DOCSLIB.ORG

Sustainability Report 2013

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sustainability Report 2013 Sustainability Report 2013 generali.com 182 nd year Rio de Janeiro, Brasil One identity, continuously changing perspectives. Being yourself in every part of the world. Being able to integrate in different realities, aware of your own strengths and paying the correct attention to ethical and social issues. The Group identity is the fundamental pillar at the base of the global growth of Assicurazioni Generali: one single overall view which, thanks to the main focus on business development in each country, respects context and market-related differences, creates synergy between fi nancial and social responsibility, produces value for each stakeholder. In our Report we provide shareholders, clients, agents, employees, local and fi nancial communities with the results of our philosophy, a modern business mindset which is able to offer concrete perspectives. One identity, continuously changing perspectives. Being yourself in every part of the world. Being able to integrate in different realities, aware of your own strengths and paying the correct attention to ethical and social issues. The Group identity is the fundamental pillar at the base of the global growth of Assicurazioni Generali: one single overall view which, thanks to the main focus on business development in each country, respects context and market-related differences, creates synergy between fi nancial and social responsibility, produces value for each stakeholder. In our Report we provide shareholders, clients, agents, employees, local and fi nancial communities with the results of our philosophy, a modern business mindset which is able to offer concrete perspectives. 4 | Generali Group - Sustainability Report 2013 Letter from the Chairman and Group CEO to stakeholders 2013 was a crucial year for Generali. In a complex economic Our unwavering commitment to the sustainable development climate, the Group regained its vitality as a result of a strategy of our Group also gains its strength from our participation in the based on discipline, focus and simplicity. By executing the new United Nations Global Compact as to promote ten principles strategic plan, we achieved significant results and reached several in the areas of respect for human rights and labour standards, targets set out in the three-year plan ahead of schedule. These environmental protection and the fight against corruption. results were also achieved due to the Group's transformation - Through the Charter of Sustainability Commitments, introduced strengthened managerial structure and streamlined, improved last year, we began to outline a road map for their implementation governance. in the various areas of corporate operations, extending the target-based management approach already tested on the The milestones achieved are proof of the commitment from all of environmental area to social issues. us to create value for the Company and for all of its stakeholders: for shareholders and investors, who have seen increased value The definition of a new Vision, a clear Mission and a sound and returns of their investments, as well as for our clients, set of Values, which are the foundation for the development of whose trust we intend to strengthen and build on, as they are a Generali Group culture, representing our beliefs and setting us determining factor for our success. apart, also made 2013 an important year. We are aware that we have been able to achieve these results Within Generali, social responsibility is a way of doing business only thanks to our employees and their hard work. This is why which enables us to share our successes with the parties that help we welcome and cultivate talents, encourage participation in us achieve them and maintain them over time. Our stakeholders' an inclusive work environment which benefits from diversity, appreciation for our work and results achieved drives us to and offer everyone opportunities by recognising each person's continue on this path. contribution and value based on meritocracy. In the communities we operate in, we work with authorities Gabriele Galateri di Genola Mario Greco and non-profit organisations on projects capable of improving Chairman Group CEO people's lives. We also feel responsible for preserving the environment for the benefit of future generations. At Generali we have been making a concrete effort, for years now, to reduce our