American Olympic Committee Report 1936, Games of the Xith Olympiad

Total Page:16

File Type:pdf, Size:1020Kb

American Olympic Committee Report 1936, Games of the Xith Olympiad THE OLYMPIC AWARDS ARCHITECTURE Hasegawa-Yoshioki, Japan— “Ringen, Technik eines Designs for Town Planning Ringerchampions.” 1st Prize—Werner March and collaborator Walter Franciszek Masiak, Poland— “Schwimmer.” March, Germany—“Reichssportfeld.” Knud Gleerup, Denmark—“Klar zum Start.” 2nd Prize— Charles Downing Lay, United States— Mario Moschi, Italy— “Fussballspieler.” “Marine Park, Brooklyn.” Otto Hofner, Austria—“Ringkampf.” 3rd Prize—Theo Nussbaum, Germany—“Kölner Stadt- Josef Humplik, Austria— “Der Läufer.” plan u. Sportanlagen.” Karl Stemolak, Austria— “Diskuswerfer.” Honorable Mention— Hans Stangl, Germany— “Schwimmerin." E. Ilz and H. Pfann, Austria— “Ausgestaltung der R. M. Werner, Germany—“Lauferin am Start.” Donauinsel.” Karl Klimsch, Germany— “Entspannung.” F. Peydl and J. Schilhab, Austria—-“Isfos.” Adolf Wamper, Germany—-“Speerwerfende.” Architectonic Designs Gerhard Mareks, Germany—“Schwimmerin.” 1st Prize—Hermann Kutschera, Austria—“Skistadion.” Reliefs 2nd Prize—Werner March, Germany—“Reichssport' 1st Prize-—Emil Sutor, Germany—“Hürdenläufer.” feld.” 2nd Prize—Jozef Klukowski, Poland— “Ball.” 3rd Prize— H. Stieglholzer and H. Kastinger, Austria—- 3rd Prize—Not awarded. “Kampfstatte in Wien.” Honorable Mention— Honorable Mention— Otto Rost, Germany— “Rugbykampf.” Constantino Costantini, Italy— “Schwimmbecken des Roberto Terracini, Italy— “Schild des C. O. N. I.” Mussolini-Forums in Rom.” Medals Johann Rezac, Austria—“Wassersportanlage Pört­ 1st Prize—Not awarded. schach.” 2nd Prize—Luciano Mercante, Italy—“Medaillen.” 3rd Prize—Josue Dupon, Belgium— “Reiterplaketten.” PAINTING AND GRAPHIC ART Honorable Mention— Paintings Omero Taddeini, Italy— “Medaillen.” 1st Prize—Not awarded. Gunter von Scheven, Germany—“Hürdenläufer.” 2nd Prize—Rudolf Hermann Eisenmenger, Austria— “Läufer vor dem Ziel.” LITERATURE 3rd Prize—Takaharu Fujita, Japan— “Eishockey.” Lyrics Honorable Mention—- 1st Prize— Felix Dhunen-Sondinger, Germany— “Der August Annus, Lettland—-“Kampf am Tor.” Läufer.” Eugenjusz Arct, Poland—“Hockey.” 2nd Prize— Bruno Fattori, Italy— “Profili Azzuri.” Karl Otto Muller, Germany—“Der Eishockey-Tor­ 3rd Prize— Hans H. Stoiber, Austria— “Der Diskus.” mann.” Dramatic Works Georges Frederic, Belgium— “Bogenschützen.” 1st Prize—Not awarded. G. Kramer, Holland—-“Läufer bei Regenwetter.” 2nd Prize—Not awarded. -ft Drawings and Water Colors 3rd Prize—Not awarded. 1st Prize—Not awarded. Epic Works 2nd Prize— Romano Dazzi, Italy— “Vier Kartons fur 1st Prize—Urho Karhumaki, Finland—“Avoveteen." Fresken.” 2nd Prize—Wilhelm Ehmer, Germany—“Um den Gip­ 3rd Prize— Sujaku Suzuki, Japan— “Japanisches klas­ fel der Welt.” sisches Pferderennen.” 3rd Prize—Jan Parandowski, Poland— “Dysk Olimpij- Honorable Mention— ski.” Jean L. N. Jacoby, Luxembourg— “Abfahrtslauf.” MUSIC Graphic Art Compositions of Songs for Soloist or Choir 1st Prize-—Not awarded. 1 st Prize — Paul Hoffer, Germany — “Olympischer 2nd Prize—Not awarded. Schwur.” 3rd Prize—Not awarded. 2nd Prize—Kurt Thomas, Germany—“Kantate zur Current Graphic Olympiade 1936.” 1st Prize—A. W. Diggelmann, Switzerland—“Plakat 3rd Prize—Harald Genzmer, Germany—“Der Läufer.” Arosa I.” Instrumental Compositions 2nd Prize—Alfred Hierl, Germany—-“Intern. Avusren- 1st Prize— Not awarded. nen.” 2nd Prize—Not awarded. 3rd Prize— Stanislaw Ostoja Chrostowski, Poland— 3rd Prize—Not awarded. “Jachtklub-Diplom.” Honorable Mention-—- SCULPTURE Gabriele Bianchi, Italy— “Due Improvvisi." Sculptures Orchestral Compositions 1st Prize—Farpi Vignoli, Italy— “Sulky-Fahrer.” 1 st Prize—Werner Egk, Germany— “Olympische Fest­ 2nd Prize— Arno Breker, Germany—-“Zehnkämpfer.” musik.” 3rd Prize— Stig Blomberg, Sweden— "Ringende Kna­ 2nd Prize—Lino Liviabella, Italy— “II vincitore.” ben.” 3rd Prize—Jaroslav Kricka, Czechoslovakia— “Bergsuite.” Honorable Mention— Honorable Mention—- Ansgar Almquist, Sweden—“Der Geher.” Gian Luca Tocchi, Italy—“Record.” Lajos Petri, Hungary— “Läufer.” Bunya Koh, Japan— “Tanz Formosa.”.
