Cultural diplomacy often manifests in grand treaties or high-level summits, but more frequently, it thrives in the quiet exchange of canvases and lithographs. In the town of Lich, this intimate form of connection is currently on display at the Licher Heimatmuseum, where a collection of historical paintings from Tangermünde offers a visual chronicle of a city defined by both devastation and architectural resilience.
The exhibition is the result of a personal and professional bridge built by Barbara Simon-Mick of the Heimatkundlicher Arbeitskreis. During a visit to the Burgfest in Tangermünde—Lich’s partner city—Simon-Mick established a rapport with the Städtische Museen Tangermünde, leading to a curated loan of 19th and 20th-century works. Organized by Elisa Jubert, head of the museums and city archives in Tangermünde, the collection serves as more than a gallery of cityscapes; it is a record of survival.
For historians and art enthusiasts, the exhibition highlights a poignant gap in the visual record. A catastrophic fire in 1617 erased the vast majority of Tangermünde’s early artistic heritage, leaving a void in the chronicles where comprehensive city views should have been. It wasn’t until the dawn of the 19th century that the city’s image began to be systematically reconstructed through art, beginning with the meticulous work of architect Johann Heinrich Strack and painter Eduard Meyerheim.
The Reconstruction of a Visual Identity
The exhibition features selections from a seminal portfolio of 27 lithographs produced by Strack and Meyerheim, which provided the first comprehensive look at Tangermünde’s skyline in centuries. These works emphasize the city’s formidable defenses, characterized by an array of towers and gates that defined its medieval footprint.
The curation also tracks the city’s physical evolution during the 19th century. Between 1840 and 1903, Tangermünde underwent a rigorous monument preservation program to restore its most significant structures. This era of restoration is captured in the Biedermeier style, most notably in a painting by Julius Gottheil from approximately 1847, which depicts the town hall in its restored glory. These pieces illustrate a period when the city was not just maintaining its structures, but consciously curating its historical image for posterity.
While many of the works in the museum’s permanent collection are anonymous donations or former private holdings, the current exhibition shines a light on a specific, influential voice: Clara Zahn.
The Gaze of Clara Zahn
At the turn of the 20th century, Clara Zahn emerged as one of Tangermünde’s most significant artistic exports. The daughter of the local pastor and historian Wilhelm Zahn, Clara broke from the traditional domestic expectations of the era to study painting in Munich. Her return to her hometown brought a professional, academic rigor to the depiction of the Altmark landscape.
Zahn’s work in the exhibition provides a diverse perspective on the city’s geography and spirituality. Her oil on canvas, “Tangermünde von der Elbseite,” captures the city’s relationship with the river that fueled its historical wealth. Other key works include:
- The Roßpforte: A detailed study of the city’s historic gateways.
- The Elbtor and St. Stephanskirche: A composition linking the city’s defensive architecture with its spiritual center.
- The Interior of St. Stephanskirche: A rare artistic rendering of the church’s inner sanctum, providing a perspective seldom captured in the city’s broader visual archives.
Zahn’s contributions are particularly vital because they transition the narrative from the architectural documentation of the early 1800s to a more emotive, artistic interpretation of the city’s identity at the dawn of the modern era.
Brick, Trade, and Imperial Influence
The aesthetic thread running through the exhibition is “Backstein”—the red brick Gothic architecture that defines the region. This architectural choice was not merely stylistic but a reflection of the city’s strategic importance. Situated on the Elbe, Tangermünde was a pivotal hub for trade and politics.
The historical weight of the location is underscored by the legacy of Emperor Charles IV, who used Tangermünde as a base in the late 14th century. His travels from the city were instrumental in establishing the trade connections that allowed the town to flourish. The paintings on display in Lich allow visitors to see the physical manifestations of that wealth—the towering gates and the expansive church—which served as symbols of power and stability in a volatile region.
| Era/Period | Key Visual Milestone | Significance |
|---|---|---|
| Pre-1617 | Early Paintings | Largely destroyed by the Great Fire of 1617. |
| Early 19th Century | Strack & Meyerheim Lithographs | First comprehensive post-fire visual record. |
| 1840–1903 | Restoration Era (e.g., Gottheil) | Focus on monument preservation and Biedermeier art. |
| Circa 1900 | Clara Zahn’s Oils | Professional academic depictions of city and church. |
Visiting the Exhibition
The exhibition remains open to the public through early August, providing a window into the Altmark region for those unable to travel to the Elbe. The Licher Heimatmuseum maintains a limited schedule for visitors:
- Saturdays: 2:00 PM – 4:00 PM
- Sundays: 10:30 AM – 12:00 PM
The loan is scheduled to conclude in September, at which point the paintings will return to the Städtische Museen Tangermünde. However, the success of this exchange has sparked discussions regarding a reciprocal arrangement, with the possibility of Licher artworks being exhibited in the Altmark in the future.
The next confirmed milestone for this cultural partnership is the return transport of the collection in September, which will mark the formal conclusion of this specific loan period and the beginning of planning for future museum exchanges.
Do you believe local museum partnerships are the best way to preserve regional history? Share your thoughts in the comments below.
