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Praktischer Teil
Bahnhöfe. — Gepäckbeförderung. — Dienstmänner. IX Praktischer Teil. Von der Angabe von Preisen wurde in den nachfolgenden Ab- schnitten grundsätzlich Abstand genommen, da diese sich in der heutigen Zeit zu häufig ändern. — Die Zahlen und Buchstaben in den eckigen Klammern bezeichnen die Quadrate des Stadtplans, auf welchen sich die erwähnten Straßen, Gebäude usw. befinden. — Ein alphabetisches Verzeichnis der Straßen befindet sich auf der Rückseite des beiliegenden Stadtplans. Bahnhöfe. Alle Straßenbahnen, deren Wagen an der Stirnseite mit einem roten Querstrich versehene Schilder haben, berühren den Haupt- bahnhof, an den sich der Starnberger und der Holzkirchner Bahnhof anschließen. Zum Isartalbahnhof führen die Straßen- bahnlinien 10 und 30. Hauptbahnhof [E5] S. 123; Kopfstation, die ausschließlich dem großen Fernverkehr dient. — Starnberger Bahnhof [E 5], S. 123, Arnulfstr., an der Nordseite des Hauptbahnhofs, für die Züge nach Starnberg, Murnau, Partenkirchen, Ober- ammergau, Kochel, sowie für den Nahverkehr über Pasing nach Gauting, Grafrath. —Holzkirchner Bahnhof [E 5], Bayerstr., an der Südseite des Hauptbahnhofs, für die Züge nach Holz- kirchen, Bad Tölz, Tegernsee und für den Nahverkehr nach Solln und Großhesselohe. — f sartal-Bahnhof [E 9], Schäftlarnstr., für die Bahn durch das fsartal nach Ebenhausen, Wolfratshausen, Bichl und für den Nahverkehr nach Prinz-Ludwigshöhe, Pullach, Höllriegelsgreuth-Grünwald. — Südbahnhof [Dg] und Ost- bahnhof [L 8], Nebenbahnhöfe für die Rosenheimer und Mühl- dorfer Strecke, gleichzeitig Güterbahnhöfe. Gepäckbeförderung. Zustellung des Reisegepäcks (Expreßdienst) sowie Abfertigung desselben durch das Amtliche Bayerische Reisebureau vorm. Schenker & Co. im Hauptbahnhof, Mittelbau (8—6, So. 9—12 Uhr) und Promenadeplatz 16 [G 5] (8%—6, So. 10—12 Uhr). Dienstmänner und Eilboten. Dienstmannbestellung am Bahnhofplatz 1 (Telegraphenamt), (tägl. -
K E W E N I G
K E W E N I G Sean Scully “Four Days” 4 September to 7 November 2015 Opening on 4 September from 6 to 9 pm; the artist will be present. Opening hours: Monday to Saturday from 10 am to 6 pm “Four Days” is the first solo exhibition of the internationally acclaimed artist Sean Scully (b. in Dublin in 1945) at Kewenig in Berlin. New oil paintings by the Irish-American artist will be on view, as well as a selection of works on paper and one sculpture. Among the pieces executed especially for Berlin is the four-part painting Four Days after which the exhibition was named, Landline Blue, and an impressive triptych titled Arles-Abend-Vincent 2 – all works dating from 2015. Sean Scully is one of the most prominent contemporary exponents of abstract painting. He stands for an absolute, non-figurative style decisively distinguished by color. Pictorial compositions consisting of grid-like blocks or beam-like stripes are characteristic of his œuvre, as is the haptic quality resulting from the forceful brushstroke and impasto application of the paint and accounting for the works’ strong physical presence. Rather than simple canvas, the artist prefers to paint on higher-quality materials such as linen or aluminum, which lend the surfaces greater suppleness and heighten the radiance of the colors. Assembled from squares, rectangles and stripes, Scully’s motifs are based on basic geometric elements that are brought to life, however, by intense emotional impetus and the energy-charged painting manner. In their rectilinear structure and abstraction, his compositions thus exhibit not only conceptual stringency and order but also a high degree of emotionality. -
The Fate of National Socialist Visual Culture: Iconoclasm, Censorship, and Preservation in Germany, 1945–2020