consumption of natural resources and greenhouse gas emissions, taking an approach aimed at preventing the occurrence of serious damage to the environment by promoting environmentally- sustainable behaviour. Letter from the Chairman and Group CEO to stakeholders - Generali Group | 5 Sustainability Report 2013 München, Germany Sustainability Report 2013 8 | Generali Group - Sustainability Report 2013 Index - Generali Group | 9 10 Insight 50 Human capital Index development processes 12 We, Generali 51 International mobility 14 The main milestones 51 Remuneration policies and in our sustainability incentive systems 52 Group training commitment 53 Diversity and inclusion 16 Vision, Mission and Values 53 The Group approach 18 Bodies for CSR development 54 Work-life balance 19 Policies and management tools 56 Live the community 20 Code of Conduct 58 Donations and 20 Ethical Code for suppliers commercials ponsorships 21 Ethical Guidelines for Investments 58 Volunteering Figures for 2013 24 Charter of Sustainability 60 Commitments 61 Our approach 24 Main social and 63 Our action areas environmental risks and opportunities 66 Generali and the 25 Respect for human rights environment 25 Fight against corruption 68 Our approach: objectives 27 Be open and commitments 69 The tool for managing 30 Deliver on the promise them: the Environmental 32 Commitment to Management System our clients 69 The reduction of 32 Become a true client centric direct impact company program 69 Energy 34 Engagement and dialogue 72 Water 36 Products and services 72 Paper with particular social and 73 Waste environmental value 74 Mobility 39 Socially responsible 76 Greenhouse gas emissions investment products 39 Multi-channels and multi-access 76 Climate change: services a global problem 40 The service provided to policyholders 76 Risks and opportunities 41 Services for life insurance for insurers policyholders 77 Our approach 42 Commitment to 77 Prevention and raising our shareholders awareness: our role 44 Value our people 80 Appendix 46 Our people 83 Sustainability Objectives and Commitments for 47 Communication within the Group 2013-2015 48 Leadership model 99 Content index (GRI3.1) and UN Global Compact 49 Talent management Principles 10 | Generali Group - Sustainability Report 2013 Insight This year we are publishing our tenth Sustainability Report. We Firstly, in telling our story, we felt the need to express the are acting with renewed vigour with the intention of providing profound change under way in our Group which, in the last suitable information on our main activities through which we year, has set a new governance and strategy, emphasized on have expressed our commitment to sustainable business in our ethical principles in the new Code of Conduct and, in this the last year. We address a wide audience, comprised of our new scenario, revised our vision, mission and values. clients, all consumers, our employees and the communities in which we operate, to which we intend to provide information Thus, we selected the contents of the 2013 Sustainability in addition to that provided through the other communications Report following an approach based on our new vision published, targeted to better meet the needs of the financial and mission as to discuss our values and how we embody community. and implement them in the relationships with our various stakeholders. As part of the latter, in the report we have kept These include, above all, the 2013 annual report which, for the in mind the primary stakeholders that are the target of this first time, we have drawn up as an integrated report, not only document – clients and consumers in general, employees and providing information on our economic and financial results, the community - even though all stakeholders are important to but also explaining how we achieved such results, the specific us, as they all affect our decisions and actions in some way and strategies, business model and actions implemented and, to some extent. We have also considered a ‘dumb’ stakeholder, especially, describing them in the wider context of creating the environment where all the above mentioned categories of value for all stakeholders. people live, that therefore is dear to all. This point perfectly captures the underlying reasons for The document we have created is not intended to be exhaustive Corporate Social Responsibility, which forms the basis of the and should not be considered as such: in selecting the topics Sustainability Report