Celebrating 50 Years of Modern Art: In Conversation with Ludorff

In the midst of the dynamic art world, gallery Ludorff has established itself as a major player over five decades. Since its founding in 1975, the gallery has built a reputation not only for its exclusive collection of modern and contemporary art but also for its visionary approach. To mark its 50th anniversary, we take a look at the history of the gallery, its development and the challenges it faces in the art scene. In conversation with the managing director, Manuel Ludorff, who took over the gallery after his father Rainer Ludorff, 15 years ago, we learn more about the gallery’s milestones and its visions for the future.

Can you tell us about the history of the Ludorff Gallery? How did your gallery come about?

My father founded the gallery in 1975 in our current premises on the 3rd floor of Königsallee. He had started collecting art during his studies in Berlin. Hans Pels-Leusden and Florian Karsch from Galerie Nierendorf were personalities who strongly influenced him and shaped his decision to become a gallery owner and art dealer himself. Together with my mother, who is a fashion designer, he ran the family business for the production of women’s clothing for the first five years after his studies. Eventually, they both realized that they wanted to turn their passion for art into a career. In November 1975, my father invited to his first gallery exhibition and showed almost 100 works, primarily graphics and drawings of German Impressionism and Expressionism from his high-quality but, by today’s standards, rather small collection. He also showed other works from the first half of the 20th century that he borrowed from colleagues. At the time of his arrival in Düsseldorf, my father only knew two collectors of modern art in the city. He always compares this moment to an entrepreneurial leap from a 10-meter tower without knowing whether there was water in the pool. It was a necessity to go down this path, but according to all current knowledge – despite careful planning and analysis – lasting success was anything but guaranteed..

What has driven you personally to run the Ludorff Gallery for 50 years?

Over the past 15 years, my parents gradually handed over the reins of the gallery to my wife and me. Now, after 50 years, my father is officially stepping back from his role as the face of the gallery. Both he and my mother have always been driven by deep curiosity—the kind of excitement that arises when you discover a new work of art, when your heart skips a beat, and when you get to share that enthusiasm with both new and longtime collectors.

Art never stands still. It constantly evolves, and engaging with it keeps you young at heart. For us, working with art has always been an exciting and invigorating pursuit—something that continues to inspire us every day.

You have been based in Düsseldorf for 50 years now. How have you observed the development of the art city? How has Ludorff positioned itself in this context?

Düsseldorf has always been an exciting location within Germany, with favorable conditions already in place back in the 1970s. My father carefully considered several cities—from Berlin to Dortmund—before choosing Düsseldorf. For him, it was crucial that the gallery be based in a city with an international trade fair and a major airport. Just as important was the existing network of institutions and galleries, which was already very strong in the Rhineland at the time.

Collectors in the region have always been very open and engaged, and Düsseldorf—being Germany’s leading retail destination—attracted a large number of visitors from within a 100-kilometer radius, where nearly 20 million people still live today.

Throughout the decades, important dealers such as Flechtheim, Schmela, Grosshennig, and Vömel—and later Hans Mayer, Konrad Fischer, and today Paul Schönewald and Michael Beck—have all helped shape Düsseldorf’s identity as a major art hub. Looking back, we would absolutely make the same decision again and choose Düsseldorf as our gallery’s home.

What moments or exhibitions have been particularly formative for you in recent years?

There have of course been many formative moments in the past 15 years together with my father. The renovation and opening of the first floor was certainly a milestone. Since then, we have been able to present our program on a permanent basis and provide space for very specific individual and themed exhibitions. After intensive collecting activities, we were able to open with an extensive exhibition on Serge Poliakoff. This was followed by equally extensive exhibitions on Emil Nolde and Max Liebermann, but also on more modern positions such as Gerhard Richter. Our first international exhibitions in Brussels and later in New York, London, and Miami significantly increased our visibility. And about ten years ago, the doors opened for us in Maastricht. Exhibiting at TEFAF for the first time—and the recognition that came with it—was a particularly special moment for my father after many years of striving to be part of that platform.

Has the audience, collectors and visitors to the gallery changed over the years? How does this come to light?

Due to our gallery’s architecture—spread across upper floors—visitor traffic has always been a bit more subdued. However, thanks to our central location on the Königsallee, there’s always a steady flow of interest, especially during exhibition openings when we’re happy to welcome a large number of guests.

