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German Expressionism: the Second Generation (Los Angeles: Los Angeles County Museum of Art, 1988): 10-37
Stephanie Barron, “Introduction” to Barron (ed.), German Expressionism: The Second Generation (Los Angeles: Los Angeles County Museum of Art, 1988): 10-37. The notion that all the significant achievements of German Expressionism occurred before 1914 is a familiar one. Until recently most scholars and almost all exhibitions of German Expressionist work have drawn the line with the 1913 dissolution of Die Brücke (The Bridge) in Berlin or the outbreak of the First World War in 1914. Peter Selz’s pioneering study German Expressionist Painting, published in 1957, favored 1914 as a terminus as did Wolf-Dieter Dube’s Expressionism, which appeared in 1977. It is true that by 1914 personal differences had led the Brücke artists to dissolve their association, and Der Blaue Reiter (The Blue Rider) had disintegrated when Wassily Kandinsky returned from Munich to Russia and Franz Marc volunteered for war service. Other artists’ associations also broke up when their members were drafted. Thus, the outbreak of the war has provided a convenient endpoint for many historians, who see the postwar artistic activities of Ernst Barlach, Max Beckmann, Oskar Kokoschka, Kathe Kollwitz, and others as individual, not group responses and describe the 1920s as the period of developments at the Bauhaus in Weimar or of the growing popularity of Neue Sachlichkeit (New Objectivity). The years 1915-25 have been lost, or certainly not adequately defined, as a coherent and potent, albeit brief, idealistic period in the evolution of German Expressionism. More recent scholarship, including Dube’s Expressionists and Expressionism (1983) and Donald E. Gordon’s Expressionism- Art and Idea (1987), sees the movement as surviving into the 1920s. -
German and Austrian Art of the 1920S and 1930S the Marvin and Janet Fishman Collection
German and Austrian Art of the 1920s and 1930s The Marvin and Janet Fishman Collection The concept Neue Sachlichkeit (New Objectivity) was introduced in Germany in the 1920s to account for new developments in art after German and Austrian Impressionism and Expressionism. Gustav Friedrich Hartlaub mounted an exhibition at the Mannheim Museum in 1925 under the title Neue Art of the1920s and1930s Sachlichkeit giving the concept an official introduction into modern art in the Weimar era of Post-World War I Germany. In contrast to impressionist or abstract art, this new art was grounded in tangible reality, often rely- ing on a vocabulary previously established in nineteenth-century realism. The artists Otto Dix, George Grosz, Karl Hubbuch, Felix Nussbaum, and Christian Schad among others–all represented in the Haggerty exhibi- tion–did not flinch from showing the social ills of urban life. They cata- logued vividly war-inflicted disruptions of the social order including pover- Otto Dix (1891-1969), Sonntagsspaziergang (Sunday Outing), 1922 Will Grohmann (1887-1968), Frauen am Potsdamer Platz (Women at Postdamer ty, industrial vice, and seeds of ethnic discrimination. Portraits, bourgeois Oil and tempera on canvas, 29 1/2 x 23 5/8 in. Place), ca.1915, Oil on canvas, 23 1/2 x 19 3/4 in. café society, and prostitutes are also common themes. Neue Sachlichkeit artists lacked utopian ideals of the Expressionists. These artists did not hope to provoke revolutionary reform of social ailments. Rather, their task was to report veristically on the actuality of life including the ugly and the vulgar. Cynicism, irony, and wit judiciously temper their otherwise somber depictions. -