we are publishing and, in the same spirit, to cover in depth, we tried to match the range of corporate aims at describing everything we have done, why and how we interests, resulted from people responsible for the functions have taken these actions, and the results we have achieved. concerned, with those of our stakeholders, directly assessed during the opportunities for dialogue which will be described Before going into detail, we will attempt to provide some or reported on from the various available sources. The results guidelines to help you navigate the report and its content. of this constitute a step towards a Sustainability Report that Workforce Sales Force Financial Community Insight
Load more

Recommended publications
  • Ars 2007 Ročník / Volume 40 Číslo / Number 2 Obsah / Contents Poznámka ZostavovateA / Editorial (121)
    ars 2007 Ročník / Volume 40 Číslo / Number 2 Obsah / Contents Poznámka zostavovatea / Editorial (121) ŠTÚDIE / ARTICLES I. Vladimir P. GOSS Borders of Art History in a Europe without Borders (123) Hranice dejín umenia v Európe bez hraníc Milena BARTLOVÁ Creating Borders. The Uses of Art Histories in Central Europe (129) Vytváření hranic. Užití dějin umění ve střední Evropě Ernő MAROSI Zwischen Kunstgeographie und historischer Geographie. Das Königreich und der Ständestaat Ungarn im Mittelalter (135) Medzi geografiou umenia a historickou geografiou. Uhorsko ako kráovstvo a stavovský štát v stredoveku Ján BAKOŠ Vienna School Disciples and “The New Tasks” of Art History (145) Žiaci viedenskej školy a „nové úlohy“ dejín umenia II. Zsombor JÉKELY Regions and Interregional Connections. A group of Frescoes in the Kingdom of Hungary from around 1420 (157) Regióny a medziregionálne prepojenia. Skupina fresiek na územní Uhorského kráovstva okolo roku 1420 Marie LIONNET Borders in Central Europe during the Middle Ages. Some Iconographical Reflections about the Wall Paintings in Hungary (169) Hranice v strednej Európe počas stredoveku. Niekoko ikonografických reflexií o nástennom maliarstve v Uhorsku Ivan GERÁT Das Phänomen der Grenze in mittelalterlichen Bildlegenden der Heiligen Elisabeth von Ungarn (177) Fenomén hraníc v stredovekých obrazových legendách sv. Alžbety Uhorskej III. Jeannie J. ŁABNO Shifting Borders, Conceptual Identities and Cultural Boundaries. Child Commemoration in Renaissance Poland (185) Posúvanie hraníc, konceptuálne identity a kultúrne obmedzenia. Pomníky a náhrobky detí v renesančnom Posku Tadeusz J. ŻUCHOWSKI Kunstgeschichte zwischen Erinnern und Vergessen. Über Forschungen zur Kunst Preußenlandes (195) Dejiny umenia medzi spomínaním a zabúdaním. O výskume umenia Pruska Sergiusz MICHALSKI The Concept of National Art, Problems of Artistic Periphery and Questions of Artistic Exchange in Early Modern Europe (207) Koncept národného umenia, problémy umeleckej periférie a otázky umeleckej výmeny v Európe obdobia raného novoveku IV.
    [Show full text]
  • Martin Krummholz, Antonio Porta and Seventeenth-Century Central
    RIHA Journal 0118 | 23 March 2015 Antonio Porta and Seventeenth-Century Central European Architecture Martin Krummholz Originally published as: "Antonio Porta a středoevro ská architektura 1#$ %tolet&'" in( Martin M"dl )ed$*' Barokní nástěnná malba v českých zemích. Tencalla I' Praha 2012' $ 251+2,5$ ranslation initiated by: Pavla Machal&kov"' Institute o- Art History o- the /0ech Acade1y o- %ciences' Pra2ue Abstract The text places the work of Antonio Porta (1631/32-1702) in the broader context of !"ropean architect"re# It e%phasises the close connections between Porta's architect"re an the work of 'rancesco (aratti an )ean *aptiste +athe,- an the co%%on startin.- point for these artists, which was the /iennese architect"re of 'iliberto 0"cchese an 1io2anni Pietro Tencalla# The architect"re of the Tro3a chateau of (o"nt 4ternber. can also be interprete in this context5 it raws on the analo.o"s sub"rban su%%er resi ences in /ienna (Lusthäuser)# There were also si.nificant connections between %i - 17th cent"r, (entral !"ropean architect"re an the Pie %ont %etropolis of T"rin- which was bein. e2elope on a .ran scale at that ti%e# 6n the one han there were %an, artists fro% the 0".ano re.ion acti2e in T"rin who later went on to work in (entral !"rope- an on the other n"%ero"s (entral !"ropean aristocrats sta,e for a while in T"rin as part of their .ran to"r# It was 2ia T"rin that the infl"ences of 'rench architect"re were reflecte in the *ohe%ian an (entral !"ropean %ilie"s.
