Kuns T De S Kuns T De S
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Relevance of Drawing for Artistic Education at the Academy of Fine Arts Munich and Its Significance in International Contexts
“You Have to Draw with More Attention, More Dedication” The Relevance of Drawing for Artistic Education at the Academy of Fine Arts Munich and its Significance in International Contexts Johannes Kirschenmann and Caroline Sternberg Throughout the Age of Enlightenment in Europe in the late eighteenth century, radical changes occurred in the understanding of art.1 From then on, the general and esthetic education of the human being have been emphasized and one was convinced of the teachability of art. The reason was twofold: drawing was supposed to shape the taste of future producers, and the arts were ascribed ethical, moral and political functions. In numerous art schools, drawing lessons were now being taken up that not only fine arts benefited from but also craft: over 100 academies were founded in Europe during this period.2 In 1770 in Munich, for instance, Elector Max III. Joseph decided to turn a private artistic circle gathered for life drawing and modeling sessions into an official “drawing school” (» Fig. 1).3 The Munich art academy as a public institution was formed relatively late in the Eu- ropean context. Following the example of the Parisian academy, the first art schools were founded in German countries in the seventeenth century – in Augsburg, Nuremberg, Vienna and Berlin.4 In the eighteenth century a huge number of art schools followed. Several European capitals installed art schools in the first half of the eighteenth century, 1 For the quotation in the title, see footnote 29. 2 Pevsner 1986, p. 144; Heilmann/Nanobashvili/Teutenberg 2015, pp. 5–8; Kemp 1979, pp. -
Mosaicum Zum Denken, Wollen Und Wirken Alexander Von Humboldts
Mit dem Wissen kommt das Denken, und mit dem Denken der Ernst und die Kraft in die Menge“ Alexander von Humboldt Mosaicum zum Denken, Wollen und Wirken Alexander von Humboldts Kolloquium anlässlich des 250. Geburtstages von Alexander von Humboldt 1. Programm Maler und Zeichner als Chronisten der Natur? Zur Zusammenarbeit Alexander von Humboldts mit bildenden Künstlern. Petra Gentz-Werner vormals Akademie der Wissenschaften der DDR, BBAW und Forschungsgruppe der Max- Planck-Gesellschaft. Alexander von Humboldt und die Methodologie der Sozial- und Geisteswissenschaften. Hans-Otto Dill (MLS) Alexander von Humboldts nahezu unbekannte Einflussnahme auf die Herstellung von Porzellan. Dagmar Hülsenberg, Humboldt-Gesellschaft für Wissenschaft, Kunst und Bildung e.V. Alexander von Humboldt und die innere Wärme der Erde. Peter Kühn Verein "Leopold von Buch" der Berlin-Brandenburgischen Geologie-Historiker. Alexander von Humboldts Wirken für die Klimatologie aus heutiger Sicht. Karl-Heinz Bernhardt (MLS) Die Naturwissenschaften als Quell und Mittel der Welterkenntnis sowie des Weltverständnisses in Alexander von Humboldts dynamischer Wissenschaftskonzeption und in der Gegenwart. Lutz-Günther Fleischer (MLS) Alexander von Humboldt (1769 - 1859) – ein Protagonist der Erstellung und Förderung wissenschaftlicher Sammlungen für die öffentliche Bildung und Forschung. Axel Müller1, 2(MLS)(Vortragender), Henrik Friis1, Ralf Thomas Schmitt3 1 Naturhistorisk Museum, Universitet i Oslo, Norway 2 Natural History Museum of London, United Kingdom 3 Museum für Naturkunde, Leibniz-Institut für Evolutions- und Biodiversitätsforschung, Alexander von Humboldt: Minerale und Gesteine am Museum für Naturkunde Berlin. Ralf Thomas Schmitt (Vortragender), Ferdinand Damaschun Museum für Naturkunde − Leibniz-Institut für Evolutions- und Biodiversitätsforschung, 1 2. Abstracts und Curricula vitae 2.1 „Maler und Zeichner als Chronisten der Natur? Zur Zusammenarbeit Alexander von Humboldts mit bildenden Künstlern" Petra Gentz-Werner Zusammenfassung: Viele der Werke A. -
Frauenbilder Bei Hans Makart“