Angebote Für Schulklassen Aller Stufen
Kulturraum Angebote für SchulklassenVogtland-Zwickau aller Stufen [ Titel] Alexej von Jawlensky, [ 3 ] Otto Müller, Mädchen mit rotem Turban und gelber Agraffe Mädchen im Wasser, um 1926 (Barbarenfürstin), um 1912 © Courtesy of Osthaus Museum Hagen & © Courtesy of Osthaus Museum Hagen & Institut für Kulturaustausch, Tübingen Institut für Kulturaustausch, Tübingen Foto: Achim Kukulies, Düsseldorf Foto: Achim Kukulies, Düsseldorf [ 1 ] Karl Schmidt-Rottluff, [ 4 ] August Macke, Landschaft mit Baum, 1913 Helle Frauen vor dem Hutladen, 1913 © Courtesy of Aargauer Kunsthaus Aarau & © Courtesy of Osthaus Museum Hagen & Institut für Kulturaustausch, Tübingen Institut für Kulturaustausch, Tübingen Foto: Jörg Müller Foto: Achim Kukulies, Düsseldorf 6 © VG Bild-Kunst, Bonn 2018 [ 2 ] Emil Nolde, [ 5 ] Lyonel Feininger, Stillleben (Kuh, japanische Figur und Kopf), 1913 Garbendorf I, 1921 © Courtesy of Aargauer Kunsthaus Aarau & © Courtesy of Osthaus Museum Hagen & Institut für Kulturaustausch, Tübingen Institut für Kulturaustausch, Tübingen Foto: Jörg Müller, Nolde Stiftung Seebüll Foto: Achim Kukulies, Düsseldorf © VG Bild-Kunst, Bonn 2018 3 7 8 Back to Paradise Meisterwerke des Expressionismus aus dem Aargauer Kunsthaus und dem OsthausDie Ausstellung BackMuseum to Paradise führt Hagen wichtige expressionistische Meisterwerke aus zwei Sammlungen zusammen, der Sammlung Häuptli im Aargauer Kunsthaus (Schweiz) und der Sammlung im Osthaus Museum Hagen. Beide verfügen über hochkarätige Werke aus allen Phasen des expressionistischen Schaffens in Deutschland von 1905 bis 1938. Eine junge Avantgarde von Künstlern wagte kurz nach 1900 den Aufbruch in die Moderne.Erstklassige IhreGemälde, kraftvolle Zeichnungen Bildsprache und Grafiken war derunmittelbarer expressionistischen Ausdruck Künstlergruppe eines individuellen Brücke, wie Lebensgefühls.Ernst Ludwig Kirchner, Als GegenentwurfErich Heckel oder Maxzur europäischenPechstein bilden Zivilisationdabei einen Schwerpunkt. ersehnten Die sie Brücke den wird Einklang1905 in Dresden von gegründetMensch und markiert Natur. -
Florida State University Libraries
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 Lady Killer and Lust-Murderers: Painting Crime in Weimar Germany Stephanie D. Bender Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY THE COLLEGE OF VISUAL ARTS, THEATRE AND DANCE LADY KILLER AND LUST-MURDERERS: PAINTING CRIME IN WEIMAR GERMANY By STEPHANIE D. BENDER A Thesis submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Master of Arts Degree Awarded: Spring Semester, 2010 The members of the committee approve the thesis of Stephanie D. Bender defended on April 1, 2010. ____________________________________ Adam Jolles Professor Directing Thesis ____________________________________ Michael D. Carrasco Committee Member ____________________________________ Lauren S. Weingarden Committee Member The Graduate School has verified and approved the above-named committee members. ii For Brandon iii ACKNOWLEDGEMENTS I would first like to thank my advisor Prof. Adam Jolles for his guidance, continued encouragement and unflinching support of my ideas. I am indebted to my entire thesis committee: Professors Adam Jolles, Michael Carrasco, and Lauren Weingarden for their careful readings, commentary, and conversations that have moved this thesis along. My entire committee has dedicated so much to my evolvement as a scholar, and I wish to thank them sincerely. Lilian Grosz was so gracious to offer her thoughts on my ideas, and I would like to thank her, and the staff of the Berlin Akademie der Künste, for allowing me to study the texts and prints within the George Grosz archive. -
