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The Grim Reaper 47
46 © 2013 The Center for Christian Ethics at Baylor University Due to copyright restrictions, this image is only available in the print version of Christian Reflection. In Gustav Klimt’s masterwork, the figure of Death gazes toward a vibrant patterning of figure and color which symbolizes, perhaps, not only life but resurrection. Gustav Klimt (1862-1918), DEATH AN D LIFE (1910). Oil on canvas. 70” x 78”. Museum Leopold, Vienna, Austria. Photo: Erich Lessing/Art Resource. Used by permission. The Grim Reaper 47 The Grim Reaper BY HEIDI J. HORNIK lthough inspired by his mother’s death, Gustav Klimt’s painting Death and Life is as much about life as death. The allegorical work Adepicts the Grim Reaper holding a club instead of the usual scythe or hourglass. His dark robes are covered with crosses symbolic of the Church, cemeteries, and death. He gazes across the canvas toward a vibrant patterning of figure and color which symbolizes, perhaps, not only life but resurrection. At least three generations, from infant to grandmother, are depicted with their limbs intertwining and overlapping. It may be possible for death to take individuals from life, but life as a whole will escape and continue to survive. The motif of the dance of death coming to everyone, wealthy or poor, derives from a medieval print tradition.1 Most of the figures have their eyes closed, perhaps in a dream state. This may be an influence of the writings of the artist’s friend, Sigmund Freud. Klimt described this painting, which won first prize in the 1911 International Art Exhibition in Rome, as his most important figurative work.2 For some reason, Klimt reworked Death and Life in 1915 by changing the gold background to grey and adding ornaments and patterning to the figures of death and life.3 Perhaps he wanted to create a more somber overall tone and to increase the contrast between the figures. -
How Sullivan & Cromwell's Sharon Levin Built a Book of Business After
How Sullivan & Cromwell’s Sharon Levin built a book of business after three decades at DOJ 3/5/21 Jenna Greene’s Legal Action (Reuters) - For all the back-and-forth moves between government and Big Law, there’s a path that’s especially tough to tread: from career prosecutor to successful partner. How does a longtime government lawyer who has never worked in private practice - not even as a summer associate - make the jump to a world where time is billed in six-minute increments and business generation is a must? “I was really nervous about it,” said Sullivan & Cromwell partner Sharon Cohen Levin, who spent 29 years at the Justice Department before making the leap to Big Law. Now, with more than five years of private practice under her belt, the anti-money laundering and asset forfeiture ace shared some of what she’s learned along the way. One top takeaway: “You’ve got to embrace the process. Get out there and let people know who you are.” Our interview itself falls under this category. DOJ keeps a tight lid on its 10,000 or so lawyers, with media access severely curtailed. Unauthorized contact with a reporter is grounds for being fired. After nearly three decades of “no comment,” Levin said the first few times she spoke to journalists after leaving government, she was “scared to say anything.” But now, she’s open and candid, sharing details of her life and career in a wide-ranging conversation. Given her childhood, she seems almost foreordained to have become a successful lawyer. -
*FE Schiele Apr 08
