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Wiedergutmachung‹ Für Deutsche Museen? Die Beschlagnahmen ›Entarteter‹ Kunst in Den Bayerischen Staatsgemäldesammlungen 1937/38 Und Deren Entschädigung
Originalveröffentlichung in: Jahresbericht / Bayerische Staatsgemäldesammlungen 2016, S. 136-152 ›Wiedergutmachung‹ für deutsche Museen? Die Beschlagnahmen ›entarteter‹ Kunst in den Bayerischen Staatsgemäldesammlungen 1937/38 und deren Entschädigung Johanna Poltermann »Keines dieser Bilder würde ich gekauft haben, auch wenn Kompensationen analysiert wird. Basis der vorliegenden sie noch so billig zu haben gewesen wären.«1 Mit diesen Untersuchung sind Akten in den Bayerischen Staatsgemälde- vernichtenden Worten charakterisierte der Frankfurter sammlungen, dem Bayerischen Hauptstaatsarchiv, dem Städel-Direktor Alfred Wolters vier Gemälde des 19. Jahr- Bundesarchiv Berlin sowie dem Zentralarchiv der Staatlichen hunderts, die als Sendung des Reichsministeriums für Wis- Museen zu Berlin. Um die geleistete Entschädigung in Re- senschaft, Erziehung und Volksbildung im Frühjahr 1942 lation zu den Verlusten setzen zu können, wird zunächst ein den ›Ersatz‹ für die beschlagnahmten Werke ›entarteter‹ Blick auf die Geschichte der Münchner Sammlung sowie die Kunst darstellten. Die Überweisung älterer Kunstwerke kulturpolitischen Verhältnisse vor und nach 1937 geworfen. an von der Beschlagnahme betroffene Museen war kein Einzelfall.2 Insgesamt 11 Museen erhielten 1942 sowohl diese Form der materiellen Entschädigung3 als auch zu- Die nationalsozialistische Kunst- und sätzlich eine finanzielle Zuweisung.4 Ein kurzer Vergleich Kulturpolitik und ihr Einfluss auf die Bayerischen der Zahlen genügt, um das Missverhältnis von Beschlagnah- Staatsgemäldesammlungen -
Jahresbericht 2016 2016 Bayerische Jahresbericht Staatsgemäldesammlungen Bayerische Staatsgemäldesammlungen
BAYERISCHE STAATSGEMÄLDESAMMLUNGEN JAHRESBERICHT 2016 2016 BAYERISCHE STAATSGEMÄLDESAMMLUNGEN JAHRESBERICHT BAYERISCHE STAATSGEMÄLDESAMMLUNGEN JAHRESBERICHT Inhalt 6 Perspektiven und Projekte: Die Bayerischen Staatsgemäldesammlungen im Jahre 2016 104 06 Fördervereine 105 Pinakotheks-Verein 20 01 Ausstellungen, Projekte, Ereignisse 106 PIN. Freunde der Pinakothek der Moderne / Stiftung Pinakothek der Moderne 21 Ausstellungen 2016 107 International Patrons of the Pinakothek e. V. und American Patrons of the Pinakothek Trust 26 Die Schenkung der Art Mentor Foundation Lucerne an die Bayerische Staatsgemäldesammlung und die Staatliche Graphische Sammlung München 110 07 Stiftungen 38 Schenkung der Max Beckmann-Nachlässe an das Max Beckmann Archiv 111 Stiftung Ann und Jürgen Wilde 41 Sammlung Schack: Wiedereröffnung des zweiten Obergeschosses 112 Fritz-Winter-Stiftung 42 Wiedereröffnung der Staatsgalerie in der Residenz Würzburg 113 Max Beckmann Archiv und Max Beckmann Gesellschaft 45 König Willem-Alexander und Königin Máxima der Niederlande eröffnen ›Holländer-Saal‹ 114 Theo Wormland-Stiftung 46 ›Renaissance & Reformation‹ in Los Angeles. Eine internationale Ausstellungskooperation 115 Olaf Gulbransson Gesellschaft e. V. Tegernsee 48 Bestandskatalog der Florentiner Malerei 49 Das ›Museum Experts Exchange Program‹ (MEEP). Ein chinesisch-deutsches Kooperationsprojekt 2014–2016 118 08 Nachruf 50 Untersuchungen und Bestandsaufnahme von Werken aus der Staatsgalerie Neuburg an der Donau 119 Johann Georg Prinz von Hohenzollern 54 Leihverkehr 121 09 -
Technological Studies Kunsthistorisches Museum Vienna