Hallo Moderne Neugestaltung Der Sammlungspräsentation Zur Kunst Von 1900 Bis 1945 Eröffnung: 9. September 2017
Medieninformation 14/2017 06.09.2017 Hallo Moderne Neugestaltung der Sammlungspräsentation zur Kunst von 1900 bis 1945 Eröffnung: 9. September 2017 Kontakt: Am kommenden Sonnabend, dem 9. September 2017, öffnet Katrin Greiner Kunstmuseum Moritzburg das Kunstmuseum Moritzburg Halle (Saale) die Türen zum Halle | Saale Friedemann-Bach-Platz 5 erweiterten und komplett umgestalteten 06108 Halle | Saale Dauerausstellungsbereich Moderne Eins. In nur 7 Wochen entstand auf mehr als 1.100 qm eine neue Präsentation. T: +49 345 21 25 912 F: +49 345 20 29 990 katrin.greiner@ kulturstiftung-st.de Das Kunstmuseum Moritzburg Halle (Saale) ist eines der bedeutenden Museen für die Kunst der Moderne in www.kulturstiftung-st.de Mitteldeutschland. In seiner mehr als 130-jährigen Geschichte www.kunstmuseum- moritzburg.de nahm es immer wieder eine herausragende Position in der deutschen Museumslandschaft ein. In dieser Traditionslinie präsentieren sich die Sammlungen zur Kunst der ersten Hälfte des 20. Jahrhunderts fortan in einer vollkommen überarbeiteten und etwas Neues wagenden Zusammenstellung. Die neue Dauerausstellung, die Werke aus vier Teilsammlungen des Museums berücksichtigt, ist in drei Bereiche gegliedert: Kunst 1900–1918 mit dem Schwerpunkt Expressionismus, Kunst 1919–1933 mit den Schwerpunkten Neue Sachlichkeit und Abstraktion, Kunst 1933–1945. Anhand dieser Abschnitte wird die Geschichte der Kunst der Moderne entlang der Museums- und Sammlungsgeschichte erzählt und vermittelt, wie die Direktoren in den unterschiedlichen gesellschaftlichen Systemen das Haus und seine Sammlungen prägten. Alle drei Bereiche präsentieren Werke der freien und angewandten Kunst gleichrangig miteinander – neben Gemälden und Plastiken werden, dem historischen Profil des 1885 als Museum für Kunst und Kunstgewerbe gegründeten Hauses entsprechend, Objekte des Kunsthandwerks sowie kleinplastische Medaillen ausgestellt. -
DONALD JUDD Born 1928 in Excelsior Springs, Missouri
This document was updated January 6, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. DONALD JUDD Born 1928 in Excelsior Springs, Missouri. Died 1994 in New York City. SOLO EXHIBITIONS 1957 Don Judd, Panoras Gallery, New York, NY, June 24 – July 6, 1957. 1963–1964 Don Judd, Green Gallery, New York, NY, December 17, 1963 – January 11, 1964. 1966 Don Judd, Leo Castelli Gallery, 4 East 77th Street, New York, NY, February 5 – March 2, 1966. Donald Judd Visiting Artist, Hopkins Center Art Galleries, Dartmouth College, Hanover, NH, July 16 – August 9, 1966. 1968 Don Judd, The Whitney Museum of American Art, New York, NY, February 26 – March 24, 1968 [catalogue]. Don Judd, Irving Blum Gallery, Los Angeles, CA, May 7 – June 1, 1968. 1969 Don Judd, Leo Castelli Gallery, 4 East 77th Street, New York, NY, January 4 – 25, 1969. Don Judd: Structures, Galerie Ileana Sonnabend, Paris, France, May 6 – 29, 1969. New Works, Galerie Bischofberger, Zürich, Switzerland, May – June 1969. Don Judd, Galerie Rudolf Zwirner, Cologne, Germany, June 4 – 30, 1969. Donald Judd, Irving Blum Gallery, Los Angeles, CA, September 16 – November 1, 1969. 1970 Don Judd, Stedelijk Van Abbemuseum, Eindhoven, The Netherlands, January 16 – March 1, 1970; traveled to Folkwang Museum, Essen, Germany, April 11 – May 10, 1970; Kunstverein Hannover, Germany, June 20 – August 2, 1970; and Whitechapel Art Gallery, London, United Kingdom, September 29 – November 1, 1970 [catalogue]. Don Judd, The Helman Gallery, St. Louis, MO, April 3 – 29, 1970. Don Judd, Leo Castelli Gallery, 4 East 77th Street, and 108th Street Warehouse, New York, NY, April 11 – May 9, 1970. -
