Klimt and the Ringstrasse
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Teilnachlass Max Reinhardt Wienbibliothek Im Rathaus Handschriftensammlung ZPH 989 Bestandssystematik
Teilnachlass Max Reinhardt Wienbibliothek im Rathaus Handschriftensammlung ZPH 989 Bestandssystematik Wienbibliothek im Rathaus/Handschriftensammlung - Teilnachlass Max Reinhardt / ZPH 989 ________________________________________________________________________________________________________________________________________ Biographische Informationen Reinhardt, Max (eigentlich: M. Goldmann): 9. 9. 1873 Baden - 31. 10. 1943 New York; Schauspieler, Regisseur, Theaterleiter; 1938 Emigration über London nach New York; Wien, Berlin, New York. Provenienz des Bestands Der Teilnachlass Max Reinhardt wurde von der Wienbibliothek im Rathaus im Jahr 1998 von einem Antiquariat gekauft. Umfang 16 Archivboxen, 1 Foliobox, 1 Großformatmappe. Information für die Benützung Die in geschwungenen Klammern angeführten Zahlen beziehen sich auf die jeweiligen Nummern in der Publikation: Max Reinhardt. Manuskripte, Briefe, Dokumente. Katalog der Sammlung Dr. Jürgen Stein. Bearbeitet und herausgegeben von Hugo Wetscherek. Für die Ordnungssystematik wurden alle Informationen aus der o.a. Publikation - inklusive Verweise auf angegebene Primär- und Sekundärliteratur - ohne Prüfung auf Richtigkeit mit Zustimmung des Herausgebers verwendet. Die Orthographie der Zitate wurde vereinheitlicht. 2 Wienbibliothek im Rathaus/Handschriftensammlung - Teilnachlass Max Reinhardt / ZPH 989 ________________________________________________________________________________________________________________________________________ Abkürzungsverzeichnis Anm. Anmerkung(en) Beil. Beilage(n) -
A Group Portrait with an Austrian Marshal, an Honorary Citizen of Ljubljana
A GROUP PORTRAIT WITH AN AUSTRIAN MARSHAL, AN HONORARY CITIZEN OF LJUBLJANA BOŽIDAR JEZERNIK This article deals with two public monuments in Ljubljana Članek obravnava dva spomenika v Ljubljani, posvečena dedicated to Field Marshal Radetzky, who lived in Ljubljana feldmaršalu Radeckemu, ki je v mestu živel med letoma 1852 between 1852 and 1856 and was made an honorary citizen of in 1856 in je prejel naziv častnega meščana. Prva javna spo- the town. The first two public monuments erected in Ljublja- menika v Ljubljani sta bila posvečena »očetu Radeckemu«, na were dedicated to “Father Radetzky,” who was considered ki je med Slovenci veljal za »pravega narodnega heroja«. a “real national hero” by the Slovenians. However, when Ko pa je bila leta 1918 ustanovljena nova južnoslovanska Yugoslavia was established as a South Slavic state in 1918, država, spomenika, posvečena zmagovitemu avstrijskemu the two monuments dedicated to this victorious Austrian junaku, nista več ustrezala spremenjeni identiteti Slovencev. hero were no longer consistent with Slovenians’ changed self- V Ljubljani ni bilo več prostora za tega junaškega maršala, -identification. There was no room left in Ljubljana for this ki se je nekdaj bojeval z italijanskimi uporniki. heroic marshal, who once fought the Italian rebels. Ključne besede: avstrijski patriotizem, deavstrizacija, feld- Keywords: Austrian patriotism, de-Austrianization, Fi- maršal Radecki, politični simboli, javni spomeniki, »Ra- eld Marshal Radetzky, political symbols, public monu- deckijevo mesto«, spomenikomanija ments, “Radetzky’s city,” statuemania In the second half of the nineteenth century, the public monument joined the museum and theatre in the role of a representative object. It was Paris monuments that first represented republican meritocracy, as opposed to those based on aristocratic leanings. -
Eine Welt Allein Ist Nicht Genug“ Großbritannien, Hannover Und Göttingen 1714 – 1837
1 Göttinger Bibliotheksschriften 31 2 3 „Eine Welt allein ist nicht genug“ Großbritannien, Hannover und Göttingen 1714 – 1837 Herausgegeben von Elmar Mittler Katalogredaktion: Silke Glitsch und Ivonne Rohmann Göttingen 2005 4 Ausstellung in der Paulinerkirche Göttingen 20. März–20. Mai 2005 Unterstützt von: © Niedersächsische Staats- und Universitätsbibliothek Göttingen 2005 Redaktionelle Assistenz: Meike Holodiuk • Anica Rose Umschlag: Ronald Schmidt • Satz: Michael Kakuschke • Jürgen Kader Digital Imaging: Martin Liebetruth • Einband: Burghard Teuteberg ISBN 3-930457-75-X ISSN 0943-951X 5 Zum Geleit Elmar Mittler .............................................................................................. 9 Von der Manufakturstadt zum „Leine-Athen“. Göttingen, 1714–1837 Hermann Wellenreuther ........................................................................... 11 Exponate A .............................................................................................. 29 Personalunion mit England und Mitglied im Reich: Von Kurhannover zum Königreich Hannover, 1690–1837 Hermann Wellenreuther ........................................................................... 32 Exponate B .............................................................................................. 49 Britische Bilder und Vorstellungen von Deutschland im 18. Jahrhundert Frauke Geyken ......................................................................................... 52 Exponate C ............................................................................................. -
