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Die Römer Mochten Die Burleske. Die Mosaike Von Pompeji Sind Beredte Zeug- ! Nisse Dafür
08/09 FEATURE showcases.de showcases.de HERRLICH die römer mochten die Burleske. Die Mosaike von Pompeji sind beredte Zeug- ! nisse dafür. Neueste Funde am Nil weisen darauf hin, dass die Pharaonen in ihren ANDERS Palästen auch nicht gerade prüde waren. Bei Shakespeare schlüpften die Jungs in Frauenkleider. Frauen durften aber nicht mitspielen. Julia musste sich also damals gut rasieren. In der Wiege der Demokratie, der griechischen Antike, schwärmte man von androgynen Knaben und Hermaphroditen. Das Zweideutige gehörte lange Zeit zur Menschheits- und Kulturgeschichte. Selbst das dunkle Mittelalter Peter und der Bart war noch sinnenfroh. Nach der Auch Cora Frost ist so ein Darsteller. Aber sie macht Renaissance wurde die Kultur das andersherum. Von der Frau zum Mann. Sie geht Europas dann durch die Presse in letzter Zeit als vollbärtiger Peter Frost auf die der Reformation gequetscht. Bühne. Immer wieder ist sie auch mit dem tra- Die Prüderie sollte etliche Jahr- shigen »Das Helmi«-Puppentheater unterwegs, hunderte lang auf dem »zivili- dort als Rudi van Dongen. Im Herbst werden »Star- siertesten« Kontinent wüten. wurst«, »Matrix« und »Mars Attacks!« durch die Vom fernen Indien, Persien oder China wusste man Mangel gedreht. Cora Frost ist eine der chamäleon- dagegen Ungeheuerliches zu berichten. Erst Barry artigsten Künstlerinnen. 1996 bekam sie dafür Humphries gelang es in den Fünfzigerjahren von schon mal den Deutschen Australien aus, die Menschen vor die Televisionsge- Klein kunstpreis. Mit Tim räte zu ziehen. Als Dame Edna Everage war er der Fischer war sie gemeinsam erste globale Star unter den Damendarstellern. Auf für »Niemand liebt dich so Englisch: female impersonator. Sein unverwechsel- wie ich – Berühmte Du- bares Markenzeichen sind lila Haare und eine über- ette« in der »Bar jeder Ver- große Brille, die heute jeden Hipster-Nerd in Verzü- nunft« auf der Bühne, wo ckung versetzen würde. -
Mercury's Low-Reflectance Material: Constraints from Hollows
Mercury’s low-reflectance material: Constraints from hollows Rebecca Thomas, Brian Hynek, David Rothery, Susan Conway To cite this version: Rebecca Thomas, Brian Hynek, David Rothery, Susan Conway. Mercury’s low-reflectance material: Constraints from hollows. Icarus, Elsevier, 2016, 277, pp.455-465. 10.1016/j.icarus.2016.05.036. hal-02271739 HAL Id: hal-02271739 https://hal.archives-ouvertes.fr/hal-02271739 Submitted on 27 Aug 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Accepted Manuscript Mercury’s Low-Reflectance Material: Constraints from Hollows Rebecca J. Thomas , Brian M. Hynek , David A. Rothery , Susan J. Conway PII: S0019-1035(16)30246-9 DOI: 10.1016/j.icarus.2016.05.036 Reference: YICAR 12084 To appear in: Icarus Received date: 23 February 2016 Revised date: 9 May 2016 Accepted date: 24 May 2016 Please cite this article as: Rebecca J. Thomas , Brian M. Hynek , David A. Rothery , Susan J. Conway , Mercury’s Low-Reflectance Material: Constraints from Hollows, Icarus (2016), doi: 10.1016/j.icarus.2016.05.036 This is a PDF file of an unedited manuscript that has been accepted for publication. As a service to our customers we are providing this early version of the manuscript. -
THIERRY NOIR Howard Griffin Gallery Los Angeles October 2014 to December 2014
THE LA RETROSPECTIVE: THIERRY NOIR Howard Griffin Gallery Los Angeles October 2014 to December 2014 From 11th October 2014, Howard Griffin Gallery Los Angeles presents a retrospective of the life and work of infamous Berlin Wall artist Thierry Noir. In 1984, Noir was the first artist to illegally paint mile upon mile of the Berlin Wall. Noir wanted to perform one real revolutionary act: to paint the Wall, to transform it, to make it ridiculous, and ultimately to help destroy it. Noir’s iconic, bright and seemingly innocent works painted on this deadly border symbolised a sole act of defiance and a lone voice of freedom. In this landmark exhibition for Howard Griffin Gallery in Los Angeles, the