Seventy years after the Viennese owner of a Schiele painting now hanging in an Austrian museum was sent to Dachau, half a century after it resurfaced in Switzerland, and ten years after it was seized from the Museum of Modern Art, new details about the work’s provenance are emerging, raising questions about who its legitimate owners really are UNRAVELING THE MYSTERY OF ‘Dead City’ TEN YEARS AFTER Manhattan district attor- New York maintains that the painting belongs to the heirs of ney Robert Morgenthau seized two Egon Schiele paintings its prewar owner, Lea Bondi Jaray, a Jewish Viennese art from a loan exhibition at the Museum of Modern Art, the dealer. The U.S. government became involved in the Wally repercussions continue to roil the art world. case in September 1999, after the New York State Court of The paintings, Portrait of Wally (1912) and Dead City III Appeals quashed the Morgenthau subpoenas and ordered the (1911), were featured in “Egon Schiele: two paintings returned to the Leopold The Leopold Collection, Vienna,” a 1997 BY WILLIAM D. COHAN Museum. Instead of returning Wally, exhibition of more than 150 works that though, Mary Jo White, then U.S. attor- had been owned by Dr. Rudolf Leopold, a Viennese oph- ney for the Southern District of New York, seized it again and thalmologist who amassed one of the world’s finest Schiele initiated the lawsuit in Judge Preska’s collections after World War II. In 1994 Leopold sold his courtroom. OPPOSITE Egon collection of 5,400 works, including 250 Schieles, for about Meanwhile, Dead City, an eerie and Schiele’s Dead $175 million to the Austrian government, which has since claustrophobic rendering of the quaint City III, 1911. -
„Fertility Across Time and Space: Data and Research Advances“
Wittgenstein Centre Conference 2018 / 3rd Human Fertility Database Symposium „Fertility across time and space: Data and Research advances“ 5-7 December 2018 U2 stop “Messe Prater” exit “Prater” exit “Messe” Hotel Bus stop Vienna Airportlines, stop “Krieau” U2 stop „Krieau” exit “Krieau” Campus WU Conference venue Campus WU Vienna University of Economics and Business Building LC Ceremonial Hall 1 Welthandelsplatz 1 1020 Vienna, Austria http://www.wu.ac.at/en/ Conference Hotel Motel One Wien-Prater Ausstellungsstraße 40 1020 Vienna Phone: +43 1 7297800 e-mail: [email protected] Directions Vienna Airport Conference Venue and Hotel The Vienna International Airport (Schwechat) is situated outside the city area. There is convenient public transport, though. When you leave the baggage claim area and enter the arrivals hall turn right and follow the arrow in the direction taxi, bus, city airport train (CAT) and S-Bahn/ train. By Train You can buy tickets at the information booth in the arrivals hall of the airport. Alternatively you find several ticket machines next to the platform. Please note that the red one is for S-Bahn (cheap and easy option) and the green one for CAT. The Schnellbahn (S-Bahn) S1 or S7 will bring you to “Praterstern”. Here you change to the subway line U2 (purple) in the direction “Seestadt” or “Aspernstraße” and get off after one stop at “Messe-Prater”. The S1/S7 from the airport runs daily between 04:48 and 00:18, every 30 minutes. The journey to “Praterstern” has 8 stops in between and takes about 30 minutes. -
Retrospective Exhibit-Oscar Kokoschka
THE MUSEUM OF MODERN ART £ ~?~- ft WEST 53 STREET, NEW YORK 19, N. Y. TELEPHONE: CIRCLE 5-8900 [$07l5 - Sk FOR WEDNESDAY RELEASE OSKAR K0K0SCHKAf FAMOUS EXPRESSIONIST PAINTER, SEEN IN RETROSPECTIVE EXHIBITION AT MUSEUM The first major retrospective exhibition in New York of the well-known Austrian expressionist Oskar Kokoschka will be on view at the Museum of Modern Art, 11 West 53 Street, from July 20 to September 28, More than JO paintings, an early sculpture and a selection of prints and book illustrations summarize the artist* s career of l|0 years. Loans from European and American museums include 5 major works from The Austrian State Picture Gallery never before exhibited in this country. Two recent canvases are to arrive from Switzerland in time for the New York opening* The exhibition was assembled for circulation by the Boston Institute of Contemporary Art and has been shown in 1| other American cities. It Is to be installed in the first floor galleries by Margaret Miller of the Museum of Modern Art's Department of Painting and Sculp ture. A personality of great and diverse talents, Kokoschka has fought throughout his stormy career as a pamphleteer, playwright and painter for the freedom of the artist and the integrity of the individual. The first of the "degenerate" artists in the Hitler sense of the word, he | estimates that the Nazis destroyed perhaps one-third of his total work. The artist's portraits show us the personalities involved in the intel lectual ferment of pre-World War I Vienna, as well as of the doomed . -