    [Show full text]
  • Falll 05 Newsletter
    THE AUSTRIAN ROOM entrance is surmounted by a quotation from Maximilian I that symbolizes the propensity of the Habsburgs to expand their empire through well- arranged marriages. The Concept The Austrian Room is based on elements from the The Floor and Furniture Haydnsaal (Haydn Hall) in Schloss Esterhazy – a The rose pattern of the wood parquet floor originated castle in the small town of Eisenstadt, the provincial in Austria where it graces numerous castles. Quarter capital of Burgenland, near Vienna. Originally built sawn oak laid in a sunburst design is bordered by a in 1371, the Gothic fortress was transformed into a walnut strip, producing a three-dimensional effect. spacious baroque castle in the late 1600’s. In 1761, The seminar table and chair design replicates the Prince Nicholaus Esterhazy hired Joseph Haydn as Imperial dining room furniture in Vienna’s Hofburg. second conductor. Haydn eventually became Firma Friedrich Otto Schmidt, a venerable Viennese Kapellmeister with his own orchestra. His 107 firm, created the furniture using traditional methods symphonies caused him to be known as “the father of that render it almost indistinguishable from that in the symphony.” Haydn’s concerts and operas, the Hofburg. performed in the spacious Haydnsaal, often commanded the royal family’s attendance. Display Cases In the room’s display cases, one can see a reflection of the oldest period of Austrian culture in the replica The Ceiling Murals of the Venus of Willendorf, a Stone Age sculpture These murals are inspired by those decorating the that dates from 28,000-22,000 B.C. Fashioned of Haydnsaal’s ceiling.
    [Show full text]
  • Moravia Town and Countryside of a Forgotten Province
    MARTIN RANDALL TRAVEL ART • ARCHITECTURE • GASTRONOMY • ARCHAEOLOGY • HISTORY • MUSIC • LITERATURE Moravia Town and countryside of a forgotten province 13-20 June 2022 (mi 391) 8 days • £2,910 Lecturer: Martin Randall A little-known corner of Europe with a fascinating architectural patrimony. Unspoilt historic towns, Renaissance palaces, extraordinary Baroque churches. Enchanting landscape and historic gardens. For a couple of decades in the ninth century the Great Moravian Empire encompassed not only Czech and Slovak lands but also parts of what are now Austria, Hungary and Poland. This agglomeration of territories rapidly disintegrated, and neighbouring Bohemia began to take shape and take priority. Ever since then Moravia has been the lesser member in an enduring partnership with Bohemia. Yoked together, they fell together under Habsburg suzerainty in 1526, emerged together in 1920 to form (with Slovakia) the new Czechoslovakia, and stayed together in 1993 to form the Czech Republic (shorn of Slovakia). It may have been politically provincial but it was a prosperous area and quite close to the chief metropolis of Central Europe, Vienna. Lednice, after Josef Vaic (1884–1961). Its rich architectural and artistic patrimony includes fine Renaissance country houses, outstanding Baroque palaces and churches, Day 2: Vranov nad Dyjí, Jaroměřice. Perched Day 4: Brno. The present capital of Moravia, bizarre buildings by Jan Santini-Aichel, historic high above a gorge close to the Austrian and the second largest Czech city, Brno has a gardens both formal and landscaped, galleries border, the great oval Hall of Ancestors at wealth of Gothic and Baroque churches and of fine and decorative art, much beautiful Vranov is one of the most impressive Baroque fine architecture of the 18th, 19th and 20th streetscape in towns and villages, and rolling creations in Central Europe, the creation of centuries.