Recommended publications
  • Trous D'archives, Trous De Mémoire?
    1 Trous d’archives, trous de mémoire? Lacune degli archivi, vuoti della memoria? Actes du 9e colloque des archivistes de l’Arc alpin occidental Avignon – Rasteau – Vaison-La-Romaine (Vaucluse), 17 – 19 octobre 2019 Avignon - Chambéry - Lausanne – Torino septembre 2020 © Archivistes de l’Arc alpin occidental 2 Avertissement Seuls les résumés des interventions de Marie-Claire Pontier, Claude-France Hollard et d’Emmanuelle Combet apparaissent dans les actes, en raison de la destination de leur texte à des revues ou autres publications spécialisées. Avvertenza Gli interventi di Marie-Claire Pontier, Claude-France Hollard e di Emmanuelle Combet compaiono negli atti solo in forma di sintesi in ragione della destinazione dei loro testi a riviste o altre pubblicazioni specializzate. 9e Colloque des archivistes de l’Arc alpin occidental, Rasteau, 17-19 octobre 2019 SOMMAIRE SOMMAIRE 3 Pouvoir, mémoire, histoire : archives nécessairement lacunaires ? Marco CARASSI, Sylvie CLAIR, Gilbert COUTAZ, Jean LUQUET et Christine MARTELLA page 5 Première session – Archives publiques – Pratiques professionnelles Modérateur : Jean Luquet, directeur des Archives départementales de la Savoie Erika CRISTINA (Archives d’État de Turin) : Lacune, mancanze, tracce. Perdite, dispersioni, recuperi di documenti all’Archivio di Stato di Torino page 9 Bernard THOMAS (Archives départementales de Vaucluse) : Les archives de la légation d’Avignon. De la perte d’un fonds à sa « reconstruction » virtuelle page 21 Antonella PIERI (Surintendance archivistique du Piémont et de
    [Show full text]
  • Programma ART CITY Bologna 2018
    ART CITY 10 Projects ART CITY Special Project Galleria d’Arte Maggiore g.a.m. | via Massimo D’Azeglio 15 | www.maggioregam.com OTTO Gallery | via Massimo D’Azeglio 55 | www.otto-gallery.it PRIVATE TOUR | Gallerie Ascom PRIVATE TOUR | Gallerie Ascom Leoncillo Gianni Dessì. Sestante segnala mostra a cura di G.A.M. Archivio Leoncillo fino al 15 aprile 2018 | venerdì ore 10.30 - 13 / 16 - 20, sabato ore 10.30 - 24, domenica ore 10.30 - 20, ingresso gratuito ART CITY fino al 31 marzo 2018 | venerdì ore 10 - 12.30 / 16-19.30, sabato ore 10 - 12.30 / 16 - 24, domenica ore 10 - 12.30, ingresso gratuito ART CITY P420 | via Azzo Gardino 9 | www.p420.it Galleria De’ Foscherari | via Castiglione 2/b | www.defoscherari.com PRIVATE TOUR | Gallerie Ascom PRIVATE TOUR | Gallerie Ascom John Coplans & June Crespo. Foreign bodies Accademia di Belle Arti di Bologna | via delle Belle Arti 54 | www.ababo.it Vedovamazzei. Unexpected Landscapes (Paesaggi inaspettati) 3 febbraio - 31 marzo 2018 | venerdì ore 9 - 20, sabato ore 9 - 24, domenica ore 10 - 20, ingresso gratuito Program Convegno: Il ruolo del restauratore nel trasporto e allestimento di opere d’arte contemporanea fino al 10 marzo 2018 | venerdì ore 10 - 12.30 / 16 - 19 sabato ore 10 - 12.30 / 16 - 24, domenica ore 16 - 19, ingresso gratuito Palazzo Albergati | via Saragozza 28 | www.palazzoalbergati.com venerdì ore 9.30 - 13, 15 - 18, ingresso gratuito su iscrizione Galleria di Paolo Arte | Galleria Falcone Borsellino 4a/b | www.dipaoloarte.com Duchamp, Magritte, Dalí. I Rivoluzionari del ‘900 Cristian Chironi, Margherita Moscardini.