DIPLOMARBEIT Titel der Diplomarbeit „Frauenbilder bei Hans Makart“ Verfasserin Cornelia Eleonore Zerovnik angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, 2013 Studienkennzahl lt. Studienblatt: A 315 Studienrichtung lt. Studienblatt: Kunstgeschichte Betreuer: HR Dr. Werner Kitlitschka Inhaltsverzeichnis 1. Einleitung .................................................................................................................. 5 1.1. Fragestellung und Aufbau der Arbeit ................................................................. 6 1.2. Forschungsstand ............................................................................................... 8 1.3. Methodik .......................................................................................................... 11 2. Grundprinzipien des Schaffens Makarts .................................................................. 15 2.1. Das Prinzip Dekor ........................................................................................... 15 2.1.1. Gesamtkunstwerk „Makart“ ....................................................................... 16 2.1.2. Selbstdarstellung und Inszenierung ........................................................... 19 2.1.3. Zwischen Traum und Wirklichkeit .............................................................. 21 2.1.4. Weiblichkeit als Dekor ............................................................................... 24 2.2. Das Prinzip Schönheit .................................................................................... -
A Catalogue of the Collection of American Paintings in the Corcoran Gallery of Art
A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art VOLUME I THE CORCORAN GALLERY OF ART WASHINGTON, D.C. A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 1 PAINTERS BORN BEFORE 1850 THE CORCORAN GALLERY OF ART WASHINGTON, D.C Copyright © 1966 By The Corcoran Gallery of Art, Washington, D.C. 20006 The Board of Trustees of The Corcoran Gallery of Art George E. Hamilton, Jr., President Robert V. Fleming Charles C. Glover, Jr. Corcoran Thorn, Jr. Katherine Morris Hall Frederick M. Bradley David E. Finley Gordon Gray David Lloyd Kreeger William Wilson Corcoran 69.1 A cknowledgments While the need for a catalogue of the collection has been apparent for some time, the preparation of this publication did not actually begin until June, 1965. Since that time a great many individuals and institutions have assisted in com- pleting the information contained herein. It is impossible to mention each indi- vidual and institution who has contributed to this project. But we take particular pleasure in recording our indebtedness to the staffs of the following institutions for their invaluable assistance: The Frick Art Reference Library, The District of Columbia Public Library, The Library of the National Gallery of Art, The Prints and Photographs Division, The Library of Congress. For assistance with particular research problems, and in compiling biographi- cal information on many of the artists included in this volume, special thanks are due to Mrs. Philip W. Amram, Miss Nancy Berman, Mrs. Christopher Bever, Mrs. Carter Burns, Professor Francis W. -
A Short History of Germany
CTV » |-aill|||lK-4JJ • -^ V •^ VmOO^* «>^ "^ * ©IIS * •< f I * '^ *o • ft *0 * •J' c*- ^oV^ . "^^^O^ 4 o » 3, 9 9^ t^^^ 5^. ^ L^' HISTORY OF GERMANY. A SHORT HISTORY OF GERMANY BY Mrs. H. C. HAWTREY WITH ADDITIONAL CHAPTERS BY AMANDA M. FLATTERY 3 4i,> PUBLISHED FOR THE BAY VIEW READING CLUB Central Office, 165 Boston Boulevard DETROIT, MICH. 1903 iTI --0 H^ THE LIBRARY OF CONGRESS. Two Copies Received JUL to 1903 •J Copyrigiil Entry Buss OL XXc N» COPY B. Copyright, 1903, by LONGMANS, GREEN, AND CO. r t" t KOBERT DRUMMOND, PRINTER, NEW YORK. PREFACE. It would be absurd to suppose that a History of Germany could be written within the compass of 300 pages. The merest outline is all that could be given in this little book, and very much of vast interest and im- portance has necessarily been omitted. But some knowledge of the political events of former days is necessary for all persons—more especially trav- ellers—who desire to understand and appreciate the customs, buildings, paintings, etc., of any country, and it is hoped that short continental histories may be useful to many who have not