In general, foot traffic has declined somewhat, influenced by the rise of art fairs and the Internet. But collectors with a genuine passion for art still regularly take the time to visit the gallery in person to view works in the original. We store nearly our entire inventory here on the Kö, so we’re able to present most works directly and spontaneously—a big advantage when engaging in personal consultations.

How do you select the artists you want to represent? Are there certain criteria that are important to you?

We deal almost exclusively with artists of museum significance, the majority of whom are no longer alive. However, new, historical positions are constantly being added to the program, such as Otto Dix and George Grosz or the rediscovered Lotte Laserstein, to whom we dedicated our first exhibition last year. In essence, we have to feel a deep and lasting enthusiasm for an artist’s work. This usually takes time—years of engaging with the oeuvre, collecting works, and getting to know them, often in a personal context. Only then do we begin to present selected pieces in thematic exhibitions.
Our approach may seem a bit slow or historically oriented compared to trend-driven contemporary galleries. But with the new exhibition spaces we’re currently expanding and our growing team, we’re becoming increasingly attractive to contemporary artists as well.

Content-wise, the independence of the artist is essential. Against a historical backdrop, their work needs to offer something new—either through a unique approach or a distinctive voice. And beyond that, a certain beauty must shine through—whether in the concept or the works themselves. That might sound vague, but ultimately, it’s a delicate balance between intellect and intuition—and both must align for us.

To what extent has working with artists changed over the years? Do you have a different approach than when you started?

As we work less intensively with artists than the primary galleries, I have to refer to my colleagues who can provide more precise information on this point. However, I can already see that the previously very clearly delineated structures of artist and art market or gallery, art trade and auction house are becoming increasingly blurred. We need to work together with a large number of other players from museums, art associations, journalism and independent consultancies, family offices, asset management and architecture firms as well as colleagues in order to place works and realize projects. We are very open here and welcome interest from all areas.

What does the future hold for Ludorff? Are there any new projects or changes that we can look forward to?

We’ve now been active in the art market for 50 years and benefit from a solid collector base and a strong entrepreneurial foundation that my parents laid—and which we’ve continued to expand significantly over the past 15 years. Still, standing still is not an option. Like in any other industry, we must continue to innovate and evolve. We foster a mindset of fresh thinking, similar to that of a start-up. You don’t need to question everything that’s established, but you do need to stay attuned to change and embrace innovation.

The Internet has become the most important art fair of all. I programmed our first website in the late 1990s, when we were excited to receive five inquiries a week and make one sale a month. Today, the web surpasses any single fair in importance—at least over the course of a year. That said, most collectors who find us online are searching for something quite specific. The broader communication of content and context—which shapes purchase decisions—still happens primarily at art fairs and in the gallery itself. That’s why we remain highly active in both arenas.

We’re constantly working to improve the functionality of our website and to explore new digital opportunities. At the same time, exciting analog changes are also on the horizon: we’re currently expanding our gallery space to include a fifth apartment, which will serve as new exhibition and event rooms. In addition, we’re connecting two apartments on the second floor via a rooftop terrace, which will allow us to present outdoor sculptures and, weather permitting, host events under the open sky.

What trends are you currently observing in the art market and how do they influence your work?

The trends are probably becoming more global and bigger. The whole world wants Gerhard Richter, Josef Albers or Katharina Grosse’s bold and expansive paintings. But even the supposed classics such as Max Liebermann or Käthe Kollwitz are attracting significant international interest. Just recently, we placed works by both artists with museums in the United States, and in Kollwitz’s case, with private collectors in Australia and China. These are developments we’ve never experienced before—at least not in our gallery’s history.

Galerie Ludorff is a respected lender in the art world. What significance do these collaborations with museums have for the gallery?

Loans to museums play a central role. They rarely result in immediate sales, but for us, being asked to lend our own works is one of the greatest compliments we can receive. We’re also happy to assist curators in securing loans from private collections, and of course, we benefit when works acquired from us are included in major institutional exhibitions.

These collaborations also help to close the gap that historically existed between museums and the art trade. When our works are cited in exhibition catalogs or featured on wall texts, it not only enhances visibility but also underscores the significance of what we do. While working with museums may not always be immediately profitable, the long-term value—in terms of reputation, credibility, and scholarly recognition—is immeasurable.

We congratulate Ludorff on their 50th anniversary and are delighted to welcome the Düsseldorf gallery back to Art Düsseldorf. Visit stand J08 during the fair and take a look at Ludorff in our catalogue.