The Text and the Coming of Age of the Avant-Garde in Germany
The Text and the Coming of Age of the Avant-Garde in Germany Timothy 0. Benson Visible Language XXI 3/4 365-411 The radical change in the appearance of the text which oc © 1988 Visible Language curred in German artists' publications during the teens c/o Rhode Island School of Design demonstrates a coming of age of the avant-garde, a transfor Providence, RI 02903 mation in the way the avant-garde viewed itself and its role Timothy 0. Benson within the broader culture. Traditionally, the instrumental Robert Gore Riskind Center for purpose of the text had been to interpret an "aesthetic" ac German Expressionist Studies tivity and convey the historical intentions and meaning as Los Angeles County Museum ofArt sociated with that activity. The prerogative of artists as 5905 Wilshire Boulevard well as critics, apologists and historians, the text attempted Los Angeles, CA 90036 to reach an observer believed to be "situated" in a shared web of events, thus enacting the historicist myth based on the rationalist notion of causality which underlies the avant garde. By the onset of the twentieth century, however, both the rationalist basis and the utopian telos generally as sumed in the historicist myth were being increasingly chal lenged in the metaphors of a declining civilization, a dis solving self, and a disintegrating cosmos so much a part of the cultural pessimism of the symbolist era of "deca dence."1 By the mid-teens, many of the Expressionists had gone beyond the theme of an apocalypse to posit a catastro phe so deep as to void the whole notion of progressive so cial change.2 The aesthetic realm, as an arena of pure form and structure rather than material and temporal causality, became more than a natural haven for those artists and writers who persisted in yearning for such ideals as Total itiit; that sense of wholeness for the individual and human- 365 VISIBLE LANGUAGE XXI NUMBER 3/4 1987 *65. -
Leonard Lauder's Klimt Landscape Belongs to Me, Says Heir of Nazi Victim | the Art Newspaper
ARCHIVE AUSTRIA Leonard Lauder’s Klimt landscape belongs to me, says heir of Nazi victim Georges Jorisch is represented by Randol Schoenberg, the lawyer who last year won his eight-year case against Austria for the return of five Klimts to California resident Maria Altman JASON EDWARD KAUFMAN 1st October 2007 00:00 BST New York A Gustav Klimt painting that hangs in the New York apartment of billionaire philanthropist and collector Leonard Lauder is being claimed by a descendant of the Viennese family from whom it was looted during World War II. The signed oil-on-canvas Blooming Meadow (1904/05) was purchased by Mr Lauder in 1983 from Serge Sabarsky, the late Austrian-born Manhattan-based dealer and collector. But the newly published Klimt catalogue raisonné by Alfred Weidinger (Prestel) confirms that the painting belonged to Amalie Redlich, a Viennese Jew whose property was looted after she was deported to the Lodz ghetto in Poland by the Nazis in 1941, where she is believed to have later died. Her sole surviving grandson, Georges Jorisch of Montreal, is represented by Randol Schoenberg, the Los Angeles-based attorney who last year won restitution from Austria of five Klimt paintings originally belonging to the Viennese Bloch-Bauer family on behalf of California resident Maria Altmann following an eight-year legal battle. These included the “golden” portrait of Adele Bloch-Bauer which was then acquired by Leonard Lauder’s brother, Ronald Lauder, reportedly for $135m (although this price can not be independently confirmed). It now hangs in Ronald Lauder’s Neue Galerie in New York. -
Download Press