artist’s first US solo exhibition, original works will be exhibited alongside rarely seen photographs, interviews and films, juxtaposing old and new to reassess Noir’s enduring legacy and contribution to society. The event also marks another first as the inaugural Los Angeles exhibition for Howard Griffin Gallery. A number of artists, musicians and free thinkers settled in West Berlin during the 1980s despite the difficulties of the time. Within a group which included David Bowie and Iggy Pop, was a rebellious young French artist called Thierry Noir. Thierry Noir was born in 1958 in and his monsters are a metaphor for the wall itself, Lyon, France and moved to Berlin in 1982 with one each one relating to his experiences or feelings of what suitcase. By chance he settled in a squat overlooking the he calls a ‘killing machine’. His enormous murals in Wall at the border of East and West Berlin. -
General Index
General Index Italicized page numbers indicate figures and tables. Color plates are in- cussed; full listings of authors’ works as cited in this volume may be dicated as “pl.” Color plates 1– 40 are in part 1 and plates 41–80 are found in the bibliographical index. in part 2. Authors are listed only when their ideas or works are dis- Aa, Pieter van der (1659–1733), 1338 of military cartography, 971 934 –39; Genoa, 864 –65; Low Coun- Aa River, pl.61, 1523 of nautical charts, 1069, 1424 tries, 1257 Aachen, 1241 printing’s impact on, 607–8 of Dutch hamlets, 1264 Abate, Agostino, 857–58, 864 –65 role of sources in, 66 –67 ecclesiastical subdivisions in, 1090, 1091 Abbeys. See also Cartularies; Monasteries of Russian maps, 1873 of forests, 50 maps: property, 50–51; water system, 43 standards of, 7 German maps in context of, 1224, 1225 plans: juridical uses of, pl.61, 1523–24, studies of, 505–8, 1258 n.53 map consciousness in, 636, 661–62 1525; Wildmore Fen (in psalter), 43– 44 of surveys, 505–8, 708, 1435–36 maps in: cadastral (See Cadastral maps); Abbreviations, 1897, 1899 of town models, 489 central Italy, 909–15; characteristics of, Abreu, Lisuarte de, 1019 Acequia Imperial de Aragón, 507 874 –75, 880 –82; coloring of, 1499, Abruzzi River, 547, 570 Acerra, 951 1588; East-Central Europe, 1806, 1808; Absolutism, 831, 833, 835–36 Ackerman, James S., 427 n.2 England, 50 –51, 1595, 1599, 1603, See also Sovereigns and monarchs Aconcio, Jacopo (d. 1566), 1611 1615, 1629, 1720; France, 1497–1500, Abstraction Acosta, José de (1539–1600), 1235 1501; humanism linked to, 909–10; in- in bird’s-eye views, 688 Acquaviva, Andrea Matteo (d. -
Berlin Wall's Most Iconic Paintings Under Threat
News-based English language activities from the global newspaper Page 1 March 2013 Level ≥ Advanced These worksheets can be downloaded free from guardian.co.uk/weekly. You can also find more advice for teachers and learners from the Guardian Weekly’s Learning English section on the site. Materials prepared by Janet Hardy-Gould Berlin Wall’s most iconic paintings under threat Berlin Wall murals by the French artist Thierry Noir who has joined protests to save the wall Action Press/Rex 5 What was the open section of land between Before reading the east and west side of the wall known as? 1 Look at the photos of the Berlin Wall on page 5. a The iron curtain b The death strip What do you know about the history of the wall? c The Eastern Bloc d Checkpoint Charlie Work in pairs and answer the questions below. 6 When was the wall finally opened and partly 1 When was the Berlin Wall built? knocked down? a 1947 b 1955 c 1961 d 1966 a 1983 b 1987 c 1989 d 1992 2 How long was the wall in its final version? a 53km b 89km c 104km d 155km 2 Look again at the photos A-C of the Berlin Wall. 3 How many people are believed to have How could you describe the current artwork on escaped across the wall? the wall? Tick the appropriate adjectives. a Nearly 100 b About 350 c Around 1,500 anarchic colourful conservative d Approximately 5,000 conventional monochrome orthodox 4 Which US president visited Berlin after the political radical revolutionary wall was built and said: “Ich bin ein Berliner.”? subversive thought-provoking traditional a Kennedy b Roosevelt c Truman unadventurous d Eisenhower ≥2 News-based English language activities from the global newspaper Page 2 March 2013 3 Look at these words from the article about structure was now under threat. -