2017 Abstracts
Abstracts for the Annual SECAC Meeting in Columbus, Ohio October 25th-28th, 2017 Conference Chair, Aaron Petten, Columbus College of Art & Design Emma Abercrombie, SCAD Savannah The Millennial and the Millennial Female: Amalia Ulman and ORLAN This paper focuses on Amalia Ulman’s digital performance Excellences and Perfections and places it within the theoretical framework of ORLAN’s surgical performance series The Reincarnation of Saint Orlan. Ulman’s performance occurred over a twenty-one week period on the artist’s Instagram page. She posted a total of 184 photographs over twenty-one weeks. When viewed in their entirety and in relation to one another, the photographs reveal a narrative that can be separated into three distinct episodes in which Ulman performs three different female Instagram archetypes through the use of selfies and common Instagram image tropes. This paper pushes beyond the casual connection that has been suggested, but not explored, by art historians between the two artists and takes the comparison to task. Issues of postmodern identity are explored as they relate to the Internet culture of the 1990s when ORLAN began her surgery series and within the digital landscape of the Web 2.0 age that Ulman works in, where Instagram is the site of her performance and the selfie is a medium of choice. Abercrombie situates Ulman’s “image-body” performance within the critical framework of feminist performance practice, using the postmodern performance of ORLAN as a point of departure. J. Bradley Adams, Berry College Controlled Nature Focused on gardens, Adams’s work takes a range of forms and operates on different scales. -
Japanese Aesthetics and Gustav Klimt: in Pursuit of a New Voice Svitlana Shiells
Strand 2. Art Nouveau and Politics in the Dawn of Globalisation Japanese Aesthetics and Gustav Klimt: In Pursuit of a New Voice Svitlana Shiells Abstract At the end of the nineteenth century, Japonisme—an artistic lingua franca—became one of the most organic, overarching components of Gustav Klimt’s new art. This paper draws parallels between Gustav Klimt’s Portrait of Sonja Knips and It ō Jakuch ū’s print Golden Pheasant and Bamboo in Snow . The discovery of an unexpectedly close dialogue between Klimt and Jakuch ū and the striking similarity of the formal language of the two works supports the paper’s thesis that It ō Jakuch ū’s print is the primary source of influence behind the conception and execution of the portrait and, by extension, that Klimt’s engagement with Japanese stimuli is one of the main engines behind his creative pursuit, starting at the end of the 1890s. This discovery challenges preconceived notions and existing concepts and illustrates the impossibility of understanding Klimt’s heritage comprehensively and adequately without examining the role of Japonisme in it. Keywords: Gustav Klimt, Japonisme, It ō Jakuch ū, the Vienna Secession, ukiyo-e prints. 1 In the wake of the World Fair of 1873 in Vienna, a strong wave of Japonisme permanently re- shaped the capital of the Austro-Hungarian Empire. According to Hermann Bahr, the Viennese encountered the presence of “Japonisme in all the arts,” which were “impossible to understand without bearing in mind the influence of Japanese art.” 1 Japonisme indeed became a Zeitgeist in fin de siècle Vienna and, in the visual arts, Gustav Klimt was its main advocate. -
The University of Chicago Objects of Veneration