    [Show full text]
  • January 2020
    1 EJanuaryTHICAL 2020 Vol. 134, No. 5 Newsletter V of the PhiladelphiaIEWS Ethical Society Sunday Platforms professor of history at the Jan. 26, 11:00 AM How Ethics University of Virginia and Yale and End Of Life Intersect Sunday, Jan. 5, 11:00 AM University. She currently serves Laura L. Barry, Visiting Nurse Association, Philadelphia, PA Memorial Sunday – Gratitude as Vice President (for research) for Those Gone for the American Historical End of life may not Hugh Taft-Morales, Leader, Association, and co-editor of Philadelphia Ethical Society be easy to embrace, the journal, Modern Intellectual yet the appropriate History. She is the recipient of and timely use numerous fellowships including of hospice may those from the Guggenheim minimize conflict Foundation and the Institute for and dilemmas. Advanced Studies at Princeton. Hospice provides In addition to Democracy collaborative and Truth, she is the author support, crucial conversations and of Common Sense: A Political guidelines enabling you and your On the first Sunday of each year History (Harvard, 2011), and loved ones to approach the end of life we remember with gratitude the A Revolution in Language: with grace and peace. Join Laura L. important life lessons and inspiring The Problem of Signs in Late Barry for discussion and education memories left to us by those who Eighteenth Century France regarding making informed choices have died. Members of the audience (Stanford, 2001), as well as as it relates to end of life. Learn about are encouraged to share how those numerous scholarly articles. types of hospice care and the best last no longer with us continue to help us Sunday, Jan.
    [Show full text]
  • History of the Arts in the Olympic Games
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the q u alityo f the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission ofof the the copyrightcopyright owner.owner. FurtherFurther reproduction reproduction prohibited prohibited without without permission.
    [Show full text]
  • I Diari E Le Agende Di Luca Pietromarchi (1938-1940)
    Ruth Nattermann (Hrsg.): I diari e le agende di Luca Pietromarchi (1938-1940). Politica estera del fascismo e vita quotidiana di un diplomatico romano del ’900 Schriftenreihe Ricerche dell'Istituto Storico Germanico di Roma Band 5 (2009) Herausgegeben vom Deutschen Historischen Institut Rom Copyright Das Digitalisat wird Ihnen von perspectivia.net, der Online-Publikationsplattform der Max Weber Stiftung – Deutsche Geisteswissenschaftliche Institute im Ausland, zur Verfügung gestellt. Bitte beachten Sie, dass das Digitalisat der Creative- Commons-Lizenz Namensnennung-Keine kommerzielle Nutzung-Keine Bearbeitung (CC BY-NC-ND 4.0) unterliegt. Erlaubt ist aber das Lesen, das Ausdrucken des Textes, das Herunterladen, das Speichern der Daten auf einem eigenen Datenträger soweit die vorgenannten Handlungen ausschließlich zu privaten und nicht-kommerziellen Zwecken erfolgen. Den Text der Lizenz erreichen Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode RICERCHE DELL’ISTITUTO STORICO GERMANICO DI ROMA 5 Collana fondata da Michael Matheus diretta da Gritje Hartmann, Thomas Hofmann, Lutz Klinkhammer, Alexander Koller, Michael Matheus, Andreas Rehberg e Kordula Wolf I diari e le agende di Luca Pietromarchi (1938-1940) Politica estera del fascismo e vita quotidiana di un diplomatico romano del ’900 a cura di Ruth Nattermann viella Copyright © 2009 Istituto Storico Germanico di Roma & Viella S.r.l. Tutti i diritti riservati Prima edizione: settembre 2009 ISBN 978-88-8334-369-8 Traduzione di Gerhard Kuck per l’Introduzione viella libreria editrice via delle Alpi 32 I-00198 ROMA tel. 06 84 17 75 8 fax 06 85 35 39 60 www.viella.it Indice Introduzione di Ruth Nattermann Gli appunti del diplomatico Luca Pietromarchi (1938-1940) 9 I.