    [Show full text]
  • Italian Inspiration for the Painting Decorations by Maciej Jan Meyer from the First Half of the Eighteenth Century in Szembek Chapel at the Cathedral in Frombork
    perspektywy kultury / The Mediterranean Sea—The Center of the World or the Periphery? perspectives on culture No. 30 (3/2020) Szymon Tracz http://orcid.org/0000-0001-6540-0118 The Pontificial University of John Paul II in Krakow [email protected] DOI: 10.35765/pk.2020.3003.11 Italian Inspiration for the Painting Decorations by Maciej Jan Meyer from the First Half of the Eighteenth Century in Szembek Chapel at the Cathedral in Frombork ABSTRACT The Bishop of Warmia, Krzysztof Andrzej Jan Szembek from Słupów (1680– 1740), erected a domed reliquary chapel devoted to the Most Holy Savior and St. Theodore the Martyr (Saint Theodore of Amasea) at the cathedral in Frombork, also known as Szembek Chapel. The entire interior of the chapel is covered with frescoes dating from around 1735 by Maciej Jan Meyer (Mat- thias Johann Meyer) from Lidzbark Warmiński. Educated in Italy, the artist made polychrome decorations in the style of illusionistic architectural paint- ing known as quadrature. In the lower part of the chapel stand busts of saints and the entire figure of St. Theodore of Amasea; in the cupola of the dome is the adoration of the Holy Trinity and the Holy Cross by the Mother of God and the Saints. Using the comparative method, I discuss the decoration of the chapel in the context of quadrature painting, which was developing in Italy and then in Central Europe, especially at the end of the 17th and the first half of the 18th centuries. Influential artists who played an important role for Pol- ish quadratura techniques were Andrea Pozzo (1642–1709) and painters who came from Italy or studied painting there, such as Maciej Jan Meyer.
    [Show full text]
  • DESPERATE HEROINES: GENDER and POWER in SEVENTEENTH-CENTURY ITALIAN ART by Kirby M. Richards Submitted in Partial Fulfillment O
    DESPERATE HEROINES: GENDER AND POWER IN SEVENTEENTH-CENTURY ITALIAN ART by Kirby M. Richards Submitted in partial fulfillment of the requirements for Departmental Honors in the School of Art Texas Christian University Fort Worth, Texas May 2, 2014 ii DESPERATE HEROINES: GENDER AND POWER IN SEVENTEENTH-CENTURY ITALIAN ART Project Approved: Supervising Professor: Babette Bohn, Ph.D. School of Art Amy Freund, Ph.D. School of Art C.D. Dickerson III, Ph. D. Kimbell Art Museum iii ABSTRACT This thesis examined the work of the seventeenth-century Italian artist Guido Cagnacci with particular regard to his paintings of Cleopatra VII, the ancient Egyptian queen. He returned to the subject several times across his career, providing a useful critical lens for assessing the evolution of his artistic approach. Cagnacci often imitated the style of more popular artists, but at the end of his life he created two of the most strikingly original depictions of Cleopatra of the seventeenth century. This thesis proposed that the late shift in his approach to style and iconography was a reflection of his environment. After moving from Venice to Vienna, where he worked at the court of the Holy Roman Emperor Leopold I, Cagnacci was exposed to new artistic influences and a broader awareness of the political roles and authority of women. He combined Italian style with his new consciousness of Dutch and Flemish art to create two late depictions of the Egyptian queen that restore her dignity and reinterpret her suicide as an expression of power. I first considered Cleopatra as both a historical and legendary figure, exploring the verbal and visual manipulations of her narrative across the centuries.