THE UNIVERSITY OF CHICAGO OBJECTS OF VENERATION: MUSIC AND MATERIALITY IN THE COMPOSER-CULTS OF GERMANY AND AUSTRIA, 1870-1930 A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF MUSIC BY ABIGAIL FINE CHICAGO, ILLINOIS AUGUST 2017 © Copyright Abigail Fine 2017 All rights reserved ii TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES.................................................................. v LIST OF FIGURES.......................................................................................... vi LIST OF TABLES............................................................................................ ix ACKNOWLEDGEMENTS............................................................................. x ABSTRACT....................................................................................................... xiii INTRODUCTION........................................................................................................ 1 CHAPTER 1: Beethoven’s Death and the Physiognomy of Late Style Introduction..................................................................................................... 41 Part I: Material Reception Beethoven’s (Death) Mask............................................................................. 50 The Cult of the Face........................................................................................ 67 Part II: Musical Reception Musical Physiognomies............................................................................... -
Klirnt and Schiele Stephan Kleinschuster May 6, 1997 AR592
The Evolution of Expressionism In Turn-of-the-Century Vienna: Klirnt and Schiele Stephan Kleinschuster May 6, 1997 AR592 1 1 Until 1897, Classicism in Viennese high art had served as a mimetic construct of the elite society who were both art's staunchest supporters and the purveyors of moral and philosophical values that served as it's staple of judgment. In the following years, from 1898 to 1918, were revolutions of both natures, political and philosophical. The artistic transformation from the Classicism of the Habsburg Monarchy to the expressionism of the Cafe "Nihilism" could be seen most obviously in two of Vienna's foremost artists of the time, Gustav Klimt and Egon Schiele. This paper seeks to compare and contrast the works of these two artists who seem to crystallize the moral, social, political, and artistic upheaval of early Twentieth Century Vienna. It lS fitting that Gustav Klimt and Egon Schiele died six months from one another, both of the Spanish influenza, and both in 1918. It is important to note that even though stylistic variables call for their ultimate contrast, they loved and admired one another, and they both stood for the values that defined Secessionism. Their proximity in philosophy makes it all the more profound to discover their differences. In Klimt came classical objectivity housed in a contemporary conceptual framework. In Schiele came the shift to brutal subjectivity that pushed the limits of this framework. Even though, as will be discussed, the similarity of the subject matter seems to remain a constant, the execution becomes the variable upon which the change becomes dependent. -
Das Grillparzer-Denkmal Im Wiener Volksgarten“
DIPLOMARBEIT Titel der Diplomarbeit „Das Grillparzer-Denkmal im Wiener Volksgarten“ Verfasserin Mag. Rita Zeillinger angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, 2013 Studienkennzahl lt. Studienblatt: A 315 Studienrichtung lt. Studienblatt: Diplomstudium Kunstgeschichte Betreuerin Ao. Univ. – Prof. Dr. Ingeborg Schemper-Sparholz Inhaltsverzeichnis 1 Einleitung ................................................................................................................... 4 1.1 Motiv und Überlegungen zur Themenwahl .......................................................... 4 2 Forschungsstand ....................................................................................................... 7 2.1 Quellen ............................................................................................................... 7 2.2 Literatur .............................................................................................................. 7 3 Äußere Umstände ...................................................................................................... 9 3.1 Politische und gesellschaftliche Hintergründe ..................................................... 9 3.2 Beschluss der Denkmalerrichtung .....................................................................12 4 Das Denkmal und seine Verortung ...........................................................................22 4.1 Entstehung der Wiener Ringstraße ....................................................................22 4.2 Positionierung -
KOLOMAN MOSER Ø KOLOMAN DESIGNING MODERN VIENNA Ø MOSER 1897–1907 Edited by Christian Witt-Dörring
