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THE LATE RENAISSANCE and MANNERISM in SIXTEENTH-CENTURY ITALY 591 17 CH17 P590-623.Qxp 4/12/09 15:24 Page 592
17_CH17_P590-623.qxp 12/10/09 09:24 Page 590 17_CH17_P590-623.qxp 12/10/09 09:25 Page 591 CHAPTER 17 CHAPTER The Late Renaissance and Mannerism in Sixteenth- Century Italy ROMTHEMOMENTTHATMARTINLUTHERPOSTEDHISCHALLENGE to the Roman Catholic Church in Wittenberg in 1517, the political and cultural landscape of Europe began to change. Europe s ostensible religious F unity was fractured as entire regions left the Catholic fold. The great powers of France, Spain, and Germany warred with each other on the Italian peninsula, even as the Turkish expansion into Europe threatened Habsburgs; three years later, Charles V was crowned Holy all. The spiritual challenge of the Reformation and the rise of Roman emperor in Bologna. His presence in Italy had important powerful courts affected Italian artists in this period by changing repercussions: In 1530, he overthrew the reestablished Republic the climate in which they worked and the nature of their patron- of Florence and restored the Medici to power. Cosimo I de age. No single style dominated the sixteenth century in Italy, Medici became duke of Florence in 1537 and grand duke of though all the artists working in what is conventionally called the Tuscany in 1569. Charles also promoted the rule of the Gonzaga Late Renaissance were profoundly affected by the achievements of Mantua and awarded a knighthood to Titian. He and his suc- of the High Renaissance. cessors became avid patrons of Titian, spreading the influence and The authority of the generation of the High Renaissance prestige of Italian Renaissance style throughout Europe. would both challenge and nourish later generations of artists. -
Centro Cultural De La Raza Archives CEMA 12
http://oac.cdlib.org/findaid/ark:/13030/kt3j49q99g Online items available Guide to the Centro Cultural de la Raza Archives CEMA 12 Finding aid prepared by Project director Sal Güereña, principle processor Michelle Wilder, assistant processors Susana Castillo and Alexander Hauschild June, 2006. Collection was processed with support from the University of California Institute for Mexico and the United States (UC MEXUS). Updated 2011 by Callie Bowdish and Clarence M. Chan University of California, Santa Barbara, Davidson Library, Department of Special Collections, California Ethnic and Multicultural Archives Santa Barbara, California, 93106-9010 (805) 893-8563 [email protected] © 2006 Guide to the Centro Cultural de la CEMA 12 1 Raza Archives CEMA 12 Title: Centro Cultural de la Raza Archives Identifier/Call Number: CEMA 12 Contributing Institution: University of California, Santa Barbara, Davidson Library, Department of Special Collections, California Ethnic and Multicultural Archives Language of Material: English Physical Description: 83.0 linear feet(153 document boxes, 5 oversize boxes, 13 slide albums, 229 posters, and 975 online items)Online items available Date (inclusive): 1970-1999 Abstract: Slides and other materials relating to the San Diego artists' collective, co-founded in 1970 by Chicano poet Alurista and artist Victor Ochoa. Known as a center of indigenismo (indigenism) during the Aztlán phase of Chicano art in the early 1970s. (CEMA 12). Physical location: All processed material is located in Del Norte and any uncataloged material (silk screens) is stored in map drawers in CEMA. General Physical Description note: (153 document boxes and 5 oversize boxes).Online items available creator: Centro Cultural de la Raza http://content.cdlib.org/search?style=oac-img&sort=title&relation=ark:/13030/kt3j49q99g Access Restrictions None. -
Klnliuwaht)N Normal Tkaimvl CL\*A
* LOCAL MENTION. HIS CHECKERED CAREER. MILITARY TACTICS. From Rorkrlllr. CITY ITEMS. AMUSEMENTS. EDUCATIONAL. The The Much-Married Prisoner Practical Infractions for the COCKT MATTEBR.A T0V\0 MAX DBOWNKD.A Weather. Newman, Officers of PROMINENT RESIDENT Golden-Hatr NATIONAL THEATER .u. 11 n t k< i BKi.wnmc*A»*Ai»i i> Por the District of Colombia. Marvland. snd alius De Hughes. tbe National Guard. HTRICKKN WITH PARAX" Waak, guaranteed to bleach: MeUaal«. VS18.POLITICAL CELEBRATIONS. in any quantity to rait. Kolb* Pharmhot. JEW KiM>khM»J. *». Lmrlaud wy Wku Virginia, rain Thursday; fair Fridav- slightly 7th and E «to. TO XTC.HT AND BATVRDAT M VT1NEES M tta «»*., 1187 1 :uh at *.«. 1i» I; colder; wind* shifting to RRAJCEKAK. LAWTER ASD PREACHER.PART OF is Time or peace prhpare roa war.how to CoiTMivuOeiK-e of The Evrxrto Star. 16,17* Hoyt'« Very Funny Hun Comedy, ilrniiB. Dra«in* atad OnHaUwglra IWtMntti J^ar westerly. A Him IMIUNk and N«»CRR. Prlu.-(»*i«- Xomaal HIS EXPERIENCES AS PKEACHER AND MARRY- A BIOT.DEFENSE Or PCBLIO Rocktiluc, Mb., Not. 14, 1888. The Great Atlantic iH j-trtim iit for I cK hm. ttH-lm* Drop ix QUELL AND PRI¬ _ Pmcm Drum Goou«. -Woodward In the circuit court now in session H H OO L *KCMS * Lothrop wUl offer to-morrow 50 of 50 150 *0-THE 8TORT TOLD Bt AX EX-PHILA- VATE FBOPEBTT IX CASK OF AS ATTACK BT A here since And M H O O L t «> V i-m i.rs:*<N os niso lessons at and .>2-inch pieces DELPHIAN. -