Kulturgemeinsam Aus Den Ländern Thema
Das Magazin der Kulturstiftung der Länder Arsprototo 1 ⁄ 2020 #kulturgemeinsam Aus den Ländern Thema Schleswig- Holstein Rostock Unibibliothek Mecklenburg- Druck De novo mundo Erwerbung, Seite 15 Vorpommern Berlin Deutsches Historisches Museum Hamburg George Grosz, Cain or Hitler in Hell Erwerbung, Seite 10 Schloss Charlottenburg Bremen Girandolen für König Friedrich Wilhelm I. Niedersachsen Erwerbung, Seite 17 Hannover Museum August Kestner Berlin Rehberg-Album Bielefeld Erwerbung, Seite 48 Kunsthalle Bielefeld Brandenburg Emil Nolde, Rentner Sachsen- Dresden Erwerbung, Seite 17 Anhalt Nordrhein- Sächsische Landes- Westfalen bibliothek – Staats- und Universitäts bibliothek Köln Erfurt Dresden Museum Schnütgen Kassel Angermuseum Erfurt Silbermann-Archiv Arnt der Bilderschneider Museumslandschaft Altar aus Angelhausen Erwerbung, Seite 14 Ausstellung, Seite 77 Hessen Kassel Restaurierung, Seite 108 Blanckenhagen Freund- Sachsen schaftsalbum Hessen Erwerbung, Seite 48 Zwickau Düren Kunstsammlungen Zwickau Leopold-Hoesch-Museum Thüringen Mainz Max Pechstein, Die Brücke & Papiermuseum Düren Landesmuseum Mainz Erwerbung, Seite 12 Karl Schmidt-Rottluff, Die Kaiser und die Ostsee (Schiffe am Strand) Säulen ihrer Macht Erwerbung nach Ausstellung, Seite 84 Restitiution, Seite 56 Rheinland- junge Ensemble Import Exportvom Kollektiv/das gespielt Welt“, neue „Schöne Bassam Ghazi Regisseur Fischer, Julia Bühnenfassung des Schauspiels Köln, Pfalz Saar- land Bayern Mannheim Nördlingen Reiss-Engelhorn-Museum RiesKraterMuseum Kulturelle Bildung Barocker Hausaltar Meteorit Stubenberg Restaurierung, Seite 16 Erwerbung, Seite 9 Regensburg Die Kulturstiftung der Länder fördert seit vielen Jahren Projekte tischen Wert. Sie dienen auch der Auseinandersetzung über das Kunstforum Ostdeutsche Galerie Baden- Regensburg im Bereich der kulturellen Bildung. Kindern, Jugendlichen und eigene und das gemeinsame Selbstverständnis, über das, was Württemberg Alexander Kanoldt, Stillleben I, Erwachsenen den Zugang zu Kultur zu ermöglichen, berührt uns in einer Gesellschaft gemeinsam ist. -
Dan Flavin (1933 – 1996) Came, Like Tony Smith, Who Was the Subject Of
Dan Flavin (1933 – 1996) came, like Tony Smith, who was the subject of a retrospective at the Kunsthalle Dan Flavin Bielefeld in autumn 2012 celebrating his one hundredth birthday, from the tradition of abstract Drawing expressionism. However, he is really known for his sculptures made of fluorescent lights, which he began 16 12 12 making in 1963. Instead of using color for painting, 03 03 13 Flavin employed it as an intangible material for his work. His light installations, made of white and colored neon tubes, can be seen in the most important Press-Preview: museums in the world. For the first time in a long Thu, 13 12 12 / 11.30 h while drawings from Flavin’s estate are now available Opening: for an extensive exhibition, attesting to his roots in Sun, 16 12 12 / 11.30 h painting. From an early study of a Rembrandt drawing, to abstract expressionist images and writing, to Isabelle Dervaux, who curated construction drawings for his installations, the the exhibition in New York,will drawings also include practically unknown sketches