MuseumsQuartier Wien Press Information November 2020 1 Contents 3 Fact Sheet Tickets & Services 7 The MuseumsQuartier Wien: Art Space – Creativity Space – Living Space Crystallization Point of a Cultural District The Architecture: A Built Vision Now 4,5 Million Visitors a Year Statistics of Success MQ Marketing Campaigns MQ Point as a Central Contact Point for Visitors Popular Outdoor Programs in the Courtyards 17 Q21 – the creative space at MuseumsQuartier Wien 23 The MuseumsQuartier as a Landscape of Cultural Variety Cultural Institutions in the MQ: 1. Museums 2. Gallery Spaces 3. Performing Arts 4. Children’s Culture Cafés and Restaurants in the MQ Shops 43 Architecture An Architectural Tour of the Complex 2 Fact Sheet Location MuseumsQuartier Wien, Museumsplatz 1, A–1070 Vienna Hours The complex is open to the public 24 hours a day. Hours of the individual institutions: www.mqw.at Year Opened 2001 Visitor Statistics Entire complex: approx. 4,5 million Net Floor Area approx. 90,000 m2 Resident Institutions Q21 LEOPOLD MUSEUM museum moderner kunst stiftung ludwig wien (mumok) Architekturzentrum Wien Kunsthalle Wien Halle E+G Tanzquartier Wien ZOOM Kindermuseum DSCHUNGEL WIEN Theaater for Young Audiences wienXtra-kinderinfo MQ Point Daily, 10:00–19:00, Main Entrance Info-Tickets-Shop Tel: 0820/600 600 (in Austria only) Tel: +43/1/523 58 81-1731 (from other countries) Fax: +43/1/523 58 81-1733 Management MuseumsQuartier Errichtungs- und Betriebsgesellschaft CEO: Christian Strasser Assistant General Manager: Nina Wenko Museumsplatz 1, A-1070 Vienna Tel: +43/1/523 58 81, Fax: +43/1/523 58 81 86 Email: [email protected] Web: www.mqw.at Press Contact MQ: Irene Preissler Phone: +43/1/523 58 81-1712, Fax: +43/1/523 58 86 Email: [email protected] Public Transport/Parking Subway (U-Bahn): U2 (MuseumsQuartier); U2, U3 (Volkstheater) Bus: 48a (Volkstheater), City-Bus 2A (MuseumsQuartier) Streetcar (Strassenbahn): 49 (Volkstheater) There is a parking garage at the MuseumsQuartier. -
Artist Resources – Gustav Klimt (Austrian, 1862-1918) Gustav Klimt Foundation Klimt at Neue Galerie, New York
Artist Resources – Gustav Klimt (Austrian, 1862-1918) Gustav Klimt Foundation Klimt at Neue Galerie, New York The Getty Center partnered with Vienna’s Albertina Museum in 2012 for the first retrospective dedicated to Klimt’s prolific drawing practice. Marking the 150th anniversary of his birth, the prominent collection traced Klimt’s use of the figure from the 1880s until his death. Digital resources from the Getty provide background on Klimt’s relationships to Symbolism and the Secession movement, his public murals, drawings, and late portraits. In 2015, the Neue Galerie commemorated the film, Woman in Gold, with an exhibition bringing together Klimt’s infamous portrait of Adele Bloch Bauer with a suite of historical material. Bauer’s portrait was at the nexus of a conversation about the return of Nazi looted art, now in prestigious museums, to the progeny of families they were stolen from during WWII. San Francisco’s de Young museum presented the first major exhibition of Klimt’s work on the west coast in 207, paiting the Vienna Secessionist with sculptures and works on paper by August Rodin, whom Klimt met in 1902. The Leopold museum celebrated the centennial of Klimt’s death and his contribution to Viennese modernism in a comprehensive survey in 2018. Also in 2018, the Museum of Fine Arts Boston and the Royal Academy of Art in London opened surveys exploring the creative influences of Klimt and his young mentee Egon Schiele through the medium of drawing. Klimt, 1917 In a series of talks in Boston in conjunction with the exhibition, Professor Judith Bookbinder spoke about the aesthetic differences of Klimt, Schiele, and Schiele’s contemporary Oskar Kokoschka. -
Inspiration Beethoven
DE | EN 08.12.2020–05.04.2021 INSPIRATION BEETHOVEN EINE SYMPHONIE IN BILDERN AUS WIEN 1900 PRESSEBILDER | PRESS IMAGES 01 01 CASPAR VON ZUMBUSCH CASPAR VON ZUMBUSCH 1830–1915 1830–1915 Reduktion des Denkmals für Ludwig van Beethoven, 1877 Reduction of the memorial to Ludwig van Beethoven, 1877 Bronze, 53 × 24 × 27 cm Bronze, 53 × 24 × 27 cm Belvedere, Wien Belvedere, Vienna Foto: Belvedere, Wien Photo: Belvedere, Vienna 02 02 GUSTAV KLIMT GUSTAV KLIMT 1862–1918 1862–1918 Schubert am Klavier. Schubert at the Piano. Entwurf für den Musiksalon im Palais Dumba, 1896 Study for the music room in Palais Dumba, 1896 Öl auf Leinwand, 30 × 39 cm Oil on canvas, 30 × 39 cm Privatsammlung/Dauerleihgabe