Art & History of Vienna
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Work in Progress. Report on Rudolf Von Eitelberger: Netzwerker Der
Work in Progress. Report on Rudolf von Eitelberger: Netzwerker der Kunstgeschichte. Conference held for the 200th Anniversary of the birth of Rudolf Eitelberger (1817-1885). Museum of Applied Art, Vienna, 27-29 April 2017.1 Matthew Rampley Rudolf Eitelberger is commonly recognised as a key figure in the institutional formation of art history as a scholarly discipline. The first professor of art history in Austria and only the second in Europe, he also organised the first international art historical congress in 1873. He persuaded Emperor Franz Joseph to found the Museum for Art and Industry and was involved in the establishment of many other museums of design and industry across the Habsburg Empire. He was also influential in the development of monument conservation and protection in Austria. One can therefore safely state that without him the landscape of the nineteenth-century art world in Austria-Hungary would have been markedly different. How should we, therefore, assess his legacy? Even though his name may be familiar to art historians, he has seldom been the subject of close analysis and, if asked, few would be able to do more than repeat the brief outline provided above. This symposium set out to address that deficit, with 19 presentations on his social and intellectual origins, his involvement in Viennese cultural politics, his work as museum director, and his broader social, political and intellectual concerns. As the initiator of the Vienna School of Art History, he is invariably compared with his better known successors, such as Alois Riegl or Max Dvořák, but this is probably misconceived. -
History Society Trip to Prague and Vienna, 2018
History Society trip to Prague and Vienna, 2018 As one of the Trip Officers for the Edinburgh University History Society, Student Ambassador Carmen was responsible for organising a trip to Budapest and Vienna for 40 society members during Innovative Learning Week. While we were only away for 5 days, it felt like ages because we did so much in both cities! – Carmen Day 1: Monday, 19th of February Our flight to Budapest was extremely early – but this meant we got there really early too, giving us plenty of time to get our bearings! While the sky was blue, it was freezing cold as we walked around streets on the Pest side of the city, taking in the amazing views of Liberty Square & Parliament Square. After giving everyone a few hours to have dinner (and a nap after a long day of travelling!), we met up again to see the iconic Hungarian Parliament building light up at night. Here, we were able to get a big group photo, before running off to take some night shots of the stunning view over the River Danube! Day 2: Tuesday, 20th of February On our second day, we walked along the Széchenyi Chain Bridge (covered in snow!) to go across the Danube to Buda Castle. Using our trusty Budapest Cards, we were able to get a free Castle bus that took us outside the building – a lifesaver considering it was a very uphill walk! Some of our group were lucky enough to see the changing of the guard at the Sándor Palace, the residence of the Hungarian President. -
Introduction Podge of Half-Anonymous Nationalities and Clumsily Struggling Against the Fresh, Ambitious, and Apparently Victorious Idea of Nationalism
IN TRODUCTION ustria-Hungary ceased to exist almost a hundred years ago. The A oldest generation of Central Europeans can remember it from their parents’ and grandparents’ stories. The majority of them learned about it in high school and associates the monarchy with its few roy- als, particularly the late Franz Joseph and his eccentric wife Elisabeth. Those figures, already famous during their lifetime, entered the realm of popular culture and remain recognizable in most countries of Eu- rope, providing a stable income for the souvenir industry in what used to be their empire and inspiration for screenwriters on both sides of the Atlantic. Naturally, the situation varies from country to country as far as history textbooks and historical monuments are concerned. Thus, Austrians and Hungarians are generally more familiar with the monarchy