Alte Pinakothek
Daily except MON 10.00 a.m. - 6.00 p.m.
TUE 10.00 a.m. - 8.00 p.m.

Neue Pinakothek
Daily except TUE 10.00 a.m. - 6.00 p.m.
WED 10.00 a.m. - 8.00 p.m.

Pinakothek der Moderne 
Daily except MON 10.00 a.m. - 6.00 p.m.
THU 10.00 a.m. - 8.00 p.m.

Museum Brandhorst
Daily except MON 10.00 a.m. - 6.00 p.m.
THU 10.00 a.m. - 8.00 p.m.

Sammlung Schack
Daily except MON and TUE 10.00 a.m. - 6.00 p.m.
Every 1st and 3rd WED in the month 10.00 a.m. - 8.00 p.m.


Special Opening Times on Public Holidays

On public holidays, the three Pinakotheken, Museum Brandhorst, and Sammlung Schack are usually open at the times that regularly apply for that day of the week. Exceptions to this rule are announced in advance. In rare instances opening hours are subject to change; please check the website for public announcements closer to the date.

All our museums are open on the following public holidays:

New Year’s Day (1 January)
Epiphany (Heilige Drei Könige, 6 January)
Easter (Good Friday to Easter Monday)
Ascension Day (Christi Himmelfahrt)
Whitsun (Whit Sunday and following Monday)
Day of German Unity (Tag der Deutschen Einheit)
Boxing Day (26 December)

All our museums are closed on the following public holidays:

Shrove Tuesday
Labour Day (Tag der Arbeit, 1 May)
Christmas Eve (24 December)
Christmas Day (25 December)
New Year’s Eve (31 December)

Special opening hours apply for the following holidays in 2017:

Corpus Christi (Fronleichnam, 15.06.17): all galleries open
Feast of the Assumption of May (Mariä Himmelfahrt, 15.08.17): all galleries open except Neue Pinakothek and Sammlung Schack
Reformation Day (Reformationstag, 31.10.17): all galleries open
All Saints (Allerheiligen, 01.11.17): all galleries open.


Alte Pinakothek
Renovation to Improve Energy Efficiency 2014-2018 
Reduced admission for all visitors 
Permanent exhibition
4 Euro | reduced 2 Euro 
Admission on Sundays: 1 Euro

Neue Pinakothek
Permanent exhibition
7 euros | reduced 5 euros
Sunday admission 1 euro

Pinakothek der Moderne
10 euros | reduced 7 euros
Sunday admission 1 euro

Museum Brandhorst
7 euros | reduced 5 euros
Sunday admission 1 euro

Sammlung Schack
4 euros | reduced 3 euros
Sunday admission 1 euro

Day Pass 12 euros (for the Pinakothek museums, Museum Brandhorst, Sammlung Schack) 
5-visit pass 29 euros (for the Pinakothek museums, Museum Brandhorst, Sammlung Schack)

Other prices apply for special exhibitions.

Children and young people under the age of 18; students of art, art history, and art education; school classes, preschoolers, after-school groups; and youth groups from member states of the European Union receive free entrance (when accompanied by their instructors or chaperones).

Information for students

A valid student identity card issued by your university or college will be accepted as proof. If the period of study is not stated on your student ID, we recommend that you purchase ID that does contain this information, such as the International Student Identity Card (ISIC), on which these dates are stated.

Prices subject to change.
Special exhibitions are possibly not included.


You can reach the Pinakothek museums and Museum Brandhorst by

No 27 to Pinakotheken

Underground (U-Bahn)
U2 to Königsplatz or Theresienstrasse
U3 | U6 to Odeonsplatz or Universität
U4 | U5 to Odeonsplatz

No 154 to Schellingstraße
No 100 (Museumslinie/ museum line): to Pinakotheken
No 100 (Museumslinie/ museum line): to Maxvorstadt / Sammlung Brandhorst

We recommend the use of public transportation. Parking is not available.

Two coach parking spaces are available in front of the Neue Pinakothek. Parking is limited to two hours (with parking disc) between 10.00 a.m. and 8.00 p.m.

You can reach the Sammlung Schack by

No 100 (Museumslinie / museum line): to Reitmorstrasse / Schack Galerie

No 27 to Nationalmuseum
We recommend the use of public transportation. Parking is not available.

Our area map (PDF, 56 KB) provides an overview of travel options to the museum.

Booking tours / Register groups

We are happy to arrange guides for you for private tours. You can choose between a variety of different themes, general tours and tours of special exhibitions.To organise guided tours for private groups applications must be made in writing. Please complete our application form and return it to us. We will forward your application to our team of freelance art mediators. A guide, working on his or her own account, will then be arranged for you. Please note that requests for guided tours can only be processed when submitted at least 5 work days before your planned visit.