im Leopold Museum, Wien Private Collection/Permanent Loan, Leopold Museum, Vienna Foto: Leopold Museum, Wien/Manfred Thumberger Photo: Leopold Museum, Vienna/Manfred Thumberger 03 03 JOSEF MARIA AUCHENTALLER JOSEF MARIA AUCHENTALLER 1865–1949 1865–1949 Elfe am Bach. Für das Beethoven-Musikzimmer Elf at the Brook. For the Beethoven Music Room der Villa Scheid in Wien, 1898/99 of Villa Scheid in Vienna, 1898/99 Öl auf Leinwand, 176,5 × 88,3 cm Oil on canvas, 176,5 × 88,3 cm Andreas Maleta, aus der Victor & Martha Thonet Sammlung, Andreas Maleta, from the Victor & Martha Thonet Collection, Galerie punkt12, Wien gallery punkt12, Vienna Foto: amp, Andreas Maleta press & publication, Wien, 2020 Photo: amp, Andreas Maleta press & publication, Vienna, 2020 04 04 JOSEF MARIA AUCHENTALLER JOSEF MARIA AUCHENTALLER 1865–1949 1865–1949 Elfenreigen. Für das Beethoven-Musikzimmer -
Modernism in Visual Arts and Music
HUM 102 Cultural Encounters II Modernism in Visual Arts and Music Rana Gediz İren Boğaziçi University İstanbul Philharmonic Society Arts in Europe 1900-1945 Artists began to emphasise the extreme expressive properties of pictorial form to explore subjective emotions and inner psychological truths while composers of Classical Music turned to radical new ways of expressing melody, harmony and rhythm Sigmund Freud (1856-1839) • Austrian neurologist who is the founder of psychoanalysis. • The Interpretation of Dreams (1900). • Explorations of the role of sexuality and the subconscious. Friedrich Nietzsche (1844-1900) • German philosopher and cultural critic. His writings on truth, morality, aesthetics, cultural theory, nihilism, consciousness, and the meaning of existence have exerted an enormous influence on Western philosophy and intellectual history. • Metaphor of the “Bridge”: Mankind as a bridge between the animal and the superman/overman. Emil Nolde (1867-1956), Self Portrait, 1947 Modernism in Germany - Expressionism • Developed in pre-WW1 Years. • Characterised by simplified shapes, bright colours and gestural marks or brushstrokes. • The image of reality is distorted in order to make it expressive of the artist’s inner feelings or ideas. • Concerned with the contemporary psychological situation. Confession of moods of anxiety, frustration and resentment towards the modern world. Die Brücke (The Bridge) – Dresden 1905 Der Blaue Reiter (The Blue Rider) – Munich 1911 “We call all young people together and as young people who carry the -
The Vienna Prater – Fact Sheet
The Vienna Prater – Fact Sheet The Vienna Prater – The Culture of Enjoyment since 1766 in the heart of Vienna. Since 1766, the Vienna Prater has been the most attractive local recreation area in the heart oft he city. It is a place where culture meets architecture, innovation meets tradition and romance encounters adventure – join in for an enchanting experience and immerse yourself in a world without the dullness of everyday life! Here, you will find charm and joie de vivre and can be a child again. You can prove your daringness or just relax and enjoy the culinary treats by the Prater – whether alone, with family or friends – will become an unforgettable and rewarding experience. 365 Days of Fun a Year The Prater season starts shortly before the beginning of spring: the amusement park entices visitors from March 15 until October 31 with new attractions every year while outdoor gastronomy guarantees genuine „Prater-coziness“ in the typical sidewalk cafés. In the Summer and also in winter, the focus of this classical amusement park is also on activities including several events: Wheter it’s the winter market on Riesenradplatz or the year-round attractions and restaurants. Die Prater Wien GmbH The Prater Wien GmbH is an enterprise of the City of Vienna, which is responsible for the operation of the „Wurstelprater“, as well as fort he execution of construction – and infrastructural projects and organizational measures in terms of a positive overall development of the Wurstelprater. Business Partners around the Prater The Prater is attractive not only as an oasis for leisure – it has a lot to offer as an economic neighbour as well.