than are the Germans or Poles, not to mention the British and French, whereas Serbs, Italians, Czechs, and Romanians tend to be highly suspicious of it. The old monarchy also built quite well, so modern travelers who wish to see what is left of the Habsburg em- pire do not need to limit their curiosity to imperial residences, nor to the opera houses in cities such as Prague, Lviv, and Zagreb. In most cities of former Austria-Hungary, visitors can get acquainted with Habsburg architecture at the railway station. In this respect Vienna, heavily bombed by the Anglo-American air forces and the Soviet artil- lery during World War II, is merely a sad exception. Other traces of the 1 imperial past can still be discovered in many private apartments, an- tique shops, and retro-style cafés, in cemeteries, and old photographs. -
Sources for Genealogical Research at the Austrian War Archives in Vienna (Kriegsarchiv Wien)
SOURCES FOR GENEALOGICAL RESEARCH AT THE AUSTRIAN WAR ARCHIVES IN VIENNA (KRIEGSARCHIV WIEN) by Christoph Tepperberg Director of the Kriegsarchiv 1 Table of contents 1. The Vienna War Archives and its relevance for genealogical research 1.1. A short history of the War Archives 1.2. Conditions for doing genealogical research at the Kriegsarchiv 2. Sources for genealogical research at the Kriegsarchiv 2. 1. Documents of the military administration and commands 2. 2. Personnel records, and records pertaining to personnel 2.2.1. Sources for research on military personnel of all ranks 2.2.2. Sources for research on commissioned officers and military officials 3. Using the Archives 3.1. Regulations for using personnel records 3.2. Visiting the Archives 3.3. Written inquiries 3.4. Professional researchers 4. Relevant publications 5. Sources for genealogical research in other archives and institutions 5.1. Sources for genealogical research in other departments of the Austrian State Archives 5.2. Sources for genealogical research in other Austrian archives 5.3. Sources for genealogical research in archives outside of Austria 5.3.1. The provinces of the Austro-Hungarian Monarchy and its “successor states” 5.3.2. Sources for genealogical research in the “successor states” 5.4. Additional points of contact and practical hints for genealogical research 2 1. The Vienna War Archives and its relevance for genealogical research 1.1. A short history of the War Archives Today’s Austrian Republic is a small country, but from 1526 to 1918 Austria was a great power, we can say: the United States of Middle and Southeastern Europe. -
A Pair of Art Deco Amboyna and Gilt Armchairs Attributed to Josef Hoffmann of Vienna
A Pair of Art Deco Amboyna and Gilt Armchairs Attributed to Josef Hoffmann of Vienna Circa 1910 – 12 23.5 x 20.5 x 44 in high (60 x 52 x 112 cm high) The tops of the curved attenuated backs are fitted with giltwood cappings. The backs and fronts of the high backs are quarter veneered and the arms are curved and shaped around the seat. With square legs and upholstered in a brown patterned velvet. Josef Hoffmann (1870-1956) was an ! Austrian architect, interior designer and applied artist. He studied architecture at the Academy of Fine Arts in Vienna, Austria, under Art Nouveau architect Otto Wagner, whose theories of functional, modern architecture profoundly influenced his works and, in 1896, he joined his office. ! In 1898, he established his own practice in Vienna. In 1897, inspired by Mackintosh and the Glasgow School, he was one of the founding members with Gustav Klimt, of an association of revolutionary artists and architects, the Vienna Secession.!!In 1903, he founded, with architects Koloman Moser and Joseph Maria Olbrich, the Wiener Werkstätte for decorative arts. ! They aspired to the renaissance of the arts and crafts and to bring more abstract and purer forms to the designs of buildings and furniture, glass and metalwork, following the concept of total work of art. Hoffman's works combined functionality and simplicity of craft production with refined and innovative ornamental details and geometric elements. He is an important precursor of the Modern Movement and Art Deco. !!In 1905, Hoffmann, Klimt and the Wiener Werkstätte artists, designed the Palais Stoclet, in Brussels, the Capital of Art Nouveau and city of Victor Horta. -
