Alf Lechner’s sculptures are defined by his choice of material – steel. He works virtually exclusively with this material, creating works which often weigh hundreds of kilos. The monumental steel forms are stamped, pressed, broken, cut and rolled into shape during the production process according to his precise specifications.

There is no mistaking the heads of Horst Antes. Their stark profile and, above all, their schematic stylisation have become the artist’s trademark. They appear in Antes’ paintings as Kopffüssler [Head-and-foot figures] or in public spaces as large-scale steel sculptures.

Das Emissionsvolumen am deutschen Rentenmarkt belief sich im Juni 2023 auf brutto 168,7 Mrd € (Vormonat: 168,8 Mrd €). Nach Abzug der Tilgungen und unter Berücksichtigung der Eigenbestandsveränderungen der Emittenten wurden inländische Schuldverschreibungen für netto 22,9 Mrd € begeben.

Germany’s current account posted a surplus of €29.6 billion in June 2023, up €21.4 billion on the previous month’s level. This was because invisible current transactions, which comprise services as well as primary and secondary income, switched to a surplus, and there was a larger surplus on the goods account. 

Even though it was created in 1936, from today’s perspective "Die Sinnende" [The contemplative woman] appears as if the huge dislocations of the following decade were already being depicted in the portrait of this young woman

Each exhibition in the series "Perspektiven der Gegenwart" [Contemporary Perspectives] is accompanied by a brochure containing an introductory text in German on the artists' oeuvre and numerous illustrations of selected works.

Karl Otto Götz, the only German member of the international COBRA group, was one of the few artists who attempted to provide theoretical underpinning and gain public attention for the abstract gestural painting of the post-war period.

Ida Kerkovius, born in 1879, belongs to the first generation of female artists who, albeit under difficult conditions and against much resistance, received professional training and were able to steadily pursue an artistic career thereafter.

A picture by Rupprecht Geiger provokes an immediate response: the force of the colour is well-nigh overpowering. This shade of red, which the artist intersperses time and again with hints of pink or orange, triggers associations of peril and passion.

A young woman with her dog looks out, keenly and slightly provocatively, from the sketched frame of a locket. Clearly based on a photograph, the portrait appears artificial and as from another age, mainly as a result of the distortion of colours.

A key aspect of Albrecht Schäfer’s work is his exploration and use of space. His installations are not just stand-alone artworks; they also draw in and on the surrounding area. His “Kronleuchter” [Chandelier], on display in the foyer of the Bundesbank’s branch in Berlin, stretches the length and breadth of two floors.

Mondrian’s later works – The Victory Boogie Woogie – those lights! That is where we see vibration being incorporated into painting for the first time. It seemed to me […] that he was on the verge of bringing a visual motion into the picture, wrote the Venezuelan artist Jesús Rafael Soto, who lived and worked in Paris.

The relationship between nature and culture plays a key role in Tony Cragg’s work. He wants to create objects ‘that exist neither in nature nor in our functional world’. To this end he uses a wide range of natural and industrially manufactured materials.

His pictures and sculptures are the perfect symbiosis of beauty and rationality. Just about every work that Max Bill produced can be deciphered as a verifiable solution to a mathematical problem, without becoming overladen with meaning.

The feeling of living in a world full of interchangeable personal narratives and uniform biographies is a commonplace in modernism. Not only is almost every region on earth characterised by identical consumer possibilities and choices; the general principles, aspirations, desires and dreams of humans across the globe have, moreover, long since been standardised by the pervasiveness of media communication.

A red figure is firmly ensconced on the forecourt of the Bundesbank’s Oldenburg branch. Like an oversized marionette, it sits in the centre of a four-part sculpture series by Bogomir Ecker which extends inside the building.

The Research Data and Service Centre regularly matches Bundesbank company data to enable researchers to use linked microdata on companies (subject to approval of the respective research project).

Verglichen mit Mai 2023 haben sich die Erwartungen der Verbraucherinnen und Verbraucher wie folgt entwickelt.

Verglichen mit Mai 2023 haben sich die Erwartungen der Verbraucherinnen und Verbraucher wie folgt entwickelt.

Economist in the Research Centre since November 2010