Literary Industries
Literary industries By Hubert Howe Bancroft NATIVE RACES OF THE PACIFIC STATES; five volumes HISTORY OF CENTRAL AMERICA; three volumes HISTORY OF MEXICO; six volumes HISTORY OF TEXAS AND THE NORTH MEXICAN STATES; two volumes HISTORY OF ARIZONA AND NEW MEXICO; one volume HISTORY OF CALIFORNIA; seven volumes HISTORY OF NEVADA, COLORADO AND WYOMING; one volume HISTORY OF UTAH; one volume HISTORY OF THE NORTHWEST COAST; two volumes HISTORY OF OREGON; two volumes HISTORY OF WASHINGTON, IDAHO AND MONTANA; one volume HISTORY OF BRITISH COLUMBIA; one volume HISTORY OF ALASKA; one volume CALIFORNIA PASTORAL; one volume CALIFORNIA INTER-POCULA; one volume Literary industries http://www.loc.gov/resource/calbk.195 POPULAR TRIBUNALS; two volumes ESSAYS AND MISCELLANY; one volume LITERARY INDUSTRIES; one volume CHRONICLES OF THE BUILDERS OF THE COMMONWEALTH LITERARY INDUSTRIES. A MEMOIR. BY HUBERT HOWE BANCROFT All my life I have followed few and simple aims, but I have always known my own purpose clearly, and that is a source of infinite strength. William Waldorf Astor. SAN FRANCISCO THE HISTORY COMPANY, PUBLISHERS 1891 Entered according to Act of Congress in the year 1890, by HUBERT H. BANCROFT, In the Office of the Librarian of Congress, at Washington. Literary industries http://www.loc.gov/resource/calbk.195 All Rights Reserved. v CONTENTS OF THIS VOLUME. CHAPTER I. PAGE. THE FIELD 1 CHAPTER II. THE ATMOSPHERE 12 CHAPTER III. SPRINGS AND LITTLE BROOKS 42 CHAPTER IV. THE COUNTRY BOY BECOMES A BOOKSELLER 89 CHAPTER V. HAIL CALIFORNIA! ESTO PERPETUA 120 CHAPTER VI. THE HOUSE OF H. H. BANCROFT AND COMPANY 142 CHAPTER VII. -
Paul Klees Lehre Vom Schöpferischen
paul klees lehre vom schöpferischen fabienne eggelhöfer dissertation universität bern 2012 paul klees lehre vom schöpferischen Inauguraldissertation der Philosophisch-historischen Fakultät der Universität Bern zur Erlangung der Doktorwürde vorgelegt von Fabienne Eggelhöfer, Jaberg BE Oktober, 2011 Von der Philosophisch-historischen Fakultät auf Antrag von Prof. Dr. Oskar Bätschmann und Prof. Dr. Régine Bonnefoit angenommen. Bern, den 28. März 2012 Der Dekan: Prof. Dr. Heinzpeter Znoj paul klees lehre vom schöpferischen Inauguraldissertation der Philosophisch-historischen Fakultät der Universität Bern zur Erlangung der Doktorwürde vorgelegt von Fabienne Eggelhöfer, Jaberg BE Oktober, 2011 Von der Philosophisch-historischen Fakultät auf Antrag von Prof. Dr. Oskar Bätschmann und Prof. Dr. Régine Bonnefoit angenommen. Bern, den 28. März 2012 Der Dekan: Prof. Dr. Heinzpeter Znoj 7 Einleitung 17 Quellenlage 18 Unterricht 27 Tagebücher 30 Schriften und Vortrag 37 Kunst als Werden – Versuch einer Kontextualisierung 40 Klees Naturbegriff 44 Goethes Metamorphosenlehre 47 Romantischer Universalismus 55 Biozentrik 66 Esoterik 72 Natur als Vorbild 77 Analyse 88 Analyse des Innern 99 Synthese 108 Gliederung 136 Ursprung 137 Natürlicher Ursprung 144 Gestalterischer Ursprung 153 Geistiger Ursprung 170 Bewegung 176 Statik und Dynamik 196 Produktive und Rezeptive 216 Stillehre 220 Zum Verhältnis von Lehre und Werk 230 Anhang 7 Einleitung Im Januar 1924 fasste Paul Klee (1879–1940) in einer Vorlesung am Bauhaus seine „ele- mentare Lehre vom Schöpferischen“ zu einem programmatischen Aufruf zusammen: „Gut ist Formung. Schlecht ist Form; Form ist Ende ist Tod. Formung ist Bewegung ist Tat. Formung ist Leben.“1 Damit forderte er seine Studenten auf, sich statt auf das Resultat auf die Wege zur Form zu konzentrieren. -
The Greatest Artists of the Twentieth Century