City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Fall 1-5-2021 The Fate of National Socialist Visual Culture: Iconoclasm, Censorship, and Preservation in Germany, 1945–2020 Denali Elizabeth Kemper CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/661 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The Fate of National Socialist Visual Culture: Iconoclasm, Censorship, and Preservation in Germany, 1945–2020 By Denali Elizabeth Kemper Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History, Hunter College The City University of New York 2020 Thesis sponsor: January 5, 2021____ Emily Braun_________________________ Date Signature January 5, 2021____ Joachim Pissarro______________________ Date Signature Table of Contents Acronyms i List of Illustrations ii Introduction 1 Chapter 1: Points of Reckoning 14 Chapter 2: The Generational Shift 41 Chapter 3: The Return of the Repressed 63 Chapter 4: The Power of Nazi Images 74 Bibliography 93 Illustrations 101 i Acronyms CCP = Central Collecting Points FRG = Federal Republic of Germany, West Germany GDK = Grosse Deutsche Kunstaustellung (Great German Art Exhibitions) GDR = German Democratic Republic, East Germany HDK = Haus der Deutschen Kunst (House of German Art) MFAA = Monuments, Fine Arts, and Archives Program NSDAP = Nationalsozialistische Deutsche Arbeiterpartei (National Socialist German Worker’s or Nazi Party) SS = Schutzstaffel, a former paramilitary organization in Nazi Germany ii List of Illustrations Figure 1: Anonymous photographer. -
Orientierung Deutsch
DIE PINAKOTHEKEN IM KUNSTAREAL MÜNCHEN Schelling- ORIENTIERUNG straße Bus 154 Bus 154 U H H Universität Arcisstraße H 7/28 2 6 DEUTSCH m U a / 3 NEUE Tr Heßstraße PINAKOTHEK U e ß e MUSEUM REICH a U2 ß r a t e DER KRISTALLE Bus 100 r s t ß n s a e Theresienstraße g i U H H H i l w a sstr i Pinakotheken MUSEUM d m c u A BRANDHORST L Ar TÜRKENTOR e ALTE ß ra PINAKOTHEK PINAKOTHEK t DER MODERNE Gabelsbergerstraße r S re H a e B Bus 100 ß 00 1 ra ÄGYPTISCHES s st LENBACH- n MUSEUM Karolinen- Bu e HAUS platz k H r ü GLYPTOTHEK T NS-DOKU- U U Königsplatz ZENTRUM Brienner S traße H KUNSTBAU STAATL. GRAPH. Odeonsplatz SAMMLUNG 00 STAATLICHE 1 s ANTIKEN- Bu SAMMLUNGEN U4/U5 6 U / 3 U Alter B otanischer 7/28 ALTE PINAKOTHEK Garten 2 m a Täglich außer MO 10.00–18.00 | DI 10.00–20.00 www.pinakothek.de/alte-pinakothek Tr NEUE PINAKOTHEK H S U S U S1–S8 Täglich außer DI 10.00–18.00S U H | MI 10.00–20.00Karlsplatz (Stachus) Marienplatz www.pinakothek.de/neue-pinakothekS1–S8 Hauptbahnhof DB PINAKOTHEK DER MODERNEU2 Täglich außer MO 10.00–18.00 | DO 10.00–20.00 www.pinakothek.de/pinakothek-der-moderne MUSEUM BRANDHORST Täglich außer MO 10.00–18.00 | DO 10.00–20.00 www.museum-brandhorst.de SAMMLUNG SCHACK MI–SO 10.00–18.00 | Jeden 1. und 3. -
Measurement at Pinakothek Der Moderne.Pdf
Maike Grün, Doerner Institut, Munich 1 Measurement of Installation Art. Methods and experience gained at Pinakothek der Moderne Maike Grün Doerner Institut, Munich Measurement of Installation Art Methods and experience gained at Pinakothek der Moderne Special study within the European Research Project “Inside Installations. Preservation and Presentation of Installation Art” (2004-2007) 38 pages Published at www.inside-installations.org May 2007 Maike Grün, Doerner Institut, Munich 2 Measurement of Installation Art. Methods and experience gained at Pinakothek der Moderne Contents page 1 Introduction 3 2 Case examples of measurements 5 2.1 Joseph Beuys ‘Das Ende des 20. Jahrhunderts’ (’The End of the 20th 5 century’), 1984: Tachymetry 2.2 Pipilotti Rist ’Himalaya Goldsteins Stube’ (’Himalaya Goldstein’s Living 9 Room’), 1998/99: A combination of tachymetry and digital photogrammetry 2.3 Fred Sandback ‘Untitled (Mikado)’, 2003: 13 Method A: “Simple means”; Method B: Tachymetry; Method C: Hand measurement taking account deformations 2.4 Mark Manders ‘Silent Factory’, 2002: 19 Laser scanning 2.5 Thomas Hirschhorn ‘Doppelgarage’ (‘Double Garage’), 2002: 23 A combination of tachymetry, laser scanning and digital photogrammetry 2.6 Olaf Metzel ‘Reise nach Jerusalem’ (‘Musical Chairs’), 2002: 30 A combination of tachymetry and digital photogrammetry 3 A comparison of methods of measurement 34 4 Use of plans for reinstallation 35 5 Archiving 35 6 Summary and outlook 36 7 Acknowledgements 37 8 Photo credits 37 Maike Grün, Doerner Institut, Munich 3 Measurement of Installation Art. Methods and experience gained at Pinakothek der Moderne 1 Introduction With the move of the Sammlung Moderne Kunst (Collection of Modern Art) from Munich’s Haus der Kunst to the newly built Pinakothek der Moderne in 2002 Joseph Beuys’ ‘Das Ende des 20. -