Technological Studies Kunsthistorisches Museum Vienna CONSERVATION – RESTORATION – RESEARCH – TECHNOLOGY Special volume: Storage Vienna, 2015 Technological Studies Kunsthistorisches Museum Vienna Special volume: Storage Vienna, 2015 Technological Studies Kunsthistorisches Museum Vienna CONSERVATION – RESTORATION – RESEARCH – TECHNOLOGY Special volume: Storage Vienna, 2015 Translated from the German volume: Content Technologische Studien Kunsthistorisches Museum. Konservierung – Restaurierung – Forschung – Technologie, Sonderband Depot, Band 9/10, Wien 2012/13 PREFACE Sabine Haag and Paul Frey 6 Editor: Kunsthistorisches Museum Vienna INTRODUCTION Martina Griesser, Alfons Huber and Elke Oberthaler 7 Sabine Haag Editorial Office: ACKNOWLEDGEMENTS 9 Martina Griesser, Alfons Huber, Elke Oberthaler Assistant, Editorial Office: ESSAYS Stefan Fleck Building a Cost-Effective Art Storage Facility that 13 Tanja Kimmel maintains State-of-the-Art Requirements Joachim Huber Creating a Quantity Structure for Planning Storage 21 Translations: Equipment in Museum Storage Areas Aimée Ducey-Gessner, Emily Schwedersky, Matthew Hayes (Summaries) Christina Schaaf-Fundneider and Tanja Kimmel Relocation of the 29 Collections of the Kunsthistorisches Museum Vienna to the New Art Direction: Central Storage Facility: Preparation, Planning, and Implementation Stefan Zeisler Pascal Querner, Tanja Kimmel, Stefan Fleck, Eva Götz, Michaela 63 Photography: Morelli and Katja Sterflinger Integrated Pest Management (IPM) Christian Mendez, Thomas Ritter, Alexander Rosoli, -
Fillegorical Truth-Telling Via the Ferninine Baroque: Rubensg Material Reality
Fillegorical Truth-telling via the Ferninine Baroque: RubensgMaterial Reality bY Maria Lydia Brendel fi Thesls submitted to the Faculty of Graduate Studies and Research in partial folfiilment of the requirements of the degree of Doctor of Philosophy Department of flrt History McGIll Uniuerslty Montréal, Canada 1999 O Marfa lgdlo Brendel, 1999 National Library Bibliothèque nationale of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395, rue Wellington Ottawa ON K 1A ON4 Ottawa ON K1A ON4 Canada Canada Your hls Votre roferenw Our fib Notre réMrencs The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothêque nationale du Canada de reproduce, loan, distribute or sel1 reproduire, prêter, distribuer ou copies of this thesis in rnicrofonn, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantiaî extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Table of Contents Bcknowledgements .............................................................................................................. -
CCS 2016 Venue Guide
ACM CCS 2016 - Venue Guide Contents Venue Overview ............................................................................................................................................ 2 Directions (to CCS 2016 Conference Venue) ................................................................................................ 3 Conference Venue................................................................................................................................................ 3 How to get to the Conference Venue ................................................................................................................... 4 Directions (airport – city center) ................................................................................................................. 8 Vienna Sightseeing Map .................................................................................................................................... 13 Welcome to Vienna! .......................................................................................................................................... 14 About Vienna ..................................................................................................................................................... 16 The Culinary Side of Vienna .............................................................................................................................. 18 Tips from a Local .............................................................................................................................................. -
Center 5 Research Reports and Record of Activities