    [Show full text]
  • Source : Bibliothèque Du CIO / IOC Library
    The Canoe Racing was represented for the first time as an official sport at the Olympic Games of 1936, while races of one-seater Canadians, two-seater Canadians and four-seater Canadians already took place at the Olympic Games, Paris, 1924, in the form of a demonstration event Entries and participation. Entered: 19 nations with 158 participants. Competed: 19 nations with 121 participants Number of competitors who were entered for and who competed in the various competitions of the Canoe Racing and total numbers from each country 1,000 metres 10,000 metres One-Seater Two-Scater One-Seater Two-Seater One-Seater Two-Seater One-Seater Two-Seater Two-Seater Kajak Kajak Canadian Canadian Collapsible Collapsible Kayak Kayak Canadian Numbers ent. comp. ent. comp. ent. comp. ent. comp. ent. comp. ent. comp. ent. comp. ent. comp. ent. comp. ent. comp. 1 1 2 2 1 1 2 2 1 1 3 2 10 9 Denmark 2 1 3 2 2 1 3 2 5 4 Finland 2 1 — — 2 1 — — 2 1 — — •— 3 3 France 1 ] 3 2 — 2 1 — — 2 1 — — 3 3 Great Britain 2 1 3 2 4 3 116 tcn-seater Canadians with young German sportsmen greet the Olympic guests. Holland 1 1 4 2 1 1 4 2 1 1 4 2 •— 11 9 Yugoslavia 1 1 1 3 2 1 1 — — 5 4 Canada '.. 2 1 4 2 2 1 4 2 2 —• 4 2 2 1 4 2 4 2 8 8 Luxemburg — — — 1 1 —• — 2 1 3 2 5 3 For the first time at Olympic Games, canoeing contests took place in Berlin in 1936.
    [Show full text]
  • Franco Solmi, 1987, Norma Mascellani, Grafis Edizioni
    A mia madre A mio marito Coordinamento di Enzo Lanzi © 1987 Norma Mascellani e Grafis Edizioni Via 2 Giugno, 4 Casalecchio di Reno - Bologna Tutti i diritti riservati Franco Solmi I Grafis Edizioni Foto di Marco Faggioli Autoritratto, 1928 olio su lavolelfa, cm. 18,5 X 12,5 6 Credo mi sarà consentita una autocitazione ad aper­ dell'artista bolognese potrebbero davvero risolversi tura di queste note sul lavoro di Norma Mascellani, in candide riprese dell'ovattato postimpressionismo intese a dar ragione critica dell'affermazione che mi di Giovanni Romagnoli o in una posizione di chiari­ parve giusto fare scrivendo il testo di apertura per la smo laterale rispetto a quello d'area lombarda dei grande mostra antologica che il Comune di Bologna Del Bon, De' Rocchi, Lilloni e Spilimbergo. Così in­ dedicò alla pittrice nel novembre del 1985. Scrivevo vece non è in quanto, da un lato, Bologna non si rite­ in quella occasione di una finesse dell'opera che ha neva davvero rappresentata da un Romagnoli decisa­ «radici profonde nell'animo dell'artista, nella tene­ mente troppo "francese" per il gusto locale, né ave­ rezza quasi disperata che accompagna l'irruenza di va un Edoardo Persico capace di riproporre l'istanza una personalità in cui fragilità e forza, rigore e perfin venturiana del postimpressionismo contro il dilagare stremata sensibilità all'emozione si uniscono in del Novecento. Poteva tutt'al più, come accadde, straordinario equilibrio. Tutto ciò si riflette nelle dar vita a un movimento di fronda come quello che opere, che non cadono però mai al di là di una ferma si espresse attraverso il gruppo di artisti raccolti at­ misura formale anche quando le vibrazioni d'atmo­ torno alla rivista "L'Orto" che aveva in Poggeschi il sfera, l'impalpabile velo dei riflessi di terre e d'acque più avventurato esponente di quella cultura filofran­ o l'improvviso accendersi di un colore sembrano cese che s'esprimeva a livello letterario nella rivista sfaldare l'immagine o minacciarne la sottile armo­ fiorentina "Il Frontespizio" e in Corrado Corazza nia.