    [Show full text]
  • HANDOUTS ZU EINZELNEN THEMEN (Auswahl)
    Anhang Nr. 2 „Die Struktur und Entwicklung einer mitteleuropäischen Groβstadt seit dem frühen Mittelalter bis heute am Beispiel Wiens“ Fachexkursion als ergänzende Veranstaltung der Universitäten Wien und Budweis 8. und 12. April 2019 HANDOUTS ZU EINZELNEN THEMEN (Auswahl) Dominican Church The Dominican Church is an early Baroque parish church in the historic center of Vienna. It is the third church built on the same site in the course of time. The first church on this site was built in 1237 by the newly arrived Dominicans on a parcel of land allotted by the duke Leopold VI. This church was heavily damaged during the first siege of Vienna by the Turkish army in 1529. In 1631 the Dominicans started to build a new oblong church with a dome, following the plan of Jacopo Tencala. The master builders were Jacopo Spacio, Cipriano Biasino and Antonio Canevalle. They introduced to Vienna the Baroque style of Italy. The first stone was laid by emperor Ferdinand II on 29 May 1631. The structural work was finished in 1634. The church was consecrated on 1 October 1634. Between 1666-1674 facade and dome was finished. The impressive facade was built in the Roman style with dominant columns, supporting the cornice. Its architecture goes back to early Baroque churches in Rome, that in turn, rely on the facade of the Dominican church Santa Maria Novella in Florence. On top of the facade is a large rectangular gable with a dormer window, crowned by a pediment. The church consists of a long central nave, flanked by three side chapels on each side.
    [Show full text]
  • Slovak Postage Dues 1939-1945
    CZECHOUT JOURNAL OF THE CZECHOSLOVAK PHILATELIC SOCIETY OF GREAT BRITAIN VOLUME 31/1 MARCH 2013 WHOLE NUMBER 150 Slovak Postage Dues 1939-1945 DIAMOND JUBILEE YEAR 1953-2013 CZECHOUT Journal of the Czechoslovak Philatelic Society of Great Britain ISSN 0142-3525 © CPSGB 2013. Reproduction of contents forbidden without the consent of the Editor and the author. Founded 1953. Published quarterly. Free to members. Membership enquiries to Membership Secretary. UK £14.00 per year. Overseas £17.00, €22 or US$30. Cover price £1.75 + postage from Publications Officer. Website: www.cpsgb.org.uk . Advertisers: Contact Advertising Manager for details. Authors: Contact Editor for submissions. Officers and Committee All officers and Committee members serve the Society voluntarily and without compensation. Life President Colin W Spong FRPSL, 3 Balmoral Court, Grand Avenue, Worthing, BN11 5AX. 01903 709404 [email protected] Chairman Mrs Yvonne Wheatley FRPSL, Weltevreden, 7 Manor Croft, Leeds, LS15 9BW. & Treasurer 0113 260 1978 [email protected] Vice-Chairman, Rex Dixon FRPSL, 39 Braybank, Bray, Maidenhead, SL6 2BH. Joint Secretary, 01628 628628 [email protected] & Publications Officer Joint Secretary, Mrs D Yvonne Gren, 146 Old Shoreham Road, Shoreham-by-Sea, BN43 5TE. Membership Secretary, 01273 455766 [email protected] & Immediate Past Chairman Packet Secretary Bob J Allard, 10 Riverside, Alcester, B49 6RD. 01789 763007 Editor Dr Mark Wilson, 8505 E. San Bernardo Drive, Scottsdale AZ 85258-2400 USA. 1 480 664 1786 [email protected] Press Officer Bob McLeod, 11 Southwold Close, Aylesbury, HP21 7EZ. & Webmaster 01296 432905 [email protected] Librarian Mrs D Lindy Bosworth, 18 Raymer Road, Penenden Heath, Maidstone, ME14 2JQ.