National Gallery of Art Center 5 Research Reports and Record of Activities ~ .~ I1{, ~ -1~, dr \ --"-x r-i>- : ........ :i ' i 1 ~,1": "~ .-~ National Gallery of Art CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS Center 5 Research Reports and Record of Activities June 1984---May 1985 Washington, 1985 National Gallery of Art CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS Washington, D.C. 20565 Telephone: (202) 842-6480 All rights reserved. No part of this book may be reproduced without thc written permission of the National Gallery of Art, Washington, D.C. 20565. Copyright © 1985 Trustees of the National Gallery of Art, Washington. This publication was produced by the Editors Office, National Gallery of Art, Washington. Frontispiece: Gavarni, "Les Artistes," no. 2 (printed by Aubert et Cie.), published in Le Charivari, 24 May 1838. "Vois-tu camarade. Voil~ comme tu trouveras toujours les vrais Artistes... se partageant tout." CONTENTS General Information Fields of Inquiry 9 Fellowship Program 10 Facilities 13 Program of Meetings 13 Publication Program 13 Research Programs 14 Board of Advisors and Selection Committee 14 Report on the Academic Year 1984-1985 (June 1984-May 1985) Board of Advisors 16 Staff 16 Architectural Drawings Advisory Group 16 Members 16 Meetings 21 Members' Research Reports Reports 32 i !~t IJ ii~ . ~ ~ ~ i.~,~ ~ - ~'~,i'~,~ ii~ ~,i~i!~-i~ ~'~'S~.~~. ,~," ~'~ i , \ HE CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS was founded T in 1979, as part of the National Gallery of Art, to promote the study of history, theory, and criticism of art, architecture, and urbanism through the formation of a community of scholars. -
Raphael in Rome. Style, Technique, Conservation
Raphael in Rome. Style, technique, conservation The restoration of the frescoes carried out in the This publication is the result of the skilful work Vatican’s Stanza della Segnatura and Stanza di Eliodoro, undertaken by several specialists, within the Vatican and on the Madonna del Divino Amore in the Capodimonte outside. Museum in Naples, and on La Perla and Lo Spasimo in the Prado in Madrid, and the programme of technical The studies proposed at the 2014 conference are now investigations which has run alongside this work, has available for the many interested people who were made a substantial body of documentary material unable to attend the meeting or who wish to refresh available. New academic hypotheses formulated on the RRaphael in Rome their knowledge of what was said at the time. basis of these materials are here discussed by specialists in problems concerning Raphael and early sixteenth- SStyle, technique, conservation The editors of this work have been able to harmonize century Italian painting. contributions that present different aspects of Raphael, The fruits of the dialogue between art historians and the master of the Vatican Rooms, into a coherent text, restorers, the texts and the sensational photographic important for studies on Raphael. documentation that we present in this volume, allow us to look with new eyes and from a previously unexplored Barbara Jatta angle – but one which in some cases, as we have seen, boasts very early precedents – at the grand unfolding of stylistic development and inspired inventiveness in Raphael’s technical researches. Barbara Agosti and Silvia Ginzburg ISBN 978-88-8271-395-9 EDIZIONI MUSEI VATICANI € 59,00 Foreword Barbara Agosti, Silvia Ginzburg In the papers developed for this volume, restorers and art historians propose the results of conservation and research focused on works that represent some of the most significant stages in Raphael’s Roman period, beginning in 1508 and concluding with his death in 1520. -
Renaissance Art and Architecture