The Secret of the Musikverein and Other Shoebox Concert Halls
Proceedings of the Institute of Acoustics THE SECRET OF THE MUSIKVEREIN AND OTHER SHOEBOX CONCERT HALLS T Lokki Aalto University School of Science, Department of Computer Science, Finland J Pätynen Aalto University School of Science, Department of Computer Science, Finland S Tervo Aalto University School of Science, Department of Computer Science, Finland A Kuusinen Aalto University School of Science, Department of Computer Science, Finland H Tahvanainen Aalto University School of Science, Department of Computer Science, Finland A Haapaniemi Aalto University School of Science, Department of Computer Science, Finland 1 INTRODUCTION AND MOTIVATION The Musikvereinssaal in Vienna is indisputably one of the most admired concert halls in the world. Even those who prefer defined and clear sound to overwhelming enveloping reverberation praise the acoustics of the Musikverein. Researchers have studied the acoustics of this golden hall, mostly by the objective measures, but still the superior acoustics remains unexplained. General consensus among acousticians seems to be that numerous strong early lateral reflections, high ceiling, and bright en- veloping reverberation are the keys to the success. Here, we aim to explain the acoustics of shoebox concert halls, including the Musikverein, with the measurements of spatial impulse responses. More- over, we propose to shift the research focus in concert hall acoustics from traditional energy decay based parameters towards aspects on how acoustics can support music and make it more enjoyable. Although the Musikverein provides strong sensations for any listeners not all people like its overwhelm- ing reverberation in blind listening. We have recently conducted a large listening test 8 that included preference judgements between six concert halls on three different seats with two different signals. -
The Jewish Middle Class in Vienna in the Late Nineteenth and Early Twentieth Centuries
The Jewish Middle Class in Vienna in the Late Nineteenth and Early Twentieth Centuries Erika Weinzierl Emeritus Professor of History University of Vienna Working Paper 01-1 October 2003 ©2003 by the Center for Austrian Studies (CAS). Permission to reproduce must generally be obtained from CAS. Copying is permitted in accordance with the fair use guidelines of the U.S. Copyright Act of 1976. CAS permits the following additional educational uses without permission or payment of fees: academic libraries may place copies of CAS Working Papers on reserve (in multiple photocopied or electronically retrievable form) for students enrolled in specific courses; teachers may reproduce or have reproduced multiple copies (in photocopied or electronic form) for students in their courses. Those wishing to reproduce CAS Working Papers for any other purpose (general distribution, advertising or promotion, creating new collective works, resale, etc.) must obtain permission from the Center for Austrian Studies, University of Minnesota, 314 Social Sciences Building, 267 19th Avenue S., Minneapolis MN 55455. Tel: 612-624-9811; fax: 612-626-9004; e-mail: [email protected] 1 Introduction: The Rise of the Viennese Jewish Middle Class The rapid burgeoning and advancement of the Jewish middle class in Vienna commenced with the achievement of fully equal civil and legal rights in the Fundamental Laws of December 1867 and the inter-confessional Settlement (Ausgleich) of 1868. It was the victory of liberalism and the constitutional state, a victory which had immediate and phenomenal demographic and social consequences. In 1857, Vienna had a total population of 287,824, of which 6,217 (2.16 per cent) were Jews. -
Caecilia V82n02 1955 01.Pdf