Nazi-Confiscated Art Issues
Nazi-Confiscated Art Issues Dr. Jonathan Petropoulos PROFESSOR, DEPARTMENT OF HISTORY, LOYOLA COLLEGE, MD UNITED STATES Art Looting during the Third Reich: An Overview with Recommendations for Further Research Plenary Session on Nazi-Confiscated Art Issues It is an honor to be here to speak to you today. In many respects it is the highpoint of the over fifteen years I have spent working on this issue of artworks looted by the Nazis. This is a vast topic, too much for any one book, or even any one person to cover. Put simply, the Nazis plundered so many objects over such a large geographical area that it requires a collaborative effort to reconstruct this history. The project of determining what was plundered and what subsequently happened to these objects must be a team effort. And in fact, this is the way the work has proceeded. Many scholars have added pieces to the puzzle, and we are just now starting to assemble a complete picture. In my work I have focused on the Nazi plundering agencies1; Lynn Nicholas and Michael Kurtz have worked on the restitution process2; Hector Feliciano concentrated on specific collections in Western Europe which were 1 Jonathan Petropoulos, Art as Politics in the Third Reich (Chapel Hill: The University of North Carolina Press). Also, The Faustian Bargain: The Art World in Nazi Germany (New York/Oxford: Oxford University Press, forthcoming, 1999). 2 Lynn Nicholas, The Rape of Europa: The Fate of Europe's Treasures in the Third Reich and the Second World War (New York: Alfred Knopf, 1994); and Michael Kurtz, Nazi Contraband: American Policy on the Return of European Cultural Treasures (New York: Garland, 1985). -
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 .............................................................................................................. -
Kulturbericht 2009FXFX:Kulturbericht04.06.201012:35Uhrseite1
Kulturbericht 2009FXFX:Kulturbericht04.06.201012:35U hr Seite1 Kulturbericht 2009 Kulturbericht 2009 Kulturbericht 2009 Überblick Kulturangelegenheiten Bundesmuseen Österreichische Nationalbibliothek Bundestheater Denkmalschutz Museumsquartier Stiftungen Weitere Kulturangelegenheiten Restitution Impressum Herausgeber Bundesministerium für Unterricht, Kunst und Kultur, Kultursektion Minoritenplatz 5, 1014 Wien Redaktion Michael P. Franz, Ruth-Veronika Pröckl, Martin Ure Cover Christina Brandauer, Wien Grafische Gestaltung, Satz, Herstellung Peter Sachartschenko, Wien Herstellung Druckerei Berger, 3580 Horn Inhalt Überblick Kulturangelegenheiten Seite 7 Kulturbudget 2009 Seite 8 Museale Aufgaben / Museen Seite 8 Bundestheater Seite 12 Bundesmuseen Seite 15 Albertina Seite 16 Österreichische Galerie Belvedere Seite 25 Kunsthistorisches Museum, Museum für Völkerkunde, Seite 33 Österreichisches Theatermuseum MAK – Österreichisches Museum für angewandte Seite 52 Kunst/Gegenwartskunst Museum Moderner Kunst Stiftung Ludwig – MUMOK Seite 61 Naturhistorisches Museum Seite 69 Technisches Museum mit Österreichischer Mediathek Seite 77 Pathologisch Anatomisches Bundesmuseum Seite 88 Österreichische Nationalbibliothek Seite 93 Bundestheater Seite 103 Bundestheater-Holding GmbH Seite 104 Burgtheater GmbH Seite 108 Wiener Staatsoper GmbH Seite 112 Volksoper Wien GmbH Seite 120 Das Ballett der Wiener Staatsoper und Volksoper Wien Seite 126 ART for ART Theater Service Seite 130 Denkmalschutz Seite 133 Bedeutung von Denkmalschutz Seite 134 Abteilung Denkmalschutz -
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. -
The Shape of Women: Corsets, Crinolines & Bustles
The Shape of Women: Corsets, Crinolines & Bustles – c. 1790-1900 1790-1809 – Neoclassicism In the late 18th century, the latest fashions were influenced by the Rococo and Neo-classical tastes of the French royal courts. Elaborate striped silk gowns gave way to plain white ones made from printed cotton, calico or muslin. The dresses were typically high-waisted (empire line) narrow tubular shifts, unboned and unfitted, but their minimalist style and tight silhouette would have made them extremely unforgiving! Underneath these dresses, the wearer would have worn a cotton shift, under-slip and half-stays (similar to a corset) stiffened with strips of whalebone to support the bust, but it would have been impossible for them