Renaissance Art and Architecture from the libraries of Professor Craig Hugh Smyth late Director of the Institute of Fine Arts, New York University; Director, I Tatti, Florence; Ph.D., Princeton University & Professor Robert Munman Associate Professor Emeritus of the University of Illinois; Ph.D., Harvard University 2552 titles in circa 3000 physical volumes Craig Hugh Smyth Craig Hugh Smyth, 91, Dies; Renaissance Art Historian By ROJA HEYDARPOUR Published: January 1, 2007 Craig Hugh Smyth, an art historian who drew attention to the importance of conservation and the recovery of purloined art and cultural objects, died on Dec. 22 in Englewood, N.J. He was 91 and lived in Cresskill, N.J. The New York Times, 1964 Craig Hugh Smyth The cause was a heart attack, his daughter, Alexandra, said. Mr. Smyth led the first academic program in conservation in the United States in 1960 as the director of the Institute of Fine Arts at New York University. Long before he began his academic career, he worked in the recovery of stolen art. After the defeat of Germany in World War II, Mr. Smyth was made director of the Munich Central Collecting Point, set up by the Allies for works that they retrieved. There, he received art and cultural relics confiscated by the Nazis, cared for them and tried to return them to their owners or their countries of origin. He served as a lieutenant in the United States Naval Reserve during the war, and the art job was part of his military service. Upon returning from Germany in 1946, he lectured at the Frick Collection and, in 1949, was awarded a Fulbright research fellowship, which took him to Florence, Italy. -
The National Gallery Review of the Year 2007-2008
NG Review 2008 cover.qxd 26/11/08 13:17 Page 1 the national gallerythe national of the year review 2008 april 2007 ‒ march THE NATIONAL GALLERY review of the year april 2007 ‒ march 2008 the national gallery the national NG Review 2008 cover.qxd 28/11/08 17:09 Page 2 © The National Gallery 2008 Photographic credits ISBN 978-1-85709-457-2 All images © The National Gallery, London, unless ISSN 0143 9065 stated below Published by National Gallery Company on behalf of the Trustees Front cover: Paul Gauguin, Bowl of Fruit and The National Gallery Tankard before A Window (detail), probably 1890 Trafalgar Square London WC2N 5DN Back cover: A cyclist stops in a London street to admire a reproduction of Rubens’s Samson and Tel: 020 7747 2885 Delilah, part of The Grand Tour www.nationalgallery.org.uk [email protected] Frontispiece Room 29, The National Gallery © Iain Crockart Printed and bound by Westerham Press Ltd. St Ives plc p. 9 Editors: Karen Morden and Rebecca McKie Diego Velázquez, Prince Baltasar Carlos in the Riding Designed by Tim Harvey School, private collection. Photo © The National Gallery, London p. 18 Sebastiano del Piombo, Portrait of a Lady, private collection © The National Gallery, courtesy of the owner Paul Gauguin, Still Life with Mangoes © Private collection, 2007 p. 19 Richard Parkes Bonington, La Ferté © The National Gallery, London. Accepted in lieu of Tax Edouard Vuillard, The Earthenware Pot © Private collection p. 20 Pietro Orioli, The Virgin and Child with Saints Jerome, Bernardino, Catherine of Alexandria and Francis © Ashmolean Museum, University of Oxford p. -
Division, Records of the Cultural Affairs Branch, 1946–1949 108 10.1.5.7
RECONSTRUCTING THE RECORD OF NAZI CULTURAL PLUNDER A GUIDE TO THE DISPERSED ARCHIVES OF THE EINSATZSTAB REICHSLEITER ROSENBERG (ERR) AND THE POSTWARD RETRIEVAL OF ERR LOOT Patricia Kennedy Grimsted Revised and Updated Edition Chapter 10: United States of America (March 2015) Published on-line with generous support of the Conference on Jewish Material Claims Against Germany (Claims Conference), in association with the International Institute of Social History (IISH/IISG), Amsterdam, and the NIOD Institute for War, Holocaust, and Genocide Studies, Amsterdam, at http://www.errproject.org © Copyright 2015, Patricia Kennedy Grimsted The original volume was initially published as: Reconstructing the Record of Nazi Cultural Plunder: A Survey of the Dispersed Archives of the Einsatzstab Reichsleiter Rosenberg (ERR), IISH Research Paper 47, by the International Institute of Social History (IISH), in association with the NIOD Institute for War, Holocaust and Genocide Studies, Amsterdam, and with generous support of the Conference on Jewish Material Claims Against Germany (Claims Conference), Amsterdam, March 2011 © Patricia Kennedy Grimsted The entire original volume and individual sections