City-Map-2017.Pdf
3 New Town Hall 11 Hofbräuhaus The Kunstareal (art quarter) Our Service Practical Tips Located in walking distance to one another, the rich variety contained in the museums and galleries in immediate proximity to world-renowned München Tourismus offers a wide range of services – personal and Arrival universities and cultural institutions in the art quarter is a unique multilingual – to help you plan and enjoy your stay with various By plane: Franz-Josef-Strauß Airport MUC. Transfer to the City by treasure. Cultural experience is embedded in a vivacious urban space offers for leisure time, art and culture, relaxation and enjoyment S-Bahn S1, S8 (travel time about 40 min). Airport bus to main train featuring hip catering and terrific parks. In the Alte Pinakothek 1 , in the best Munich way. station (travel time about 45 min). Taxi. Neue Pinakothek 2 and Pinakothek der Moderne 3 , Museum By railroad: Munich Hauptbahnhof, Ostbahnhof, Pasing Brandhorst 4 and the Egpytian Museum 5 as well as in the art By car: A8, A9, A92, A95, A96. Since 2008 there has been a low-emission galleries around Königsplatz 6 – the Municipal Gallery in Lenbach- Information about Munich/ zone in Munich. It covers the downtown area within the “Mittlerer Ring” haus 7 , the State Collections of Antiques 8 , the Glyptothek 9 and Hotel Reservation but not the ring itself. Access is only granted to vehicles displaying the the Documentation Center for the History of National Socialism 10 appropriate emission-control sticker valid all over Germany. – a unique range of art, culture and knowledge from more than 5,000 Mon-Fr 9am-5pm Phone +49 89 233-96500 www.muenchen.de/umweltzone 9 Church of Our Lady 6 Viktualienmarkt 6 Königsplatz years of human history can be explored. -
Aubrey Cox Professor Marcuse Hist 133A November 14, 2018 Source
Aubrey Cox Professor Marcuse Hist 133A November 14, 2018 Source exploration "Mass Rally in Front of Feldherrnhalle [Field Marshal's Hall] in Munich - Adolf Hitler in the Crowd (August 2, 1914)." GHDI - Image. Accessed November 01, 2018. http://germanhistorydocs.ghi-dc.org/sub_image.cfm?image_id=3736. This source exploration investigates the photograph that supposedly shows Adolf Hitler among a crowd to hear the declaration of war against Russia that sparked the beginning of World War I. Mass Rally in Front of Feldherrnhalle [Field Marshals’ Hall] in Munich – Adolf Hitler in the Crowd. (August 2, 1914). The photograph of a large crowd gathered on the Odeonsplatz, taken 2 by Heinrich Hoffmann, shows Hitler celebrating the start of World War I. The photo is copyrighted Bildarchiv Preußischer Kulturbesitz/ Heinrich Hoffmann. "Heinrich Hoffmann (photographer)." Wikipedia. September 26, 2018. Accessed November 01, 2018. https://en.wikipedia.org/wiki/Heinrich_Hoffmann_(photographer). The Photographer to capture such a historic photograph was a man by the name of Heinrich Hoffmann. Hoffmann (b. 12 Sept. 1885- 15 Dec. 1957) was a photographer and a publicist who published his works in the Nazi party’s weekly magazine the illustrierter Beobachter. Hoffmann trained for years under various photographers learning many aspects of the trade. He met Adolf Hitler in 1919. Hoffmann would later become Hitler’s personal photographer, the only photographer allowed to photograph him and thus a major player in Nazi propaganda. This famous photograph was published on March 12, 1932; just before Hitler’s election to Reich President according to the welt.de article cited further below Google scholar search with terms “Heinrich Hoffmann”, “Odeonsplatz”, and “Hitler” returned the result of the book titled “Germans into Nazis”. -
NEWS RELEASE Press Preview: Tues., May 24 9