to have worn the multiple layers of foundation garments that they had done previously. (Left) Fashion plate showing the neoclassical style of dresses popular in the late 18th century (Right) a similar style ball- gown in the museum’s collections, reputedly worn at the Duchess of Richmond’s ball (1815) There was public outcry about these “naked fashions,” but by modern standards, the quantity of underclothes worn was far from alarming. What was so shocking to the Regency sense of prudery was the novelty of a dress made of such transparent material as to allow a “liberal revelation of the human shape” compared to what had gone before, when the aim had been to conceal the figure. Women adopted split-leg drawers, which had previously been the preserve of men, and subsequently pantalettes (pantaloons), where the lower section of the leg was intended to be seen, which was deemed even more shocking! On a practical note, wearing a short sleeved thin muslin shift dress in the cold British climate would have been far from ideal, which gave way to a growing trend for wearing stoles, capes and pelisses to provide additional warmth. -
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. -
Rereading Seymour Joseph Guy's "Making a Train"
Colby College Digital Commons @ Colby Faculty Scholarship 2011 New Perspective: Rereading Seymour Joseph Guy's "Making a Train" Lauren K. Lessing Colby College, [email protected] Follow this and additional works at: https://digitalcommons.colby.edu/faculty_scholarship Part of the American Art and Architecture Commons Recommended Citation Lessing, Lauren K., "New Perspective: Rereading Seymour Joseph Guy's "Making a Train"" (2011). Faculty Scholarship. 66. https://digitalcommons.colby.edu/faculty_scholarship/66 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Faculty Scholarship by an authorized administrator of Digital Commons @ Colby. New Perspective Rereading Seymour Joseph Guy’s Making a Train Lauren Lessing In March 1868 a reviewer for the Commercial Advertiser described a small painting on view in Seymour Joseph Guy’s Tenth Street studio in Manhattan. It depicted a young girl preparing for bed and holding around her waist “a gaudy skirt of a dress, its folds, draped behind her, forming a train. From her shoulders a single garment hangs loosely, disclosing her neck and finely rounded shoulders.”1 The painting, originally titled The Votary (or Votaress) of Fashion, is now known as Making a Train (fig. 1). Visually complex, beautifully painted, and disturbing in its sensual presentation of a prepubescent female body, Making a Train has long intrigued scholars of American art and culture. Recently, the painting’s inclusion in the exhibition American Stories: Paintings of Everyday Life, 1765–1915 confirmed its position in the canon of American art.2 Concealed behind the scholarly narrative of this picture’s Americanness, however, is the fact that Guy—who was born and trained in England and arrived in the United States at the age of thirty—used an artistic vocabulary drawn from British painting. -
Kunstkammer | Schatzkammer
KATHLEEN RYAN: BACCHANTE APRIL 26 TO OCTOBER 1, 2017 Continuing our series of contemporary art exhibitions at the Theseus Temple, this year we are presenting Bacchante, a new commission by the young American sculptor Kathleen Ryan. This is Ryan’s first museum exhibition. It is curated by Jasper Sharp, and generously supported by the Contemporary Patrons of the Kunsthistorisches Museum. BACCHANTE A cascade of bursting ripe, oversized grapes tumbles to the floor. Tethered by raw stainless steel chains and cast in polished concrete with a buoyancy that seems to defy the material, they are draped over a terracotta cushion and laid on a stone mattress. The work’s title, Bacchante, points us away from the inanimate towards something more human, a female follower of Bacchus (Greek: Dionysus), the riotous, drunken Greek and Roman god of wine, freedom and ecstasy. Lying here in a temple, the sculpture is many things at once: playful and sensual, emancipated and restrained, ideal and blasphemous. The work draws on a visual vocabulary anchored in the history of art, from the voluptuous, overtly sexualized femininity of the Venus of Willendorf to the myths and iconography of Ancient Greece and the painted still lifes of Caravaggio. It manages to remain both resolutely classical and a contemporary provocation. BIOGRAPHY KATHLEEN RYAN Kathleen Ryan was born in Santa Monica, California, in 1984. She studied archaeology and art as an undergraduate at Pitzer College, and graduated in 2014 from the prestigious Master of Fine Arts programme at UCLA (University of California, Los Angeles). Her teachers there included the artists Charles Ray and Catherine Opie.