of be present. landscapes, sailboats, and caricature-like portrait sketches. Flavin’s works are supplemented by a variety of drawings by other artists (including Hans Arp, Piet Mondrian, and Donald Judd) from Flavin’s collection. There are also drawings from the Hudson River School, which Flavin acquired for the Dia Art Foundation, raising awareness of the artist’s close ties to a tradition that goes back to the nineteenth century. This is the first monographic exhibition of drawings by Dan Flavin since 1974; it was prepared by the Morgan Library & Museum in New York, where it was on display the last month. -
50 Years of the Kunsthalle Bielefeld 29 09 18 27 01 19
The Kunsthalle Bielefeld is celebrating its fiftieth anniversary Pictures of a in 2018. Designed by the American architect Philip Johnson, the Kunsthalle’s remarkable building was opened to the Collection: public on September 27, 1968. After introducing Johnson in the role of curator in the 2017 exhibition Alfred H. Barr Jr. 50 Years of the und Philip Johnson - Partners in Design, Olaf Nicolai’s show Kunsthalle Chant d’Amour anticipated the anniversary year, focusing on the Kunsthalle’s architecture in a poetic and haunting way. Bielefeld Now, the upcoming anniversary exhibition is dedicated to the Kunsthalle’s art collection. 29 09 18 Comprising around five hundred paintings, two hundred 27 01 19 sculptures, and around 4500 watercolors, drawings, and prints, the Kunsthalle’s collection is obviously older than fifty Press conference: years. It is, however, much younger than other cities’ 27 09 18 / 11 a.m. collections, which were often founded upon the legacy collections of princes. Opening: 28 09 18 / 7 p.m. The first painting, number one in the collection’s inventory, is Am Waldesrand (On the Edge of the Woods) by the Munich painter Ludwig Dill. Executed in 1900, it arrived in Bielefeld in 1905. The city’s first art institution, the Kunsthaus, was founded in 1928. It was located in a villa situated on Hindenburg (now Alfred Bozi) Street. There, the painting and several others found a home under the care of Dr. Heinrich Becker, the new art institution’s volunteer curator. With his many years of service to art, Heinrich Becker is indisputably the founding father of Bielefeld’s art institutions. -
JOHANNA EY: a Critical Reappraisal Vol 1
JOHANNA EY: a critical reappraisal by Michael Hausmann A thesis submitted to The University of Birmingham for the degree of Doctorate of Philosophy Volume 1 Department of German Studies School of Languages, Cultures, Art History and Music College of Arts and Law The University of Birmingham May 2010 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract This study draws on and interprets an extensive corpus of archived materials, in particular from the Stadtmuseum Düsseldorf, to offer the first wide-ranging critical analysis of the written and visual images of the life and legend of Weimar Germany’s most important ‘modern’ art dealers - Johanna Ey (1864 - 1947), commonly known as ‘Mutter Ey’. Once feted by the press as the most portrayed woman in Germany, she contributed greatly to the careers of artists such as Max Ernst, Otto Dix, Gert Wollheim, Otto Pankok and many others and was a vital figure in the ‘modern’ Düsseldorf art scene until she was evicted from her gallery by the Nazis in 1934. This study opens with a factual overview of Ey’s biography. -
Back to Paradise Meisterwerke Des Expressionismus