time or opportunity for closer study. My aim in the present volume has been simply to give one marked characteristic of each King or Emperor's reign, so as to fix it in the memory; and to show how Prussia came to hold its present position of importance amongst the continental powers of Europe. Emily Hawtrey. iiL BOOK I. HISTORY OF GERMANY. INTRODUCTION. CHAPTER I. The mighty Teutonic or German race in Europe did not begin to play its part in history until the decline of the Roman Empire ; but we must all of us feel the warm- est interest in it when it does begin, for it represents not only the central history of Europe in the Middle Ages, but also the rise of our own forefathers in their home and birthplace of Germany. -
Otto Von Faber Du Faur
Otto von Faber du Faur Studien zu den Arbeiten in Öl Von der Historisch-Philosophischen Fakultät der Universität Stuttgart zur Erlangung der Würde eines Doktors der Philosophie (Dr. phil.) genehmigte Abhandlung vorgelegt von Gertrud Seizinger aus Bremen Hauptberichter: Prof. Dr. Steiner Mitberichter: Prof. Dr. Poeschel Tag der mündlichen Prüfung: 20. Mai 2010 Institut für Kunstgeschichte der Universität Stuttgart 2010 I. Einführung ................................................................................. 5 I.1 Quellenlage .................................................................................. 5 I.2 Forschungsstand .......................................................................... 8 I.3 Aufgabenstellung ....................................................................... 10 II. Biografische Daten ................................................................... 12 II.1 Der Offizier Otto von Faber du Faur ......................................... 12 II.2 Förderung der künstlerischen Begabung in Württemberg ........ 15 II.3 Der Unterricht bei Carl Theodor von Piloty in München ......... 20 II.4 Exkurs: Der Freund Carl von Haeberlin .................................... 22 II.5 Erfolg und Scheitern der künstlerischen Arbeit ........................ 24 II.6 Das Haus Arcisstr. 4 .................................................................. 25 II.7 Zum gesellschaftlichen Leben ................................................... 27 II.8 Zur Persönlichkeit Otto von Faber du Faurs ............................ -
War and Peace: 200 Years of Australian-German Artistic Relations
Rex Butler & A.D.S. Donaldson, War and Peace: 200 years of Australian-German Artistic Relations REX BUTLER & A.D.S. DONALDSON War and Peace: 200 Years of Australian-German Artistic Relations The guns were barely silent on the Western Front when on 23 November 1918 Belgian-born Henri Verbrugghen took to the stage of the recently established NSW Conservatorium and softly tapped his baton, bringing the audience to silence. Then into this silence Verbrugghen called down the immortal opening chords of Beethoven’s Ninth Symphony, the ‘Choral’, with its celebrated fourth movement ‘Ode to Joy’, based on Schiller’s words. A difficult piece to stage because of the considerable orchestral forces required, the performance was nevertheless a triumph, and all the more so for the occasion it marked, the Allied victory over Germany. Due to the long lead time and the necessity for extensive rehearsal, its being played at the signing of peace was a coincidence, but nevertheless a very serendipitous one. And the point was not lost on the critic for the Sydney Morning Herald, who in their review wrote: The armistice and the blessings of peace were not in sight when the program of the Conservatorium Orchestra on Saturday afternoon was projected, but by an extraordinary coincidence the inclusion of Beethoven’s ‘Choral Symphony’ with the Ode to ‘Joy, thou spark from Heaven descending’, brought the whole body of players and singers into line for the celebration of the glorious Allied victory.1 The real coincidence here was perhaps not the fortuitous programming of Beethoven at the moment of the signing of the Treaty at Versailles, but that of Germany and Australia itself. -
Kunst Des 19. Jahrhunderts