Intr. ~ - r iI-+-+-a--II - 5. ~-·-_-I-.-.I-.~-:;==....-._-_~~_.-·_"_-_~__· '-~__ G Ircumdede-runt me· - gemi-tus mortis, do-l6- res Intr. +-.----------- 1----· 1···~~.1 t · . }I-..I. • 1If-~---="'--=---I---~ a · ~ ~ ----!-! U Xsurge,'" qua-re obdormis Domine? exsur- Intp. I .f.------- ~ -':'"""':~=--k:~ ~~=--.-·+I-.-- ~ 6. I I.. H'.. II ... ....... € -sto mlhl - in De- um pro- te-ct6- rem, et in VOLUME 82 - Number 2 JANUARY - FEBRUARY, 1955 dlCRexneUJ OJ:CO.UloacchuRCh fr:"schoo~mUS1C What the Critics Say: "Can you imagine a hymnal in which every single entry is completely acceptable on all grounds, musical and liturgical? I am not in the pay of the publisher when I urge every organist in the country to rush out and buy the new Pius X THE Hymnal ..." Paul Hume in The Sign. • "One can earnestly recommend this outstanding hymnal for the serious consideration of all choir PIUS Inasters looking for music of exceptional quality and worth." A. C. B. in The Diapason. • "This collection is in every way superior to all our TENTH hymnals now in use". J. W. E. in The Catholic Standard, Washington, D. C. • HThe hymnal is rich in gems and choirmasters HYMNAL will find much to interest singers and to enrich their repertoire." J. V. H. in T he Catholic Choirmaster. Edited, Arranged and Compiled • by the "The organist and choir director will find in its 500 pages a rich treasure of music that blends, in PIUS TENTH SCHOOL the words of Cardinal Spelhnan, 'mind, heart and voice in adoration, praise and thanksgiving of to Almighty God and His wondrous works.'" Bartholomew Sales, OSB, in Worship. -
Grosser Saal Klangwolke Brucknerhaus Präsentiert Von Der Linz Ag Linz
ZWISCHEN CREDO Vollendeter Genuss TRADITION BEKENNTNIS braucht ein & GLAUBE perfektes MODERNE Zusammenspiel RELIGION Als führendes Energie- und Infrastrukturunternehmen im oberösterreichischen Zentralraum sind wir ein starker Partner für Wirtschaft, Kunst und Kultur und die Menschen in der Region. Die LINZ AG wünscht allen Besucherinnen und Besuchern beste Unterhaltung. bezahlte Anzeige LINZ AG_Brucknerfest 190x245.indd 1 02.05.18 10:32 6 Vorworte 12 Saison 2018/19 16 Abos 2018/19 22 Das Große Abonnement 32 Sonntagsmatineen 44 Internationale Orchester 50 Bruckner Orchester Linz 56 Kost-Proben 60 Das besondere Konzert 66 Oratorien 128 Hier & Jetzt 72 Chorkonzerte 134 Moderierte Foyer-Konzerte INHALTS- 78 Liederabende 138 Musikalischer Adventkalender 84 Streichquartette 146 BrucknerBeats 90 Kammermusik 150 Russische Dienstage 96 Stars von morgen 154 Musik der Völker 102 Klavierrecitals 160 Jazz VERZEICHNIS 108 Orgelkonzerte 168 Jazzbrunch 114 Orgelmusik zur Teatime 172 Gemischter Satz 118 WortKlang 176 Kinder.Jugend 124 Ars Antiqua Austria 196 Serenaden 204 Kooperationen 216 Kalendarium 236 Saalpläne 242 Karten & Service 4 5 Linz hat sich schon längst als interessanter heimischen, aber auch internationalen Künst- Der Veröffentlichung des neuen Saisonpro- Musik wird heutzutage bevorzugt über diverse und innovativer Kulturstandort auch auf in- lerinnen und Künstlern es ermöglichen, ihr gramms des Brucknerhauses Linz sehen Medien, vom Radio bis zum Internet, gehört. ternationaler Ebene Anerkennung verschafft. Potenzial abzurufen und sich zu entfalten. Für unzählige Kulturinteressierte jedes Jahr er- Dennoch hat die klassische Form des Konzerts Ein wichtiger Meilenstein auf diesem Weg war alle Kulturinteressierten jeglichen Alters bietet wartungsvoll entgegen. Heuer dürfte die nichts von ihrer Attraktivität eingebüßt. Denn bislang auf jeden Fall die Errichtung des Bruck- das ausgewogene und abwechslungsreiche Spannung besonders groß sein, weil es die das Live-Erlebnis bleibt einzigartig – dank der nerhauses Linz. -
Art & History of Vienna
Art & History of Vienna Satoko Friedl Outline History Architecture Museums Music Eat & Drink Satoko Friedl: Art & History of Vienna 26 September 2011 2 History Architecture Museums Music Eat & Drink Satoko Friedl: Art & History of Vienna 26 September 2011 3 "It all started with a big bang…" Satoko Friedl: Art & History of Vienna 26 September 2011 4 Prehistoric Vienna . Sporadic archeological finds from Paleolithic age . Evidence of continuous settlements from Neolithic age (~5000 BC) Venus of Willendorf (~25000 BC, Naturhistorisches Museum) Satoko Friedl: Art & History of Vienna 26 September 2011 5 Vindobona: The Roman Fortress . Founded ~20 AD (after today‘s Austria was conquered) . "Standard" layout Roman military camp (castrum) surrounded by civilian city . Several excavation sites and archeological finds Reconstruction of Vindobona Satoko Friedl: Art & History of Vienna 26 September 2011 6 Roman Excavations in Vienna (1) Roman floor heating (Excavations in Römermuseum, Hoher Markt) Roman stones from the thermae (Sterngasse/Herzlstiege) Satoko