How Dürer's Rabbit Came to the Museum

The Albertina Museum in Vienna has recently unveiled a major exhibition titled "Sammeln für die Zukunft" ("Collecting for the Future") as part of its 250th anniversary celebrations. The exhibition offers a comprehensive look into the museum's history, highlighting its origins, evolution, and the significant role played by figures often overlooked in previous narratives. Central to this narrative is Erzherzogin Marie Christine, the wife of Herzog Albert von Sachsen-Teschen, whose contributions have been largely unacknowledged until now.

At the heart of the exhibition lies one of the most iconic works in the Albertina’s collection—Albrecht Dürer’s "Feldhase" (Field Hare) from 1502. This drawing, known for its vivid detail and lifelike quality, has been rarely displayed due to the fragility of paper. It was last shown during a major Dürer exhibition in 2019. The exhibition carefully manages the exposure time of such delicate pieces, ensuring they receive minimal light exposure to preserve their integrity. The "Feldhase" serves not just as a highlight but also as a symbol of the museum’s commitment to showcasing art that will remain relevant and valuable for centuries to come.

The exhibition features a wide array of masterpieces spanning several centuries, including works by Michelangelo, Caspar David Friedrich, Egon Schiele, Emil Nolde, and others. These artworks illustrate the evolution of the Albertina’s collection, which began with a focus on printmaking and gradually expanded to include diverse forms of artistic expression. The museum's founding couple, Herzog Albert and Erzherzogin Marie Christine, were instrumental in shaping this vision. Their passion for art led them to commission the Austrian envoy in Venice, Conte Giacomo Durazzo, to gather valuable prints. By 1776, they had acquired over 10,000 engravings, laying the foundation for a collection that would eventually grow to encompass more than 1.2 million works.

The exhibition also delves into the historical journey of the Albertina’s collection. Initially housed in Bratislava, the collection moved to Brussels and Dresden before finally settling in Vienna in 1800. The name "Albertina," first used in 1864, reflects the legacy of Herzog Albert, who was a member of the lower nobility. His marriage to Marie Christine, daughter of Empress Maria Theresa, was considered one of the few genuine love matches of the era. Together, they envisioned a public institution dedicated to education and enjoyment rather than private possession.

The exhibition includes a detailed account of how the Albertina expanded its collection beyond prints to include drawings and other media. This expansion was further accelerated in the 20th century through acquisitions such as the Graphische Bundeslehr- und Versuchsanstalt Collection (2000), the Batliner Collection (2007), and the Essl Collection (2013). These additions transformed the Albertina into a major international museum, reflecting contemporary artistic trends and practices.

The exhibition also addresses the challenges faced by the museum throughout its history, including wartime damage and extensive renovations. A film by artist Rosa Barba provides an abstract representation of the museum’s structure and operations, offering visitors a new perspective on the institution. Through this multifaceted approach, the exhibition aims to provide a deeper understanding of the Albertina’s past while looking toward its future. Visitors who came expecting to see only the famous hare will find themselves immersed in a rich tapestry of art history, institutional development, and cultural significance.