    [Show full text]
  • Die Entwicklung Des Stadtbildes Wiens Ab Dem Ende Des 30-Jährigen Krieges 1648 Bis Zur Zweiten Stadtbelagerung 1683
    Die Entwicklung des Stadtbildes Wiens ab dem Ende des 30-jährigen Krieges 1648 bis zur zweiten Stadtbelagerung 1683 verfasst von / submitted by Otto Wiederhold BA angestrebter akademischer Grad / in partial fulfilment of the requirements for the degree of Master of Arts (MA) Wien, 2018 / Vienna 2018 Studienkennzahl lt. Studienblatt / A 066835 degree programme code as it appears on the student record sheet: Studienrichtung lt. Studienblatt / Masterstudium Kunstgeschichte degree programme as it appears on the student record sheet: Betreut von / Supervisor: o.Univ.-Prof. Mag. Dr. Petr Fidler 1 Danke An dieser Stelle möchte ich mich ganz herzlich bei Herrn Prof. Dr. Petr Fidler bedanken, der mir, als Betreuer dieser Masterarbeit, in zahlreichen persönlichen Gesprächen und in E-Mails viele wertvolle Anregungen gegeben hat. Gleichzeitig danke ich auch für die Geduld, mit der er meine Arbeit begleitet hat. Ein weiterer Dank gilt meinen Freunden Axel und Max, die mich mit Büchern und Bildern aus ihrem Privatbesitz bzw. mit technischer Hilfestellung bei der Anlage und Übertragung der Arbeit in ein professionelles Layout- und Designprogramm behilflich waren. Ein ganz besonders inniger Dank gilt meiner Frau Eleonore, die unendlich viel Geduld und Verständnis aufgebracht hat. Sie hat mir und meinem Interesse zuliebe einiges an Entbeh- rungen auf sich genommen. 2 Inhalt 1. Einleitung 8 2. Forschungsstand 9 3. Vogelschaudarstellungen, Stadtpläne, Bildmaterial 10 3.1 Hoefnagels Vogelschauansicht von 1609. Die Ausgangsperspektive. 11 3.2 Folbert van Alten-Allens Vogelschau von 1683 13 3.3 Wien-Ansichten aus der Vogelperspektive nach 1648 15 3.4 Stadtpläne 16 3.5 Der Schlierbachplan von ca. 1622 17 3.7 Veduten, Dokumente, Berichte, Beschreibungen 18 4.0 Das Stadtbild Wiens 1648 – ca.
    [Show full text]
  • Image Brochure English PDF, 6 MB
    where history meets enjoyment of life DISCOVER. EXPERIENCE. ENJOY A warm welcome to you! WWW.TOURISM.PASSAU.DE CONTENTS A WARM THREE RIVERS AND WELCOME SO MUCH MORE. TO PASSAU. LET YOURSELF BE AMAZED. EDITORIAL Set on historic ground on three rivers, Passau offers its visitors and its inhab- itants an engaging atmosphere which balances self-confident tradition with a young, hip vibrancy. Art, culture, pleasure and trade combine in and around this former prince bishopric to give the town a multi-faceted charm and panache. Experience Passau for yourself. Just scan the QR Code below In its urban splendour and glorious scenery you will find true friendliness with your smartphone. and all the hospitality you need for a wonderfully relaxing stay and for a holiday that becomes one of the highlights of your year. The cathedral square with the baroque St Stephen’s Cathedral rising from its centre, bustling alleyways, romantic nooks and crannies, tiny open-air restaurants, cafés, galleries and authentic shops selling handicrafts and regional products, all transform every visit to Passau into an engrossing and entertaining delight for the senses. Leave the daily grind behind, and immerse yourself in the magic of a town that really knows how to spoil its guests. WWW.TOURISM.PASSAU.DE We look forward to seeing you! 2 3 BAROQUE CITY CITY ON THREE RIVERS EUROPEAN CITY THE PASSAU EXPERIENCE CATHEDRAL CITY FESTIVAL CITY SHOPPING CITY A MANY- UNIVERSITY CITY FACETED NIBELUNG CITY GEM OF A CITY. A CONVERGENCE OF DELIGHTS. Around every corner Passau has new delights in store for its Three is the magic number visitors.