This PDF is a selection from a published volume from the National Bureau of Economic Research Volume Title: Conceptual Revolutions in Twentieth-Century Art Volume Author/Editor: David W. Galenson Volume Publisher: Cambridge University Press Volume ISBN: 978-0-521-11232-1 Volume URL: http://www.nber.org/books/gale08-1 Publication Date: October 2009 Title: The Greatest Artists of the Twentieth Century Author: David W. Galenson URL: http://www.nber.org/chapters/c5785 Chapter 2: The Greatest Artists of the Twentieth Century Introduction The masters, truth to tell, are judged as much by their influence as by their works. Emile Zola, 18841 Important artists are innovators: they are important because they change the way their successors work. The more widespread, and the more profound, the changes due to the work of any artist, the greater is the importance of that artist. Recognizing the source of artistic importance points to a method of measuring it. Surveys of art history are narratives of the contributions of individual artists. These narratives describe and explain the changes that have occurred over time in artists’ practices. It follows that the importance of an artist can be measured by the attention devoted to his work in these narratives. The most important artists, whose contributions fundamentally change the course of their discipline, cannot be omitted from any such narrative, and their innovations must be analyzed at length; less important artists can either be included or excluded, depending on the length of the specific narrative treatment and the tastes of the author, and if they are included their contributions can be treated more summarily. -
Impact Melt Emplacement on Mercury
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 7-24-2018 2:00 PM Impact Melt Emplacement on Mercury Jeffrey Daniels The University of Western Ontario Supervisor Neish, Catherine D. The University of Western Ontario Graduate Program in Geology A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Science © Jeffrey Daniels 2018 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Geology Commons, Physical Processes Commons, and the The Sun and the Solar System Commons Recommended Citation Daniels, Jeffrey, "Impact Melt Emplacement on Mercury" (2018). Electronic Thesis and Dissertation Repository. 5657. https://ir.lib.uwo.ca/etd/5657 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract Impact cratering is an abrupt, spectacular process that occurs on any world with a solid surface. On Earth, these craters are easily eroded or destroyed through endogenic processes. The Moon and Mercury, however, lack a significant atmosphere, meaning craters on these worlds remain intact longer, geologically. In this thesis, remote-sensing techniques were used to investigate impact melt emplacement about Mercury’s fresh, complex craters. For complex lunar craters, impact melt is preferentially ejected from the lowest rim elevation, implying topographic control. On Venus, impact melt is preferentially ejected downrange from the impact site, implying impactor-direction control. Mercury, despite its heavily-cratered surface, trends more like Venus than like the Moon. -
Dzieła Mistrzów Tradycyjnego Malarstwa Sztalugowego Jako Inspiracje Współczesnych Murali – Projekt „Off Galeria” (2015)
Wioletta Kazimierska-Jerzyk Instytut Filozofii Uniwersytetu Łódzkiego Dzieła mistrzów tradycyjnego malarstwa sztalugowego jako inspiracje współczesnych murali – projekt „Off Galeria” (2015) 1 esienią 2015 r. z inicjatywy Fundacji Urban Forms (dalej FUF) zrealizo- Jwano w2 Łodzi projekt „Off Galeria”, w wyniku którego na obszarze Starego Polesia powstały trzy wielkoformatowe malowidła ścienne inspirowane dziełami sztuki ze zbiorów malarstwa polskiego znajdujących się w Muzeum Miasta Łodzi. Prace te są – w odróżnieniu od wielu innych łódzkich murali 1 FUF zajmuje się animacją sztuki miejskiej w Łodzi, a także w innych polskich miastach. Zrealizowała m.in. projekty rewitalizacji w zabytkowej przestrzeni Starego Miasta w Gdańsku „OgarnaDoświadczenie 2.0” i „Nowa Szeroka” sztuki w przestrzeni(2013–15), miejskieja także Program Galeria Urban Partycypacji Forms 2011Społecznej2013 /w Experi Łodzi- encew 2015 of Art r. Formalnie in Urban Spaceistnieje Urban pod tą Forms nazwą Gallery od 2011 2011 r., zob.:2013 A. Gralińska-Toborek, W. Kazimierska -Jerzyk, . – 2 . – , tłum. M. Koniarek, Łódź 2014, s. 5. Stare Polesie jest dziś częścią osiedla administracyjnego (tzw. jednostki pomocniczej gminy według obecnej nomenklatury Urzędu Miasta Łodzi; ostatni podział administracyjny, w którym istniały dzielnice, obowiązywał w latach 1960–1992). Nazwa ta odnosi się do naj- wcześniej zurbanizowanego obszaru dawnej dzielnicy Polesie. Obecnie Stare Polesie uchodzi za jedną z najbardziej zaniedbanych części miasta, ale jest jednocześnie obszarem zabytko- wym o -