NEWS RELEASE FOURTH STREET AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 . 737-4215/842-6353 CONTACT: Katie Ziglar Anne Diamonstein (202) 8*?-6353 Press Preview: Tues., May 24 9:00 a.m. - 2:00 p.m. OLD MASTER PAINTINGS FROM MUNICH ON VIEW IN WASHINGTON Washington, D.C., May 4, 1988 - Sixty-two European masterworks from one of the most distinguished public collections in Europe are featured in an exhibition opening at the National Gallery of Art on May ?9, 1988. Masterworks from Munich: Sixteenth- to Eighteenth- Century Paintings from the Alte Pinakothek is the first major showing in this country of works of art from the renowned Bavarian art museum. Masterworks from Munich highlights examples of all the major schools of baroque painting within the wider context of the style's 16th-century antecedents and 18th-century evolution into the rococo. Included in the exhibition are Rubens' The Rape of the Daughters of Leucippus, Rembrandt's Risen Christ, Titian's Vanity, El Greco's The Disrobing of Christ, and Fragonard's Girl with a Dog as well as important works by Guardi, Tintoretto, Brueghel, Van Dyck, Ruisdael, Elsheimer, Murillo, Velazouez, Poussin, and Boucher. masterworks from Munich ... page two "An extraordinary loan has made this exhibition possible," said J. Carter Brown, director of the National Gallery. "The Alte Pinakothek has been extremely generous in offering works by old masters from its collection illustrating its wealth of northern and southern baroque painting. The quality level is superb. The American public is in for a rare treat." The collection was started by members of the ruling Wittelsbach family, Duke Wilhelm IV of Bavaria (ruled 1508-1550) and his wife Jacobaea of Baden, and augmented by subsequent family members, including Maximilian I (ruled 1597-1651), a passionate collector of Durers, and Max Emanuel (ruled 1679-1726). -
10 Years Museum Brandhorst
PROGRAM 10 Years OCT–DEC 2019 Museum Brandhorst Brand New? 10 Years Museum Brandhorst As a museum for contemporary art we aspire to constantly seek out fresh, current and relevant work, to know what is “brand new” – just as it says on Ed Ruscha’s famous triangular painting from 2016, which we are currently showing on the stair- way to the lower floor. Therefore the second issue of our magazine series on the anniversary exhibition “Forever Young – 10 Years Museum Brandhorst” is focused on the present. It is against the present that we continuously measure our work. It keeps us alert, opens our eyes, and as a result the collection changes constantly (p. 2). In the last ten years it has grown by around 500 works. These new acquisitions include, for example, paintings by Monika Baer, who explains in an interview (p. 34) how it was and still is to prevail in the male-dominated field of painting. To give an impression of the diversity of these recent additions to the collection, our exhibition also Jens Hartmann Photo: changes at regular intervals: From mid-September we are showing newly-acquired pieces by R.H. Quaytman (p. 16) and Michael Krebber (p. 18) in Achim Hochdörfer the “Spot On” rooms on the ground floor, and from Director Museum Brandhorst November we will present the recently acquired video installation “Fiorucci Made Me Hardcore (20 Year Anniversary Remaster)” (1999–2019) by Mark Leckey (p. 20) in the media rooms on the lower floor. A legendary piece – twice as old as the museum – which invites us to celebrate a homage to the British club culture to this day. -
Early Art Literature
ARS LIBRI Early Art Literature Catalogue 139 EARLY ART LITERATURE Catalogue 139 A selection from Ars Libri’s stock of rare books on art Full descriptions and additional illustrations are available at our website, www.arslibri.com. Payment details are supplied at the end of the catalogue. Please contact us for further information. 1 AN ALBUM OF BAROQUE REPRODUCTIVE PRINTS. 4 (ALGAROTTI COLLECTION) [SELVA, GIOVANNI 75 seventeenth- and eighteenth-century etchings and engravings, ANTONIO]. Catalogue des tableaux, des desseins et des livres mounted on 71 leaves. Folio. Nineteenth-century English marbled qui traitent de l’art du dessein, de la galerie du feu Comte boards, 3/4 morocco gilt (rubbed). The album includes, among other Algarotti à Venise. (8), lxxx pp. Handsome engraved headpiece at contents, Agostino Carracci’s “Saint Francis Consoled by the Musi- the outset, by Volpato. Lrg. 8vo. Contemporary marbled wraps., cal Angel” after Vanni (cf. Bohlin 204) and his “Ecce Homo” after backed in the 19th century with cloth tape. Correggio (cf. Bohlin 143); Michel Dorigny’s “The Academy of The privately printed catalogue of the collection of Count Art,” and Cornelis Cort’s “Rest on the Flight to