are available in a PDF file for free download at: http://socialhistory.org/en/publications/reconstructing-record-nazi-cultural- plunder. Also now available is the updated Introduction: “Alfred Rosenberg and the ERR: The Records of Plunder and the Fate of Its Loot” (last revsied May 2015). Other updated country chapters and a new Israeli chapter will be posted as completed at: http://www.errproject.org. The Einsatzstab Reichsleiter Rosenberg (ERR), the special operational task force headed by Adolf Hitler’s leading ideologue Alfred Rosenberg, was the major NSDAP agency engaged in looting cultural valuables in Nazi-occupied countries during the Second World War. -
Ernst Buchner
DISSERTATIONEN DER LMU 42 THERESA SEPP Ernst Buchner (1892–1962): Meister der Adaption von Kunst und Politik Künstlerisch, wissenschaftlich, unpolitisch? Ernst Buchner (1892–1962), Kunsthistoriker und Museumsleiter vor und nach 1945 Inauguraldissertation zur Erlangung des Doktorgrades der Philosophie an der Ludwig‐Maximilians‐Universität München vorgelegt von Theresa Sepp aus München 2020 Erstgutachterin: Prof. Dr. Christine Tauber Zweitgutachter: PD Dr. Christian Fuhrmeister Datum der mündlichen Prüfung: 27.02.2020 Theresa Sepp Ernst Buchner (1892–1962): Meister der Adaption von Kunst und Politik Dissertationen der LMU München Band 42 Ernst Buchner (1892–1962): Meister der Adaption von Kunst und Politik von Theresa Sepp Herausgegeben von der Universitätsbibliothek der Ludwig-Maximilians-Universität Geschwister-Scholl-Platz 1 80539 München Mit Open Publishing LMU unterstützt die Universitätsbibliothek der Ludwig-Maximilians-Universität München alle Wissenschaft ler innen und Wissenschaftler der LMU dabei, ihre Forschungsergebnisse parallel gedruckt und digital zu veröfentlichen. Text © Theresa Sepp 2020 Erstveröfentlichung 2020 Zugleich Dissertation der LMU München 2020 Bibliografsche Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografe; detaillierte bibliografsche Daten sind im Internet abrufbar über http://dnb.dnb.de Herstellung über: readbox unipress in der readbox publishing GmbH Rheinische Str. 171 44147 Dortmund http://unipress.readbox.net -
Declaration of Jonathan G. Petropoulos
UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF NEW YORK ------------------------------------------------------X MARTIN GROSZ and LILIAN GROSZ : : Case No.: 09 Civ. 3706 (CM)(THK) Plaintiffs, : : against : : ECF CASE THE MUSEUM OF MODERN ART, : : Defendant, : : DECLARATION OF PORTRAIT OF THE POET MAX : JONATHAN G. PETROPOULOS HERRMANN-NEISSE With Cognac-Glass, : SELF-PORTRAIT WITH MODEL and : REPUBLICAN AUTOMATONS, : Three Paintings by George Grosz : : Defendants in rem. : : -----------------------------------------------------X JONATHAN G. PETROPOULOS deposes and certifies, as follows: 1. I am over the age of twenty-one and reside at 526 West 12th Street, Claremont, California, 91711. I have been retained by the attorneys for the heirs of George Grosz to provide this Declaration in relation to factual issues arising from a motion by the defendant, The Museum of Modern Art (“The MoMA”), to dismiss the First Amended Complaint (“FAC”). 2. Specifically, I have been requested to review two questions: (1) whether the allegations that three paintings by George Grosz, Portrait of the Poet Max-Herrmann- Neisse (with Cognac Glass), Self-Portrait with Model and Republican Automatons (together “the Paintings”), were lost or stolen are grounded in historical fact; and (2) whether the report of Nicholas deB. Katzenbach (“the Katzenbach Report”) submitted in support of the motion to dismiss is consistent with the historical record and provenance documentation available to art historians and scholars. As set forth below, a review of available documentation and scholarly resources shows: (1) that the allegations of the FAC appear to be supported by documentary evidence and otherwise well-grounded in historical fact and (2) that the statements contained in the Katzenbach Report are inconsistent with the historical record.