You can find more information about the tours or the booking process here.

Please use our request form to book a guided tour. (Please also register larger groups, even if you do not wish to book a guided tour.)

Thank you!

Contact Visitor Services | Art Education
Barer Straße 29, 80799 München
Tel.: +49 (0)89 23805-284
Fax: +49 (0)89 23805-251


Milestones of European painting – the Alte Pinakothek brings together art from the Middle Ages, the Renaissance, and the Baroque and Rococo periods in a collection of astonishing density. The collection comprises more than 700 works of art, representing the most brilliant periods of German, Flemish, Dutch, French, Italian, and Spanish painting. Leo von Klenze’s Neoclassical design (realized in 1836) proved a model for subsequent European museum architecture, and today continues to provide the setting for this treasure trove of Western art.

Please note: Due to electrical renovations, beginning in mid-February 2014 the museum will be subject to temporary closures.

Albrecht Dürer (1471-1528)
Self-Portrait with Fur-Trimmed Robe, 1500
Limewood, 67,1 x 48,9 cm
Acquired in 1805
Inv. no. 537

Masterpiece Alte Pinakothek

With this painting Dürer, then 28 years old, created one of the most unusual works in portraiture history. The frontality and the strong idealization are reminiscent of representations of Christ, both aspects however being inseparable from Dürer's early studies of human proportion. His gaze and his hand, representing an artist's tool, are emphasized, rendering the painting an inventively programmatic. This is accentuated by the Latin inscription that underscores the work of the painter: "Thus I, Albrecht Dürer from Nuremberg, portrayed myself with characteristic colors in my 28th year."


‘From Goya to Picasso’ is the slogan of the Neue Pinakothek. King Ludwig I of Bavaria founded the Neue Pinakothek in the mid-19th century as the first public museum in Europe dedicated exclusively to contemporary art. Important examples of Neoclassicism, Romanticism, Art Deco, and Impressionism; Nazarene art and pieces by the ‘German Roman’ artists are on display alongside trailblazing modernist works. Following the museum’s destruction during the Second World War, the architect Alexander von Branca designed today’s building, which opened its doors in 1981.

Vincent van Gogh (1853-1890)
Sunflowers, 1888
Canvas, 92,0 x 73,0 cm
Tschudi contribution, 1912
Inv. no. 8672

Masterpiece Neue Pinakothek

Painted in 1888, Vincent van Gogh had intended this painting – with its radiant colour and vitality – to decorate his studio in Arles, where he planned to paint with Paul Gauguin. The painter has portrayed the vase, flowers, the standing surface, and the background in a simple way, and without great spatial depth. The cold turquoise of the painting’s background contrasts dramatically with the yellow and yellow-brown tones. The flowers evoke a summer day in Provence and inspire an ardent passion for life, a passion which is evident in Van Gogh’s own biography. In the painting the flowers epitomise the sun, which Van Gogh understood as a symbol of life and represented as such in numerous works.

The simple form and vibrant colour are reminiscent of Japanese prints; the Cloisonnism of the Gauguin circle is evident in the painting. Van Gogh’s Sunflowers attest to the artist’s vision of the south of France as his own ‘Japan’, where he could lead a happy, untroubled life.

While the Munich painting is not the only version of Sunflowers that Van Gogh painted, it is a particularly important one. The artist had always conceived of this version and the version hanging in the National Gallery in London as counterparts. Later, he thought to frame his painting ‘La Berceuse’ with these two sunflower paintings, forming a triptych.


Housing four significant museum collections under one roof, the Pinakothek der Moderne is one of the world’s largest spaces for the art, architecture, and design of the 20th and 21st centuries.

Four independent museums share the Pinakothek der Moderne’s building: the Sammlung Moderne Kunst of the Bayerische Staatsgemäldesammlungen; Die Neue Sammlung – The Design Museum; the Architekturmuseum der Technischen Universität München; and the Staatliche Graphische Sammlung München.

The interdisciplinary nature of the Pinakothek der Moderne’s programme simultaneously preserves the identity of the individual museums while also presenting them as linked facets of a larger cultural field. Featuring a glass rotunda, the impressive architecture of the building invites visitors to make their own discoveries and insights as they work their way through the collections.

