Precursors
In the 19th century munich's artists are able to rely on strong institutions such as the academy founded in 1808, as well as associations and societies to represent their interests to the public. exhibition spaces are only rarely at their disposal and often have to be shared. the art and craft exhibition building at the königsplatz, erected by georg friedrich ziebland under ludwig I., between 1838 and 1845, draws initial attention to this necessity. in 1853/54 august von voit builds a modern glass and steel construction for the 'first general german industry exhibition' near the old botanical garden. this structure was subsequently meant to be taken down or changed into a green house. maximilian II., though, opens the building up for all kinds of events. in 1858 the 'first german general and historical art exhibition' and in 1869 the 'I. international art exhibition' take place. in the night to 6th June 1931 the glass palace, in which art exhibitions were shown almost exclusively since 1889, was destroyed by fire.

'Haus der deutschen kunst' [house of german art]
the bavarian ministry of culture plans a new, now stone-built building for exhibitions as the successor to the glass palace. it achieves that the architect adolf abel from the technical college, whose designs at the beginning of 1933 are widely admired, is taken on. after the national socialists come to power, hitler relocates the building plot to the southern edge of the park 'englischer garten'. paul ludwig troost, an architect and furniture designer, who has furnished ocean liners, receives the contract for the first representational monumental building of the 'third reich': the house of german art. after his early death in january 1934, just a few months after the laying of the foundation stone, he is declared 'first master builder to the führer'. the architect's widow gerdy troost and the workshop leader leonhard gall continue the work. troost's neo-classical temple for art, with its references to klenze and schinkel, is clad with natural stone from german quarries. behind this facade hides a modern skeletal steel construction and innovative engineering. an air-raid shelter is included in the building. during the nazi regime, suggestions are made to extend the exhibition hall into a forum with museums for history, war and architecture.

Art and propaganda
similarly to the laying of the foundation stone in 1933, the opening in 1937 is also staged as a pompous spectacle that serves the national socialists' propaganda. once again the 'day of german art', which is now meant to take place every year, is celebrated, however, because of the war, 1939 is the last time it takes place. the 'großen deutschen kunstausstellungen' [great german art exhibitions], which had been taking place yearly until 1944, show works by living painters, graphic designers and sculptors, all of whom openly glorify the 'blood and earth ideology' or who satisfy the longing for kitsch. artists like max beckmann and oskar schlemmer, who during the time of the weimar republic were part of the avant-garde, were forced to flee or escape to an inner exile. their works are removed from museums and studios and then burnt or sold abroad. at the same time in 1937 and in walking distance to the exhibition at the 'haus of german art', a selection of seized artworks are presented in a dishonouring way in the gallery building by the hofgarten. the exhibitions 'entartete kunst' [degenerate art], which are shown in various german cities, and the 'großen deutschen kunstausstellungen' in munich are visited by hundreds of thousands.

After the war
30th april 1945 the us army reaches munich. the 'house of german art' is untouched by the war hidden underneath camouflage netting. the occupiers use the restaurant as well as the former 'hall of honour' in the centre of the building as an officers' mess. the dividing up into differently used rooms begins. from 1946 to 1949 the 'bavarian export show' presents industrial and trade goods, but also art and crafts, in the east wing. in the west wing works from the destroyed pinakotheks can be seen, a.o. dürer's 'apostel' (old pinakothek). in july 1946 three halls are used to exhibit the show 'the international youth book' conceptualised by jella lepman. in september 1949 the nationwide admired exhibition organised by franz grote 'der blaue reiter' [the blue rider] opens with until then ostracized works by wassily kandinsky, franz marc, paul klee, henri matisse, georges braque and pablo picasso amongst others. the critics are well aware of the location. one speaks of a 'de-nazifying' of the building, which is now called 'haus der kunst' without its national constraints.

Exhibition administration
for the 'erste deutsche allgemeine und historische kunstausstellung' [first german general and historical art exhibition], which takes place at the old glass palace in 1858, munich artists organise a contemporary section. as a result of their successful collaboration the munich artists co-operative is formed. in 1892 the secession splits off; in 1913 the new secession follows. after the glass palace burns down, the three associations found the 'ausstellungsleitung münchen' [exhibition administration munich] in 1931 with the goal to establish a new institution for exhibitions. however, during the national socialism this organisation is dissolved. in place of a new glass palace the 'haus der deutschen kunst' [house of german art] is erected between 1933 and 1937 taking up a key role in nazi propaganda. after the war the newly formed associations – secession, new group and new munich artists co-operative – found the 'ausstellungsleitung haus der kunst münchen e. v.' [exhibition administration haus der kunst munich registered association] in 1948 in order to provide artists with the opportunity to present and sell their works for themselves again. since 1949 they organise the yearly 'große kunstausstellung münchen' [great art exhibition munich] for this purpose.

The dawning of modernism
the exhibition administration, under the auspices of peter a. ade, organises its own international exhibitions in collaboration with well-known art historians and curators since 1950. in the 1950s the list of artists is an impressive commitment to classical modernism: after frank lloyd wright there follows kirchner, hölzel and schlemmer, kandinsky and klee, munch, picasso, cézanne, van gogh, léger, nolde, le corbusier, kokoschka, chagall and manzù.
the picasso retrospective in 1955, where the monumental painting 'guernica' – the icon of antifascist and modern art – is shown, represents a milestone. cultural and historical themes are addressed: from the international film exhibition in 1958 to tutanchamun in 1980. within the context of the exhibition 'weltkulturen und moderne kunst' [cultures of the world and modern art], which is exhibited on the occasion of the 1972 olympics, paolo nestler specially creates a transparent extension on the garden terrace. when ade leaves the haus der kunst in 1982, the institution has become a renowned address in the international exhibition scene.

Step by step
the last decade of the 20th century brings many changes. refurbishment of the building is urgently required and this is realised in sections between 1991 and 1994. in order to secure future operations a limited company is established in 1992. the society of friends of the trust of haus der kunst münchen e.v., founded in 1954, is a member along with the free state of bavaria, the exhibition administators and the schörghuber companies group. in the refurbished east wing and in the central area of the haus der kunst, christoph vitali shows highly noted exhibitions such as 'die nie gesehenen meisterwerke der barnes collection' [the never seen old masters from the barnes collection] (1995) and 'die nacht' [the night] (1998).
in 2000 the state gallery of modern art vacates the west wing, which it had been using since 1980, in order to move into its new home: the 'pinakothek der moderne'. the bavarian state theatre has been using this space ever since for its 'theatre at haus der kunst'. the haus der kunst continues to be one of the large international institutions for exhibitions. at the same time it is open to various other activities. to facilitate a critical approach to the building and its history, the 1937 architecture is uncovered successively. a permanent historical exhibition on the institution is currently being prepared.