KUNST DES 19. JAHRHUNDERTS 22. November 2019 1 490. AUKTION Kunst des 19. Jahrhunderts Auktion | Auction Freitag, 22. November 2019, ab 17 Uhr (from 5 pm) Ketterer Kunst München Joseph-Wild-Straße 18 81829 München Vorbesichtigung | Preview Hamburg Ketterer Kunst, Holstenwall 5, 20355 Hamburg Mo. 4. November 10 – 20 Uhr | 10 am – 8 pm Di. 5. November 10 – 16 Uhr | 10 am – 4 pm Düsseldorf Ketterer Kunst, Königsallee 46, 40212 Düsseldorf (Neue Adresse) Do. 7. November 11 – 18 Uhr | 11 am – 6 pm Fr. 8. November 11 – 17 Uhr | 11 am – 5 pm Berlin Ketterer Kunst, Fasanenstraße 70, 10719 Berlin Mo. 11. November 10 – 20 Uhr | 10 am – 8 pm Di. 12. November 10 – 18 Uhr | 10 am – 6 pm München Ketterer Kunst, Joseph-Wild-Straße 18, 81829 München So. 17. November 11 – 17 Uhr | 11 am – 5 pm Mo. 18. November 10 – 18 Uhr | 10 am – 6 pm Di. 19. November 10 – 18 Uhr | 10 am – 6 pm Mi. 20. November 10 – 18 Uhr | 10 am – 6 pm Do. 21. November 10 – 18 Uhr | 10 am – 6 pm Umrechnungskurs: 1 Euro = 1,10 US Dollar (Richtwert). Vorderer Umschlag: Los 8 C. Spitzweg – Frontispiz: Los 13 E. Grützner – Seite 2: Los 54 C.v.Marr Hinterer Umschlag innen: Los 37 L.v.Littrow – Hinterer Umschlag außen: Los 61 E.T. Compton 3 ANSPRECHPARTNER HERBSTAUKTIONEN 2019 Kunst des 19. Jahrhunderts Aufträge | Bids Auktion 490 Rechnungsanschrift | Invoice address Kundennummer | Client number Experten Name | Surname Vorname | First name c/o Firma | c/o Company Straße | Street PLZ, Ort | Postal code, city Land | Country E-Mail | Email USt-ID-Nr. -
The Journeys of Humboldt: a Guide to Efrain Oscher's Composition For
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2015 The ourJ neys of Humboldt: A Guide to Efrain Oscher’s Composition for Orchestra Bernardo Virgilio Miethe Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Miethe, Bernardo Virgilio, "The ourJ neys of Humboldt: A Guide to Efrain Oscher’s Composition for Orchestra" (2015). LSU Doctoral Dissertations. 3713. https://digitalcommons.lsu.edu/gradschool_dissertations/3713 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE JOURNEYS OF HUMBOLDT: A GUIDE TO EFRAIN OSCHER’S COMPOSITION FOR ORCHESTRA A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Bernardo Virgilio Miethe Flores B.M., The University of Southern Mississippi, 2010 M.M., The University of Southern Mississippi, 2012 May 2015 Acknowledgements After being a student of music for eighteen years, there are many mentors and kind-hearted people who have helped me through my journey. First, I want to thank my parents Sara and Federico Miethe for their relentless support through my life. Their sacrifices of buying me a flute when our family didn’t have the means, their commitment on driving me two hours to Caracas every Saturday so that I could learn from the best teachers, their patience as I blasted classical music in the middle of the night from my room, and their words, which I constantly hear, were to always strive for perfection even if perfection was unattainable. -
Deutsche in Venezuela Vom 16. Jahrhundert Bis Zur Gegenwart Œ
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Institutional Repository of the Ibero-American Institute, Berlin Rolf Walter/Nikolaus Werz Deutsche in Venezuela vom 16. Jahrhundert bis zur Gegenwart – eine Skizze 1. Von den Anfängen bis ins 20. Jahrhundert Die erste Begegnung von Deutschen mit Venezolanern fügt sich ein in einen weiten historischen Zusammenhang. Da ist zunächst der Name Welser, der mit der deutsch-venezolanischen Geschichte des 16. Jahrhunderts eng ver- bunden ist, denn die Augsburger Welser waren es, denen Kaiser Karl V. Teile des venezolanischen Territoriums (vom Cabo de la Vela bis Maraca- pana) zur Christianisierung und Besiedelung überließ. Mit den Welser-Expeditionen sind weitere Namen verbunden, die einem teilweise heute noch in Venezuela begegnen: Ambrosius Alfinger (1500- 1533), der als Statue in Maracaibo zu betrachten ist, Nikolaus Federmann (1505-1542), der eher unrühmlich als Haudegen auftaucht und Philipp von Hutten (1511-1546), der Edelmann, der am Hofe Karls V. erzogen wurde und mit Bartholomäus (V.) Welsers gleichnamigem Sohn (Bartholomäus VI.) im Landesinneren Venezuelas unterwegs war und dort ebenso wie Hut- ten 1546 ermordet wurde. Es ist interessant, dass einer der meistgelesenen Schriftsteller Venezue- las, nämlich Francisco Herrera Luque, nicht Federmann, sondern den Edlen Philipp von Hutten zur Leitfigur seines Romans La Luna de Fausto (“Faustmond”) machte. Damit wird auch das Bild der “Deutschen” in der Sicht der Venezolaner korrigiert insofern, da nicht mehr vorrangig der “bö- se” Haudegen Federmann, sondern der mildere Typus des humanistisch ge- bildeten Hutten als Prototyp des Deutschen schlechthin gilt. In spanischen Geschichtsbüchern wird demgegenüber weiterhin der brutale Federmann als der “typische” Deutsche des 16. -