    [Show full text]
  • Martin Krummholz, Antonio Porta and Seventeenth-Century Central
    RIHA Journal 0118 | 23 March 2015 Antonio Porta and Seventeenth-Century Central European Architecture Martin Krummholz Originally published as: "Antonio Porta a středoevropská architektura 17. Století," in: Martin Mádl (ed.), Barokní nástěnná malba v českých zemích. Tencalla I, Praha 2012, pp. 251-265. Translation initiated by: Pavla Machalíková, Institute of Art History of the Czech Academy of Sciences, Prague Abstract The text places the work of Antonio Porta (1631/32-1702) in the broader context of European architecture. It emphasises the close connections between Porta's architecture and the work of Francesco Caratti and Jean Baptiste Mathey, and the common starting- point for these artists, which was the Viennese architecture of Filiberto Lucchese and Giovanni Pietro Tencalla. The architecture of the Troja chateau of Count Sternberg can also be interpreted in this context; it draws on the analogous suburban summer residences in Vienna (Lusthäuser). There were also significant connections between mid-17th century Central European architecture and the Piedmont metropolis of Turin, which was being developed on a grand scale at that time. On the one hand there were many artists from the Lugano region active in Turin who later went on to work in Central Europe, and on the other numerous Central European aristocrats stayed for a while in Turin as part of their grand tour. It was via Turin that the influences of French architecture were reflected in the Bohemian and Central European milieus. Contents Roudnice nad Labem Turin Troja, Jean Baptiste Mathey, and Viennese architecture [1] A number of buildings decorated by paintings by Giacomo Tencalla are attributed to the architect Antonio Porta, who – like both Tencallas – came from the Lake Lugano region.
    [Show full text]
  • Umeni, Vol. LIX, 2011, No. 3/4
    Umeni, Vol. LIX, 2011, No. 3/4 Tomas Winter Vol. LIX, 2011, No. 3/4 ARTICLES Petr Ulicny The Maniera of the Architecture of Duke of Wallenstein Martin Madl ‘MORS ET VITA, HYEMS ET AESTAS, LONGE ET PROPE’: Carpoforo Tencalla's Paintings in Namest nad Oslavou Polona Vidmar La Galerie des Femmes Fortes – the Series of Virtuous Women in Cesky Krumlov and Vurberk Castles Milan Pavlik Promena rimsy v ceske architekture po roce 1700. Kilian Ignac Dientzenhofer a Jan Blazej Santini The Transformation of the Cornice in Czech Architecture after 1700: Kilian Ignac Dientzenhofer and Jan Blazej Santini Dalibor Vesely Surrealism and Latent World of Creativity Eva Forgacs ‘Today Is a Beautiful Day’: The ‘New Sensibility’ or ‘New Subjectivism’ in the Hungarian Post-Avant-Garde of the 1980s REPORTS Petr Mata Ferdinand z Verdenberka (1625–1666) mezi Rakousy, Moravou a Rimem Ferdinand von Verdenberg (1625–1666) between Austria, Moravia and Rome Jana Zapletalova A New Guercino: Copy or Replica? ARCHIVES Lubomír Slavicek Die Briefe Jan Stursas an Arthur Roessler aus den Jahren 1911–1914 REVIEWS 1/2 ArtHist.net Karel Thein Julian Bell, Zrcadlo sveta. Nove dejiny umeni Ondrej Hojda Jacques Lucan, Composition, non-composition. Architecture et theories, XIXe–XXe siecles Ivo Hlobil Ivan Rusina a kolektiv, Renesancia. Dejiny slovenskeho vytvarneho umenia Dalibor Vesely Petr Wittlich, Horizonty umeni David Kulhanek Marie Klimesova (ed.), Roky ve dnech. Ceske umeni 1945–1957 Ian Walker Vladimir Birgus – Jan Mlcoch, Czech Photography of the 20th Century Annotations Acquisitions of Art History Sources Ceska resume / English Summaries Published by the Institute for Art History of the Academy of Sciences of the Czech Republic, v.
    [Show full text]