    [Show full text]
  • Un Caso Singolare: Il Mercato Americano Di Leonardo Cremonini Durante Gli Anni ’50
    Davide Colombo Un caso singolare: il mercato americano di Leonardo Cremonini durante gli anni ’50 Abstract La fortuna critica e collezionistica di Leonardo Cremonini negli Stati Uniti tra il 1952 e il 1964 è costante e capillare, e si delinea come caso studio esemplare per comprendere specifiche caratteristiche dell’interesse americano per l’arte italiana fino all’inizio degli anni ’60 e certe dinamiche del sistema espositivo e del mercato statunitense. Il saggio – grazie anche a una serie di documenti inediti provenienti da archivi americani che colmano lacune e correggono errori della biografia dell’artista – ricostruisce le vicende espositive di Cremonini favorite dall’intensa ed efficace attività pubblicistica di Catherine Viviano, che nel 1950 apre a New York una galleria dedicata all’arte italiana, e la crescita del collezionismo museale e privato che va di pari passo a quello del valore di mercato delle sue opere. In particolare, si cerca di evidenziare le ragioni sistemiche e quelle specificatamente legate all’opera di Cremonini che possano spiegare la rapida ascesa di questo suo successo nel mercato americano e il suo ancor più veloce crollo. The good critical reception and collecting of Leonardo Cremonini’s artworks in US between 1952 and 1964 is constant and widespread, and it is an exemplary study case of understanding specific features of American interest in Italian art untill the early ’60s and particular dynamics of US exhibit and art market system. Thanks to a series of unpublished archives records that fill gaps and correct mistakes in the artist’s biography, the essay pieces together Cremonini’s exhibit activities facilitated by the incisive and efficient dealer actions by Catherine Viviano, who opened a gallery dedicated to Italian art in New York since 1950.
    [Show full text]
  • Spring/Summer 2015
    Spring/Summer 2015 Faith, Arts & Justice Why Words MatterSinger/Songwriter Brian Doerksen Why Words Matter music works on us and in us, and matter we could say cruel things to each means of God-spoken words like ‘Let By Brian Doerksen because of the power of one additional other and nothing would change. But we there be light.’ These words, because of tool of language that we lyricists use to all know what happens when hurtful their inherent power and the power of Words have power. They make us erupt great effect: rhyme. Sing the lines ‘Why words get spoken. People get hurt. the One who spoke them, bring about with laughter or cause our heart to break. she had to go I don’t know, she wouldn’t say. Things change. the reality we find ourselves in the middle Most of you will know the words to the I said something wrong, now I long for of. This was my inspiration for the words I song ‘Yesterday.’ The reason you know yesterday.’ Decades after my first hearing Words matter because words have wrote in Creation Calls. these words is not simply because they of this amazing song I have no problem power. I have felt the wind blow, whispering your are part of our culture’s soundtrack. When recalling the words. They still speak. The name. words are wedded to melody they get first line I quoted speaks of the power of Those of us from the community of faith I have seen your tears fall when I watch the lodged in a part of our brain that words withheld.