C a Ły Ś W I at T O B a U H a U
Magazyn nr 6 / 2020 Pawilon Wystawowy SARP, Warszawa * Fritz Kuhr, 1928; student w Bauhausie 1923–27, asystent w pracowni malarstwa ściennego 1928–29, nauczyciel rysunku 1929–1930 w Bauhausie CAŁY ŚWIAT TO BAUHAUS* W programie uczelni Bauhaus w Weimarze z 1921 roku Walter Gropius wysunął postulat sztuki totalnej (Gesamtkunstwerk): „Bauhaus dąży do połączenia całej twór- czości artystycznej w jedność, do ponownego zjednoczenia wszystkich dyscyplin sztuki użyt- kowej – rzeźbiarstwa, malarstwa, rzemiosła i rzemiosła artystycznego – w jedną, nową architekturę, której te dyscypliny będą stanowić nieodłączne części. Ostateczny, choć odległy cel Bauhausu to jednolite dzieło sztuki – wielkie budownictwo – w którym nie będzie już granic między sztuką monumen- talną a ozdobną. (…) Celem Bauhausu jest kształcenie architektów, malarzy, rzeźbiarzy wszelkiego rodzaju, zależnie od ich umie- jętności, na solidnych rzemieślników lub samodzielnych artystów. Stworzenie miejsca umożliwiającego wspólną pracę wybitnych artystów i tych początkujących, tworzącym sztukę użytkową, tak, żeby razem potrafili zaprojektować całość budynku – konstrukcję, wykończenie, dekoracje i wyposażenie – wszystko w jednolitym duchu.” Mimo że „wielkie budownictwo” na wzór średniowiecznych strzech budowlanych wciąż pozostawało utopią, to w niektórych swoich projektach Bauhaus zbliżał się do idei sztuki totalnej – w 1921 roku studenci uczestniczyli w projektowaniu znajdującego się w Berlinie S „domu Sommerfelda” autorstwa Waltera Gropiusa i Adolfa Meyera. W 1923 roku liczni Wystawa „Cały świat to Bauhaus“, podzielona członkowie różnych pracowni wspólnie działali Z na osiem stref tematycznych, pokazuje różnorodne przy zaprojektowanym przez malarza i mistrza i frapujące aspekty twórczości i życia Bauhausu – Bauhausu Georga Muchego „eksperymental- jednej z najważniejszych uczelni artystycznych nego domu am Horn”. Otworzone w 1926 roku T XX wieku – założonej w 1919 roku w Weimarze. -
California State University, Northridge Exploitation
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE EXPLOITATION, WOMEN AND WARHOL A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art by Kathleen Frances Burke May 1986 The Thesis of Kathleen Frances Burke is approved: Louise Leyis, M.A. Dianne E. Irwin, Ph.D. r<Iary/ Kenan Ph.D. , Chair California State. University, Northridge ii DEDICATION This thesis is dedicated to Dr. Mary Kenon Breazeale, whose tireless efforts have brought it to fruition. She taught me to "see" and interpret art history in a different way, as a feminist, proving that women's perspectives need not always agree with more traditional views. In addition, I've learned that personal politics does not have to be sacrificed, or compartmentalized in my life, but that it can be joined with a professional career and scholarly discipline. My time as a graduate student with Dr. Breazeale has had a profound effect on my personal life and career, and will continue to do so whatever paths my life travels. For this I will always be grateful. ACKNOWLEDGEMENTS In addition, I would like to acknowledge the other members of my committee: Louise Lewis and Dr. Dianne Irwin. They provided extensive editorial comments which helped me to express my ideas more clearly and succinctly. I would like to thank the six branches of the Glendale iii Public Library and their staffs, in particular: Virginia Barbieri, Claire Crandall, Fleur Osmanson, Nora Goldsmith, Cynthia Carr and Joseph Fuchs. They provided me with materials and research assistance for this project. I would also like to thank the members of my family.