Max Beckmann (1884–1950)
Self-Portrait in Black, 1944
Oil on canvas, 95 x 60 cm
Inv. no. 10974
Copyright: VG Bild-Kunst, Bonn 2016

Masterpiece Pinakothek der Moderne

In 1937 Max Beckmann emigrated to Amsterdam, where he continued to work, despite numerous obstacles, throughout the German occupation. This self-portrait was painted around the turn of the year in 1943/44. In the painting, the artist presents himself as a majestic and undeterred figure, albeit one whose face is frozen in a rigid mask. The artist’s black, formal attire is merely a formal gesture in this context, one which does not correspond to the artist's material situation but is rather intended to separate and unbind him from the rest of society. This theme is emphasised formally by the large black figure in the middle of the frame, cutting off the viewer’s access to the rest of the picture plane. The effect is heightened by the bent arm propped against the seat back, which is deployed as a barrier. Of his numerous self-portraits, Self-Portrait in Black is perhaps Beckmann’s bitterest; the aggression portrayed in the painting not only protects its subject from a hostile counterpart, it also alienates the subject from himself in the process. Even if he were wearing an actual costume, Beckmann could not appear further from himself than in this supposed ‘everyday’ environment.  The tragedy visible in Beckmann’s rigidity would be only partially relieved following the artist’s emigration to America, with its promise of liberty.


Opened in 2009 in the direct vicinity of the Pinakotheken complex, the Museum Brandhorst is the Bayerische Staatsgemäldesammlungen’s newest branch and enriches Munich’s Kunstareal (Museum Quarter) with an impressive collection of modern and contemporary art. Distinguished by its spectacular architecture and two important groups of work by Andy Warhol and Cy Twombly, the Museum Brandhorst also features work by Sigmar Polke, Gerhard Richter, Mike Kelley, Bruce Nauman, and Damien Hirst, among others.

Interior view of the Museum Brandhorst with Cy Twombly’s Lepanto cycle

Masterpiece Museum Brandhorst

The American Cy Twombly was born in 1928 in Lexington/Virginia and died in 2011 in Rome and is perhaps the most iconic artist in the Museum Brandhorst’s collection. After pursuing an art degree at various universities, Twombly briefly visited Black Mountain College, after which he began a journey through Europe and North Africa with Robert Rauschenberg. This trip marked the beginning of Twombly’s preoccupation with the Mediterranean, which would become one of his most important sources of inspiration. As with no other artist, Twombly’s work forges a sensitive and lyrical connection between image and text. Alongside Robert Rauschenberg and Jasper Johns, he is the most important representative of the generation to immediately follow the Abstract Expressionists and inherit their legacy of abstraction. Along with these two colleagues, Twombly succeeded in ushering in an important new era in American art while developing a highly personal and influential visual language.

Consisting of twelve pictures, Twombly’s monumental work Lepanto (2001), is permanently displayed in the central hall of the museum, according to the wishes of the artist. With more than 170 works – including paintings, sculptures, and drawings – from different periods of the artist’s work, the Museum Brandhorst’s comprehensive overview of this unique artist’s development is the most important of its kind outside of the US, comparable only to the Cy Twombly Gallery of the Menil Collection in Houston, Texas.


With approximately 180 paintings by German artists, including works by Böcklin, Lenbach, Spitzweg, and Feuerbach, the Sammlung Schack is one of the most important museums dedicated to 19th century German painting. It was founded by Count Adolf Friedrich von Schack (1815–1894), and has since remained true to his vision. As such, the Sammlung Schack is both an important testament to art collecting in Germany, and a major museum for late Romanticism.

Arnold Böcklin (1827–1901)
Triton and Nereid, 1874
Oil on canvas, 105.3 x 194 cm

Masterpiece Sammlung Schack

Triton and Nereid was the last Böcklin painting acquired by Schack. As in other Böcklin paintings, the theme derives from ancient mythology, setting sea creatures in a psychologically tense arrangement that prompts speculation about their relationship to one another. Triton is the son of Poseidon and Amphitrite, a hybrid being with a human torso and the tail of a fish. With his hairy back turned to the viewer as he blows into a large conch shell, Triton is portrayed as a wild, bearded figure. Nereid, one of the daughters of the sea God Nereus, is depicted as a young woman with long brown hair and dark eyes, stretched out lasciviously on a rock. She is naked except for a thin reddish veil covering her legs. She casually turns towards a powerful sea snake, which has emerged from beneath the surf. The landscape is expansive and dark. The sky, hung with imposing grey-blue clouds, fades imperceptibly into the grey-black sea, which dissolves in a fine, masterfully painted sea spray. The figures are completely embedded in this grandiose, boundless vision of nature. Böcklin avoids any conclusive interpretation of the situation transpiring in the painting. Rather, the viewer’s associations are given free play amidst the water – the source of life – the creatures who belong to this element, and an erotic tension between the sexes.


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80333 München
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