The picture gallery of Berlin (Gemäldegalerie vo) is now installed in brand new premises, at the Culture, not far from the Potsdamer Platz.

The rooms are arranged around a large central hall.
The organization follows a logical rather questionable. Basically, it is the Italian school left the schools and the northern right, but within each school the chronological set is inconsistent with the numbering of rooms, the visit is not facilitated by this available fairly chaotic, surprising for a museum which has recently been upgraded. Another defect, the light white and sometimes annoying glare generator for readability works, defect surprising for a museum recently.
That said, the contents of the collection is very tasteful and we will pass on these minor defects.
The Italian school is well represented and almost all the big names are there.
The highlight is the organist and the Venus of Titian, where the eye of the organist is away from the keyboard to arise on the body and gorgeous bare of Venus, the prototype of the Olympia. Also mention a magnificent Caravaggio Love winner, as usual with this master of light is used superbly.

The German school is not bad either, which seems logical.
The highlight is a beautiful series of Cranach, Venus portraits and of course, and especially the fountain of youth, a curious picture which shows old women rushing into the miraculous fountain and maidens come out ready for game lovers !
The Holland School is honored as well.
The best is an exceptional collection of Rembrandt.
The best man is the golden helmet, which is now considered a disciple, which does not detract from the exceptional strength of this table where the famous helmet is literally carved through the impasto, putting virtuosity serving aesthetics.

The French school is less well addressed, few tables scattered in various rooms.
There are nevertheless three masterpieces. First the young designer Chardin (seen at the Grand Palais in 99). And especially De La Tour: The eating of peas, an array of daytime beginning of the artist’s career (1625), with a very powerful couple of simple people, and the St Sebastian Tended by Irene Height, a good replica of ‘workshop of the original Louvre, a work constructed like an echo of the lament of Christ, the tree trunk which St. Sebastian was seconded recalling the cross while St. Irene and her companions echo the three Marys, the most curious is that this magnificent work is relegated to the basement in the gallery devoted to study normally minor works! These two paintings were the exhibition of the Grand Palais in 97.
The English school occupies a room, a beautiful series of portraits of the eighteenth (Reynolds, Gainsborough, Lawrence), the Spanish school is almost absent, only a handsome portrait of Velasquez save honor.

If you have time, take a look at the gallery studies (Studiengalerie) in the basement that includes works considered minor, but where you will discover some masterpieces (including a replica of workshop De La Tour). As a curiosity: at the bottom of this gallery is Lot and his daughters, a beautiful painting by Orazio Gentileschi, an Italian painter fairly small but famous for being the father of Artemisia Gentileschi, one of the first female painter (see the movie “Artemisia” by Agnes Merlet).