Egypt” after Baroc- Francesco Algarotti and his brother Count Bonomo Algarotti, ci. There are several partial or nearly complete reproductive series, simultaneously issued in Italian and (per Schlosser) in German. All including Dietrich-Theodor Crüger after Sarto’s Life of the Baptist three issues are very rare. Though not stated, the catalogue was (17 plates on 15); Pietro Santi Bartoli after Lanfranco (16 plates, compiled by the Venetian architect, garden designer and writer Gio- including title); and 22 various plates after Vouet by Dorigny, Torte- vanni Antonio Selva (1751-1819), with contributions by Pietro bat, Daret and others. -
PDF EN Für Web Ganz
MUNICH MOZART´S STAY The life and work of Wolfgang Amadeus Mozart is closely connected to Munich, a centre of the German music patronage. Two of his most famous works Mozart composed in the residence city of Munich: On the 13th January, 1775 the premiere from „La finta giardinera “took place, on the 29th January, 1781 the opera "Idomeneo" was launched at Cuvilliés Theater. Already during his first trip at the age of six years Wolfgang played together with his sister Nannerl for Elector Maximilian Joseph III. The second visit followed a year later, in June, 1763. From Munich the Mozart family started to their three year European journey to Paris and London. On the way back from this triumphal journey they stopped in Munich again and Mozart gave concerts at the Emperors court. Main focus of the next trip to Munich (1774 – in 1775) was the premiere of the opera "La finta giardiniera" at the Salvatortheater. In 1777 when Wolfgang and his mother were on the way to Paris Munich was destination again and they stayed 14 days in the Isar city. Unfortunately, at that time Wolfgang aspired in vain to and permanent employment. Idomeneo, an opera which Mozart had composed by order of Elector Karl Theodor, was performed in Munich for the first time at the glamorous rococo theatre in the Munich palace, the Cuvilliés Theater. With pleasure he would have remained in Munich, however, there was, unfortunately, none „vacatur “for him again. In 1790 Mozart came for the last time to Munich on his trip to the coronation of Leopold II in Frankfurt. -
Reading Sample
MUSEUM BRANDHORST The Collection Edited by Patrizia Dander, Achim Hochdörfer, and Jacob Proctor Museum Brandhorst Bayerische Staatsgemäldesammlungen, Munich PRESTEL Munich · London · New York 6 Foreword Achim Hochdörfer, Bernhard Maaz 10 On the History of the Museum Brandhorst Achim Hochdörfer 18 The Architecture Andres Lepik 290 Artists in the Brandhorst Collection 292 Copyrights and Photo Credits 293 Authors 294 Imprint Achim Hochdörfer 28 Cy Twombly Monika Bayer-Wermuth 64 Andy Warhol Jacob Proctor 104 Pop Art and its Aftermath(s) Patrizia Dander 146 Schiff Ahoy—Onwards to New Shores The Legacy of Minimal Art Jörg Heiser 188 Constitutive Unpredictability Manuela Ammer 222 Eccentric Figuration Jacob Proctor 244 Doing Things With Images Patrizia Dander 266 Bodies and Capital On the History of the Museum Brandhorst Achim Hochdörfer Situated at the northeastern corner of Munich’s Kunstareal, in direct proximity to the three Pinakothek museums, the Museum Brandhorst is certainly eye-catching. Its elongated volume extends like a colorful sphinx along Türkenstrasse, its towering head greeting visitors who arrive from Schwabing and Maxvorstadt. The façade, with its 36,000 ce- ramic rods, inspired by the colors of nearby buildings, thereby enters into lively communication with its surroundings. When we walk around the building, every step opens up a new play of colors and perspectives, yet Sauerbruch Hutton’s architecture also radiates formal clarity and independence. In this respect, the paradox which affects every museum of contemporary art already becomes evident outwardly. For the role of the Museum Brandhorst has been formulated by Armin Zweite as a place where “historicizing the present”: here, the public is presented with current artistic achievements that are expected to appear relevant from a future retrospective position.1 The collecting of contemporary art, then, is not a passive, purely documentary activity, but instead inter- venes directly into cultural production.