Back to Paradise Meisterwerke des Expressionismus Die KUNSTSAMMLUNGEN ZWICKAU Max-Pechstein- Museum zeigen in einer Sonderausstellung vom 15. September 2018 bis 6. Januar 2019 über 100 Meisterwerke des Expressionismus. Die Ausstellung führt wichtige Werke aus der Sammlung Häuptli im Aargauer Kunsthaus und der Sammlung im Osthaus Museum Hagen zusammen. Der gesellschaftliche Konservatismus und die voranschreitende Industrialisierung bildeten ein starkes Spannungsverhältnis, was entscheidend zu Beginn des 20. Jahrhunderts zur Entwicklung des Expressionismus beitrug. Das Aufbegehren gegenüber bürgerlichen Normen schlug sich in der Kunst als visuelle Revolte nieder. Eine junge Avantgarde von Künstlern wagte kurz nach 1900 den Aufbruch in die Moder- ne. Ihre kraftvolle Bildsprache war unmittelbarer Ausdruck eines individuellen Lebensge- fühls. Als Gegenentwurf zur europäischen Zivilisation ersehnten sie den Einklang von Mensch und Natur. Auf der Suche nach dem Paradies strebten die Expressionisten nach Ursprünglichkeit in neuen Lebens- und Identitätsmodellen. Expressionistische Kunst in ganzer Breite In der Ausstellung sind hochkarätige Werke der berühmten Künstlervereinigungen des deutschen Expressionismus mit ihren farbintensiven Gemälden und Aquarellen, mit Zeichnungen und Druckgrafiken vertreten. Einen Schwerpunkt bilden die Künstler der Brücke mit Ernst Ludwig Kirchner, Max Pechstein, Erich Heckel, Otto Mueller, Karl Schmidt-Rottluff und Emil Nolde. Aber auch in anderen Regionen Deutschlands streben Künstler nach einer Kunst, deren Inhalt auf subjektiver Erfahrung beruht. Dazu lösen sie sich von traditionellen Bildformeln und bedienen sich einer direkten und expressiven Bildsprache. Dynamische Strichführungen und Farbflächen charakterisieren ihre Werke. So sind aus den Reihen der Neuen Künstlervereinigung München und der Gruppe Blauer Reiter Wassily Kandinsky, August Macke, Franz Marc, Gabriele Münter und Alexej von Jawlensky zu sehen. Hinzu treten u. -
Totalitarian Art and Modernity
KfkXc`kXi`Xe8ikXe[Df[\ie`kp v27_TOT(4k).indd 1 01/11/10 13:51:33 v27_TOT(4k).indd 2 01/11/10 13:51:33 <[`k\[YpD`bb\c9fckIXjdljj\eAXZfYNXdY\i^ KFK8C@K8I@8E 8IK8E; DF;<IE@KP v27_TOT(4k).indd 3 01/11/10 13:51:34 KfkXc`kXi`Xe8ikXe[Df[\ie`kp Acta Jutlandica. Humanities Series 2010/9 © The authors and Aarhus University Press 2010 Cover design: Peter Holst Henckel Cover illustration: Ferdinand Staeger, We Are the Soldiers of Work (1938), oil on canvas Bogen er sat med Nobel på Fresco og trykt hos Narayana Press, Gylling Printed in Denmark 2010 issn 0065-1354 (Acta Jutlandica 9) issn 0901-0556 (Humanities Series) isbn 978 87 7934 5607 Aarhus University Press Aarhus Langelandsgade 177 8200 Århus N Copenhagen Tuborgvej 164 2400 Copenhagen NV www.unipress.dk Fax 89 42 53 80 International distributors: Gazelle Book Services Ltd. White Cross Mills Hightown, Lancaster, LA1 4XS United Kingdom www.gazellebookservices.co.uk The David Brown Book Company Box 511 Oakville, CT 06779 USA www.oxbowbooks.com GlYc`j_\[n`k_k_\ÔeXeZ`Xcjlggfikf] K_\EfmfEfi[`jb=fle[Xk`fe K_\E\n:XicjY\i^=fle[Xk`fe v27_TOT(4k).indd 4 01/11/10 13:51:34 K89C<F=:FEK<EKJ @ekif[lZk`feYpD`bb\c9fckIXjdljj\eAXZfYNXdY\i^ / >\e\Xcf^`\j 8e[\ijM%DleZ_ I\[\dgk`fe`eKfkXc`kp%:lckliXcLkfg`Xjf]CXk\ IfdXek`Z`jdXe[:ifjjifX[jf]8ikXe[Gfc`k`Zj1NX^e\i# 9\_i\ej#=`[lj#?`kc\i (0 AXZfYNXdY\i^ Nfle[\[Nfib`e^?\if\j1J\\`e^D`cc\kXe[mXe>f^_ k_ifl^_k_\:c\]kC\ejf]KfkXc`kXi`Xe`jd8[[`e^I\Õ\Zk`fej ]ifdB`\]\iXe[9Xj\c`kq *- I\Z\gk`fe D`bb\c9fckIXjdljj\e 8ggifXZ_`e^KfkXc`kXi`Xe`jdXe[KfkXc`kXi`Xe8ik ('0 DXicXJkfe\ K_\Kliekf:lckli\`e=XjZ`jk?`jkfi`ZXcJkl[`\j (*' Bi`jk`e\E`\cj\e N_Xk<m\i?Xgg\e\[kf<iejk9XicXZ_6<Xjk>\idXe Gfc`k`ZXcDfeld\ekjXe[k_\8ikf]I\j`jkXeZ\ (+.