    [Show full text]
  • Young-Participants-1969-37990-600
    I.O.A. NINTH SESSION AT OLYMPIA AUGUST — SEPTEMBER 1969 BOARD OF TRUSTEES EPHORIA OF THE INTERNATIONAL OLYMPIC ACADEMY FOR 1969 Under the Honorary Presidency of H.M. THE KING. (Decision taken at the Full Meeting of the Hellenic Olympic Committee on 14th January 1969.) President: H.R.H. Prince GEORGE of Hanover, LL.D. First Vice-Président: Vice-Admiral Pyrros LAPPAS, Member of the I.O.C. for Greece, Member of the Hellenic Olympic Committee. Second Vice-President Epaminondas PETRALIAS, Hon. Secretary Ge- neral of the H.O.C. Members: Nikolaos PAPARESCOS, Member of the H.O.C. Nikolaos GOUMAS, Member of the H.O.C. Georgios PANZARIS. Curator: Otto SZYMICZEK, Technical Counsellor to the H.O.C. Director General: Rear-Admiral Epaminondas PANAS. The Collaborators: Secretary General for Sports and the Government Commissioner at the H.O.C. Honorary Members: Avery BRUNDAGE, President of the I.O.C. Constantinos GEORGAKOPOULOS, President of the Hellenic Red Gross. Georgios KOURNOUTOS, Director, Letters and Fine Arts Directorate, Ministry of Education and Cults. Nicolaos GIALOURIS, Inspector of Anti- quities. Georgios PAPASTEFANOU, Director of the Historical Museum of the Olympic Games. REPORT OF THE NINTH SESSION OF THE INTERNATIONAL OLYMPIC ACADEMY AT OLYMPIA ATHENS 1970 COMMISSION OF THE INTERNATIONAL OLYMPIC COMMITTEE FOR THE INTERNATIONAL OLYMPIC ACADEMY Chairman: Ivar Emil VIND, Member of the I.O.C. for Denmark. Members: Sir Ade ADEMÓLA, Member of the I.O.C. for Nigeria. Juan A. SAMARANCH, Member of the I.O.C. for Spain. Dr. Giorgio de STEFANI, Member of the I.O.C. for Italy.
    [Show full text]
  • The Olympic Art Competitions of 1936 and the Counter-Exhibition of Amsterdam"
    Fachbereich Sozialwissenschaften, Medien und Sport Institut für Sportwissenschaft Abteilung: Sportgeschichte "The Olympic Art Competitions of 1936 and the counter-exhibition of Amsterdam" Summary of MA Thesis by Alexandra Thumm, Johannes Gutenberg-Universität Mainz, Germany Summary of MA Thesis by Alexandra Thumm "The Olympic Art Competitions of 1936 and the counter-exhibition of Amsterdam" 1. Introduction .................................................................................................... 1 2. Introduction to the political and cultural situation of Germany in 1936........ 2 3. The Olympic Art Competitions of 1936 ........................................................ 3 4. The consideration and interpretation of a single work of art ......................... 5 5. The counter-exhibition "D.O.O.D." in Amsterdam ....................................... 8 6. Conclusion.................................................................................................... 10 Appendix ............................................................................................................. 12 Selected references.............................................................................................. 16 1 Summary of MA Thesis by Alexandra Thumm "The Olympic Art Competitions of 1936 and the counter-exhibition of Amsterdam" 1. Introduction For the founder of the modern Olympic Games, Baron Pierre de Coubertin, the combination of sport and art was an essential part of the Olympic Spirit from the very beginning. Art and sports
    [Show full text]
  • INVENTARIO Pittori
    INVENTARIO DELL'ARCHIVIO DEL SINDACATO PITTORI E SCULTORI DI FIRENZE (1926 - 1956) a cura di RENATO DELFIOL Presentazione di ARNALDO D’ADDARIO Firenze, 1996 CGIL REGIONALE TOSCANA ARCHIVIO STORICO INDICE Premessa di Franco Martini Presentazione di Arnaldo D’Addario Introduzione di Renato Delfiol Abbreviazioni Inventario Archivio del sindacato arti figurative di Firenze poi sindacato regionale Pittori e scultori Archivio del sindacato arti del disegno di Firenze poi sindacato fascista toscano belle arti Spogli Avvertenze per l’uso degli spogli Nomi di persona Professionalità artistiche Nomi geografici Cose notevoli PREMESSA L'iniziativa confederale di pubblicare gli inventari dei fondi archivistici conservati presso il Centro di documentazione si dimostra sempre più vitale dopo la pubblicazione degli inventari dei fondi della Federterra e della FIOM: mentre prosegue il lavoro - prossimo al compimento – sull’archivio degli Elettrici, escono ora i risultati del quarto lavoro di riordinamento, curato da Renato Delfiol, sull'archivio del Sindacato Pittori e Scultori. Si tratta di un 'organizzazione che fu limitata quanto a numero di iscritti e a periodo di funzionamento (anche se dal suo seno originarono altre fruttuose esperienze) e tale limitatezza si riflette anche sul numero non elevato dei documenti; ma la sua vicenda si dimostra di straordinario interesse perché costituisce il raggruppamento sindacale di quella particolare categoria di intellettuali che sono gli artisti, siano essi i creatori dell'arte nelle sue più elevate espressioni che coloro che la traducono nelle arti dell'abbellimento e della decorazione. Come mostra l'introduzione del curatore, l'esperienza del Sindacato pittori e scultori fu talora contraddittoria ma sempre ricca di significato e degna di discussione.
    [Show full text]