Friedl: Art & History of Vienna 26 September 2011 7 Roman Excavations in Vienna (2) Roman and medieval houses (Michaelerplatz) Satoko Friedl: Art & History of Vienna 26 September 2011 8 Location of the Roman Fortress (1) . Upper edge was washed away by a flood in 3rd century Satoko Friedl: Art & History of Vienna 26 September 2011 9 Location of the Roman Fortress (2) Street called "Tiefer Danube Graben" canal (deep moat) Rotenturm- strasse Place called "Graben" (moat) St. Stephen‘s Cathedral Tiefer Graben(modern city center) Satoko Friedl: Art & History of Vienna 26 September 2011 10 Old Friends… Is it worth the long travel? Obelix, shall we go to Vindobona? Satoko Friedl: Art & History of Vienna 26 September 2011 11 The Dark Ages . -
A House in the City – in the Context of Secession Aesthetics
MaRia MaLzacheR* a hoUse in the citY – in the conteXt oF secession aesthetics DoM MieszkaLnY w MieŚcie – w kontekŚcie estetYki secesYjnej a b s t r a c t a new image of the house in the city is presented against the background of the secession aesthetics as a manifestation of new attempts, concepts and modernist trends in early 20th-century architecture and denial of the stylistic principles of jaded historical forms of art. the search for a new expression of buildings and achieve- ment of “architectural unity” indicate the dualistic challenge of creating a form os- cillating between utility and aesthetics. the means of expression of the secession aesthetics associated with the aspects of visual perception, as carriers of ideas, sym- bols and semantic connotations in the creation of new transformations of the archi- tectural urban space are analysed on the bases of selected examples: houses in cities and towns of autonomous Galicia. Keywords: house, Secession architecture, aesthetics s treszczenie w artykule przedstawiono zagadnienia związane z kształtowaniem nowego obli- cza domu mieszkalnego w mieście w kontekście estetyki secesyjnej jako przejaw wyrazu nowych dążeń, poglądów i modernistycznych tendencji w architekturze po- czątku XX w. oraz negacji stylistycznego kanonu przeżytych form historycznych. Poszukiwania nowego wyrazu budowli i osiągnięcia „architektonicznej jedności” ukazują dualistyczną dążność kształtowania jej formy oscylującej pomiędzy jej użytecznością a estetyką. Środki wyrazu estetyki secesyjnej związane z aspektem percepcji wizualnej, jako nośniki idei, symboli i konotacji znaczeń w kreowaniu nowej transformacji przestrzeni architektonicznej miasta, zanalizowano na wybra- nych przykładach – domów mieszkalnych ośrodków i miast autonomicznej Galicji. Słowa kluczowe: dom mieszkalny, architektura secesyjna, estetyka * PhD. -
Vienna Guide
April 22—24, 2015, Vienna, Austria Hotel Park Royal Palace Vienna Guide SIGHTSEEING Vienna is old, Vienna is new… and the sights are so varied: from the magnificent Baroque buildings to “golden” Art Nouveau to the latest architecture. And over 100 museums beckon… ALBERTINA The Albertina has the largest and most valuable graphical collection in the world, including works such as Dürer’s “Hare” and Klimt‘s studies of women. Its latest exhibition presents masterpieces of the Modern era, spanning from Monet to Picasso and Baselitz. As the largest Hapsburg residential palace, the Albertina dominates the southern tip of the Imperial Palace on one of the last remaining fortress walls in Vienna. ANKER CLOCK This clock (built 1911–14) was created by the painter and sculptor Franz von Matsch and is a typical Art Nouveau design. It forms a bridge between the two parts of the Anker Insurance Company building. In the course of 12 hours, 12 historical figures (or pairs of figures) move across the bridge. Every day at noon, the figures parade, each accompanied by music from its era. AUGARTEN PORCELAIN MANUFacTORY Founded in 1718, the Vienna Porcelain Manufactory is the second-oldest in Europe. Now as then, porcelain continues to be made and painted by hand. Each piece is thus unique. A tour of the manufactory in the former imperial pleasure palace at Augarten gives visitors an idea of how much love for detail goes into the making of each individual piece. The designs of Augarten have been created in cooperation with notable artists since the manufactory was established.