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A moment of joy, a beacon of hope, a spirit of generosity, a homage to nature: amid many cancelled exhibitions, there could not be a more upbeat inauguration of Europe’s autumn art season than the new permanent installation, launching on September 7, of collector Hasso Plattner’s 100 supreme impressionist and modern paintings, almost all landscapes, in Potsdam’s Museum Barberini. Beginning with breezy seascapes by Monet’s teacher Eugène Boudin, travelling via Cézanne’s blue-green sous-bois forest glades, Sisley’s purple-shadowed Louveciennes snow scenes, Renoir’s softly fluttering “Pear Tree” in blossom, to conclude with Vlaminck’s flamboyant Fauve transformations of impressionist sites — “The Bridge at Chatou”, “Seine Embankment at Bougival” — into dabs of incandescent colour, Plattner’s is Europe’s biggest, most important collection of 19th and early 20th-century French painting outside Paris. Between 2011 and 2015 Plattner brought at auction “Poplars”, the dappled frieze of riverside trees, one row still bright in the sunset, the second already cast in violet shadow, sold by New York’s Museum of Modern Art; “On the Cliffs at Pourville”, the vigorous seascape of wind rustling tall grass in a briny haze coming off the ocean, sold by the Metropolitan Museum; “Wheatfield”, the crops, meadow, cirrus clouds abstracted into sweeping horizontal bands, sold by Cleveland Museum; and “Antibes, the Fort”, with its melting pink-turquoise harmony, sold by Boston’s Museum of Fine Art.