“The Most Perfect Manner”: Paul Weber and the Transnationalism of US Landscapes
ISSN: 2471-6839 Cite this article: Thomas Busciglio-Ritter, “‘The Most Perfect Manner’: Paul Weber and the Transnationalism of US Landscapes,” Panorama: Journal of the Association of Historians of American Art 7, no. 1 (Spring 2021), doi.org/10.24926/24716839.11664. “The Most Perfect Manner”: Paul Weber and the Transnationalism of US Landscapes Thomas Busciglio-Ritter, PhD candidate, Department of Art History, University of Delaware I first laid eyes on Paul Weber’s large Landscape: Evening (1856) during an internship at the Pennsylvania Academy of the Fine Arts (PAFA) in the summer of 2019, as it was being cleaned to feature in the exhibition From the Schuylkill to the Hudson: Landscapes of the Early American Republic, curated by Anna O. Marley (fig. 1). The picture presents an unlocated river scene bathed in the warm glow of what appears to be a summer twilight, framed by crisply painted trees, with mountains stretching into the background. Bearing the aesthetic hallmarks of what would come to be called the Hudson River School, the artist’s presentation of mountain peaks in layers of varying sharpness, as well as the carefully constructed shape of the range, suggest that he was using on-site sketches and observations to render these natural features in detail. His documented travels throughout the American northeast also indicate that he was familiar with US scenery, its features and aesthetic, by the mid-1850s.1 However, it is noteworthy that Weber did not choose to identify the site he figured here, sending it to the academy under the title of Landscape: Sunset (or Composition: Sunset), thus affirming its intentionally generic nature.2 The painting would continue to be referred to as such during the next few years, even after PAFA acquired it for its permanent collection. -
Staatliche Fachschule Für Bau, Wirtschaft Und Verkehr Gotha Wirtschaft/Forschung/Technologie
CH = CHF 7,50 D = EUR 5,00 A = EUR 5,00 2010 · Nr. 121 · Nr. 2010 Forschung Kultur &VSPQB Ausgabe Deutsche Bundesländer Politik Wirtschaft SFQPSU Neue Impulse für die B / L NL EUR 5,60 E / F GR I P EUR 5,80 CZ Thüringen CZK 175 DK DKK 41 GBP 3,60 GB NOK 47 PLN 19 SEK 53 N SKK 235 CAD 9,50 USD 7,50 P S SK WirtschaftsentwicklungCDN USA Umbruch 121.indd 1 13.10.2010 11:09:07 Uhr # 02 Sparkassenverband Hes Thü Sparkassen-Finanzgruppe Hessen-Thüringen Wir kennen nicht nur jeden, der uns sein Geld anvertraut. Sondern auch jeden, dem wir Geld anvertrauen. Sparkassen betreuen ihre Kunden vor Ort zumeist seit vielen Jahren. Dadurch können sie Kredite an Unternehmen sowie Privatkunden mit Augenmaß vergeben. Denn Sparkassen wollen, dass ihre Kreditnehmer die Belastungen auch tragen können und in der Lage sind, das Geld zurückzuzahlen. Mit diesem soliden Geschäftsmodell tragen sie wesentlich zu stabilen Verhält- nissen in den Regionen bei. Dem Wohlstand ihrer Region und den dort lebenden Menschen verpflichtet: die Sparkassen. Gut für Sie – und gut für die Region. Fragen zur Finanzwirtschaft? Wir helfen Ihnen gern – in Ihrer Sparkasse oder online unter www.gutfuerdeutschland.de Umbruch 121.indd 2 13.10.2010 11:09:07 Uhr Inhalt Politik Land und Leute 4 Minister President/Ministre-président (GB/F) 7 Hotel Radisson Blu Erfurt 5 Die Ministerpräsidentin 24 Landkreis Saalfeld-Rudolstadt 6 Innenministerium 25 Landkreis Altenburger Land 8 Landesvertretung bei der EU 26 Landeshauptstadt Erfurt 10 Ministerium für Bildung, 29 Landkreis Nordhausen Wissenschaft