basic lunch that probably every German child has had in his or her lunchbox, the Butterbrot: Bread, Butter and a topping like cheese or Wurst.
German bread – a fitness Food?
German bread tends to be heavy and healthy. That’s why you can often find whole grains inside it or even on top of the crust. Many variabilities refer to the used kind of seed. There are Kürbiskernbrot (bread with pumpkin seeds), Haferbrot (bread with oats), Dinkelvollkornbrot (bread with whole seeds of meant) and many more. You can also find this with rolls: There are some with poppy seeds on or in it, with sesame, with nuts, with carrots or just different types of flour. An exceptional one is the Weltmeisterbrötchen (“world champion bread roll”) with a bottom layer coated in whole grains. But there are also just the “regular” ones you can compare with a Baguette, just smaller. It comes in two basic variants: The “Kaiserbrötchen” is round and more like a bun and the “normal” one which is longish and has different names, depending on the region. For instance, Berliners refer them Schrippen, Bavarians Semmel, FranconiansWeck or Kipf, in northern Germany, they are often called Rundstück – you can see, the terms are just as diverse as the bakery produces themselves.
Germany does not have a tradition of sandwich shops, but bakeries are performing extremely good job. Practically all of them are also selling prepared sandwiches with cheese or sliced meat on it or also regional specialties like Leberkäs in the south of the country. You will surly find some or other good thing that suits your palate in one of the thousands of bakeries of Germany.
The Pinakothek Museum in Munich
Das Pinakothek Museum in München
Munich has a fortune of superb museums, of which three stand out as particularly remarkable jewels in an inspiring cultural crown. The three are inextricably linked by their roots, mingled as they are with one another, with the Wittelsbach family collection, and, especially, with King Ludwig I of Bavaria (25 August 1786–29 February 1868). While the three museums ostensibly restrict their respective collections to specific time periods, there is certainly some understandable and justified overlap, so take the time frames as rough guides rather than hard-and-fast boundaries.
First: The Alte Pinakothek Museum
The first is the Alte Pinakothek museum, one of the foremost European repositories of the so-called old masters, i.e., painters whose careers developed and peaked before the 18th century, as well as those 18th-century painters whose oeuvres are rooted in pre-18th-century styles, e.g., Giovanni Battista Tiepolo, François Boucher, Francesco Guardi, Nicolas Lancret, Giovanni Antonio Canal, Jean-Baptiste-Siméon Chardin, Maurice Quentin de La Tour, and Claude Joseph Vernet. The Alte Pinakothek has thousands of paintings from the 13th through the 18th centuries (many of which it displays in a rotating schedule). German artists are certainly well represented, but there are significant, even enviable, examples of Dutch, Netherlandish, Flemish, Italian, French, and Spanish paintings. (The difference between Dutch and Netherlandish is too obscure and too complex for me to try to explain!) If you’re pressed for time, your short list of what to view at the Alte Pinakothek should include Rubens’s Last Judgment, one of the largest canvas paintings in the world.
Second: The Neue Pinakothek Museum
The second is the Neue Pinakothek museum. It focuses on paintings and sculptures from the 18th and 19th centuries (more than 3,000 altogether) and regularly displays at least 450 objets d’art. The collection comprises works that include German art of many movements, styles, and forms as well as robust English and several prestigious international holdings. Initially, the museum’s collection focused on Romanticism, paintings that usually included “. . . pictures of the transistorizes of human life and the intuition of death” (Painting and Sculpture in Europe, 1780–1880 by Fritz Novotny, Yale University Press, 2nd edition, 1971) and the Munich School (naturalistic style and dark chiaroscuro whose typical subjects are landscape, portraits, genre, still-life, and history painting). After the turn of the century, the gathering received the Tschudi Involvement which added excellent Impressionist and post-Impressionist works. The museum’s collection includes works by such titans of the art world as Francisco de Goya, Thomas Gainsborough, Friedrich Wilhelm von Schadow, Franz Xaver Winterhalter, Honoré Daumier, Lovis Corinth, Paul Cézanne, Vincent van Gogh, Gustav Klimt, Edvard Munch, Auguste Rodin, and Pablo Picasso.
Third: The Pinakothek der Moderne Museum
The third is the Pinakothek der Moderne museum. The Pinakothek der Moderne—locally known as “Dritte,” i.e., the third—specializes in 20th- and 21st-century art in four broad categories, each of which is presented as a museum, a so-called sub-museum, if you will, in its own right. The first is the museum’s “Collection of Modern Art” which includes art of all genres from classical modern through the post-war period to contemporary art, including Expressionism, Fauvism, Cubism, Fresh Neutrality, Bauhaus, Surrealism, Abstract Expressionism, Pop Art, and Minimal Art. These movements include such artists as Henri Matisse, Paul Klee, Georges Braque, René Magritte, Wassily Kandinsky, Andy Warhol, Henry Moore, Willem de Kooning, as well as video, photo, and news media.
The second is the museum’s “Graphical Collection” which includes drawings and prints from the 15th century to contemporary exemplars, starting with the so-called print-room collection of Charles Theodore, Elector of Bavaria, to which it has added old German, Dutch, and Italian drawings. Artists represented in this section include such greats as Albrecht Dürer, Rembrandt, Michelangelo, and Leonardo da Vinci to Paul Cézanne, Henri Matisse, Paul Klee, and David Hockney. To call this a mere “graphical” collection is like calling the the Andromeda Galaxy a “bunch of sparkly lights.”
The third, based in great part on the Technical University of Munich’s largesse, is the museum’s “Architectural Collection” comprising probably the most extensive collection of historical and current architectural drawings in Germany—again through an initial donation from King Ludwig I—and the works of such notables as Günther Behnisch, Gottfried Semper, François de Cuvilliés, Balthasar Neumann, and Le Corbusier whose photographs, drawings, blueprints and models anchor a collection that includes contemporary computer animations and photographs.
The fourth is the museum’s so-called New Collection embracing the Munich International Design Museum, begun in 1925 and now includes more than 70,000 pieces, among which are objects of industrial design, graphic design, and the arts and crafts of so-called applied art, e.g., furniture, jewelry, appliances, motor vehicles—in other words, designs intended to capture the minds and hearts of consumers of pieces as mundane as a potato peeler to as grandiose as a skyscraper.
These museums share a common web site. Contact the Alte Pinakothek, Barer Straße 27, 80333 München; telephone 49.(0)89.23805-216; the Neue Pinakothek, Barer Straße 29, 80799 München; telephone 49.(0)89.23805-195; and the Pinakothek der Moderne, Barer Straße 40, 80333 München; 49.(0)89.23805-360.
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