5294-NG_MOSER_jacket_offset 19.03.13 13:47 Seite 1 MOSER KOLOMAN KOLOMAN MOSER ø KOLOMAN DESIGNING MODERN VIENNA ø MOSER 1897–1907 Edited by Christian Witt-Dörring With preface by Ronald S. Lauder, foreword by Renée Price, and contributions by Rainald Franz, Ernst Ploil, Elisabeth Schmuttermeier, Janis Staggs, Angela Völker, and Christian Witt-Dörring FRONT COVER: This catalogue accompanies an (TOP ROW) Armchair, ca. 1903, Neue Galerie DESIGNING New York; Easter egg, 1905, A.P. Collection, MODERN VIENNA exhibition at the Neue Galerie London; (MIDDLE ROW) Vase, 1905, New York and the Museum of A.P. Collection, London; Jewelry box, 1907, 1897–1907 Fine Arts, Houston, devoted to Private Collection; (BOTTOM ROW) Vase, 1903, Ernst Ploil, Vienna; Bread basket, 1910, Austrian artist and designer Asenbaum, London Koloman Moser (1868–1918). It BACK COVER: is the first museum retrospec- (TOP ROW) Centerpiece with handle, 1904, tive in the United States focused Private Collection; Coffer given by Gustav on Moser’s decorative arts. The Mahler to Alma Mahler, 1902, Private Collection; (MIDDLE ROW) Two napkin rings, exhibition is organized by Dr. 1904, Private Collection; Table, 1904, Private Christian Witt-Dörring, the Neue Collection; (BOTTOM ROW) Mustard pot, 1905, Private Collection; Display case for the Galerie Curator of Decorative Arts. Schwestern Flöge (Flöge Sisters) fashion salon, 1904, Private Collection The exhibition and catalogue survey the entirety of Moser’s decorative arts career. They ex- amine his early work as a graphic designer and his involvement with the Vienna Secession, with spe- cial focus given to his role as an PRESTEL PRESTEL artist for the journal Ver Sacrum (Sacred Spring). -
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. -
Diplomarbeit
DIPLOMARBEIT Titel der Diplomarbeit: Der lange Weg zur Modernen Galerie in Wien Verfasserin Barbara Sauer angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, 2008 Studienkennzahl lt. Studienblatt: A 312 315 Studienrichtung lt. Studienblatt: Geschichte Betreuer: ao. Univ.-Prof. Dr. Gernot Heiß 1 Inhaltsverzeichnis 1 Einleitung.....................................................................................................................5 2 Quellen und Literatur .............................................................................................. 10 3 Österreich: Bildende Kunst und Museen .............................................................. 14 3.1 Die Akademie der Bildenden Künste...................................................................... 15 3.1.1 Gründung und Frühzeit der Akademie ....................................................... 15 3.1.2 Organisation und Kunstbehörde .................................................................. 15 3.1.3 Die Ära Metternich ......................................................................................... 17 3.1.4 1848 und die Folgen ....................................................................................... 20 3.1.5 Neues Statut und Neubau ............................................................................. 22 3.1.6 Die Akademiegalerie ...................................................................................... 23 3.2 Das Unterrichtsministerium ................................................................................. -
The Ban's Mana
Cultural Studies ISSN: (Print) (Online) Journal homepage: https://www.tandfonline.com/loi/rcus20 The Ban’s mana: post-imperial affect and public memory in Zagreb Jeremy F. Walton To cite this article: Jeremy F. Walton (2020): The Ban’s mana: post-imperial affect and public memory in Zagreb, Cultural Studies, DOI: 10.1080/09502386.2020.1780285 To link to this article: https://doi.org/10.1080/09502386.2020.1780285 © 2020 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group Published online: 16 Jun 2020. Submit your article to this journal Article views: 134 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rcus20 CULTURAL STUDIES https://doi.org/10.1080/09502386.2020.1780285 The Ban’s mana: post-imperial affect and public memory in Zagreb Jeremy F. Walton Max Planck Institute for the Study of Religious and Ethnic Diversity, Göttingen, Germany ABSTRACT How might scholars of public memory approach the protean relationship among imperial legacies, nationalized collective memories and urban space from an ‘off-center’ perspective? In this essay, I pursue this question in relation to a monument whose political biography traverses, and troubles, the distinction between imperial and national times, sentiments, and polities. The statue in question is that of Ban Josip Jelačić, a nineteenth Century figure who was both a loyal servant of the Habsburg Empire and a personification of nascent Croatian and South Slavic national aspirations. Jelačić’s monument was erected in Zagreb’s central square in 1866, only seven years following his death; in the heady political context of the Dual Monarchy, his apotheosis as a figure of regional rebellion caused consternation on the part of the Hungarian authorities.