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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. -
History Society Trip to Prague and Vienna, 2018
History Society trip to Prague and Vienna, 2018 As one of the Trip Officers for the Edinburgh University History Society, Student Ambassador Carmen was responsible for organising a trip to Budapest and Vienna for 40 society members during Innovative Learning Week. While we were only away for 5 days, it felt like ages because we did so much in both cities! – Carmen Day 1: Monday, 19th of February Our flight to Budapest was extremely early – but this meant we got there really early too, giving us plenty of time to get our bearings! While the sky was blue, it was freezing cold as we walked around streets on the Pest side of the city, taking in the amazing views of Liberty Square & Parliament Square. After giving everyone a few hours to have dinner (and a nap after a long day of travelling!), we met up again to see the iconic Hungarian Parliament building light up at night. Here, we were able to get a big group photo, before running off to take some night shots of the stunning view over the River Danube! Day 2: Tuesday, 20th of February On our second day, we walked along the Széchenyi Chain Bridge (covered in snow!) to go across the Danube to Buda Castle. Using our trusty Budapest Cards, we were able to get a free Castle bus that took us outside the building – a lifesaver considering it was a very uphill walk! Some of our group were lucky enough to see the changing of the guard at the Sándor Palace, the residence of the Hungarian President. -
Reshaping a Tradition. Founding the Habsburg-Lorraine Dynastic State in the 18Th Century
Исторические исследования www.historystudies.msu.ru _____________________________________________________________________________ Лебо К. Reshaping a tradition. Founding the Habsburg-Lorraine dynastic state in the 18th century Аннотация: В статье исследуются компоненты власти в композитарной монархии Габсбургов и конструирование политической легитимности посредством управленческих практик, сочинений, речей и изображений. Монархия Габсбургов в XVIII в. не представляла собой однородного целого, объединяя территории с различной степенью интеграции. Выборность корон и их переходы от одной ветви рода к другой создавали сложную ситуацию, в которой Габсбургам удавалось утвердить свое господство, сочетая следование традиции и изменения. Административные реформы поддерживались символическим дискурсом. Династический дискурс пришел на смену истории правящего дома и стал способом утвердить принцип государственного интереса. Власть династии была основана на доминировании над территорией. Новые вертикальные связи исходили от Марии Терезии, распространяя ее господство за пределы владений Австрийского дома. На своих более чем двухстах портретах Мария Терезия всегда изображалась с регалиями, вид которых варьировался в зависимости от места, где картина должна была находиться, с тем, чтобы подчеркнуть своеобразие каждой территории и единство монархии, связь между правителем и подвластной территорией. Ключевые слова: династическое государство, дом Габсбургов, империя, институциональные реформы, композитарная монархия, наследственная монархия, символический -
German Operetta on Broadway and in the West End, 1900–1940
Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds. -
DANCE of DEATH Hubert Klocker It Would Be A
D ANCE O f DEATH It would be a misunderstanding to interpret Helmut Lang’s “Pillars”, Hubert Klocker “Spikes”, and “Planes” as abstractions. On the contrary, this group of works, which has taken shape in his studio over recent years, is about a process of reduction, condensation, and concen- tration of concrete corporeal values. For is there anything more inescapable and concrete than death? Owing particularly to their ragged, torn or fragmentary appearance, Lang’s objects stand for structures of organic material, rotted organisms, and bodies laid open down to their bones, and are visualizations of an apocalyptic pro- cess that eludes abstract language. They perhaps even convey the dark aura of the cult of the dead that, turned into gilded stone, is represented by the plague columns erected on the main squares of some Central European towns. In their magnifcent but ambivalent this-worldly sensuality, they are memo- rials to the horrifc epidemics of the 17th century — stone monuments to mental repression. One of the most splendid of these idols commemorates, with a his- trionic gesture, the 12,000 lives taken, by the lowest estimate, within a period of a few months in the last big plague epidemic to strike the city of Vienna in 1679. An inscription on the column built some twenty years later in praise of the Curia and the Habsburg system of rule is a testament not only to the all-too-ready ostrichism of the population, but rather to the manipula- tive sophistication of the secular and ecclesiastical aristocracy. It suggests that by the highest goodness of the Holy Trinity, the death of the plague was warded off. -
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, -
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). -
KOLOMAN MOSER Ø KOLOMAN DESIGNING MODERN VIENNA Ø MOSER 1897–1907 Edited by Christian Witt-Dörring
5294-NG_MOSER_jacket_offset 19.03.13 13:47 Seite 1 MOSER KOLOMAN KOLOMAN MOSER ø KOLOMAN DESIGNING MODERN VIENNA ø MOSER 1897–1907 Edited by Christian Witt-Dörring With preface by Ronald S. Lauder, foreword by Renée Price, and contributions by Rainald Franz, Ernst Ploil, Elisabeth Schmuttermeier, Janis Staggs, Angela Völker, and Christian Witt-Dörring FRONT COVER: This catalogue accompanies an (TOP ROW) Armchair, ca. 1903, Neue Galerie DESIGNING New York; Easter egg, 1905, A.P. Collection, MODERN VIENNA exhibition at the Neue Galerie London; (MIDDLE ROW) Vase, 1905, New York and the Museum of A.P. Collection, London; Jewelry box, 1907, 1897–1907 Fine Arts, Houston, devoted to Private Collection; (BOTTOM ROW) Vase, 1903, Ernst Ploil, Vienna; Bread basket, 1910, Austrian artist and designer Asenbaum, London Koloman Moser (1868–1918). It BACK COVER: is the first museum retrospec- (TOP ROW) Centerpiece with handle, 1904, tive in the United States focused Private Collection; Coffer given by Gustav on Moser’s decorative arts. The Mahler to Alma Mahler, 1902, Private Collection; (MIDDLE ROW) Two napkin rings, exhibition is organized by Dr. 1904, Private Collection; Table, 1904, Private Christian Witt-Dörring, the Neue Collection; (BOTTOM ROW) Mustard pot, 1905, Private Collection; Display case for the Galerie Curator of Decorative Arts. Schwestern Flöge (Flöge Sisters) fashion salon, 1904, Private Collection The exhibition and catalogue survey the entirety of Moser’s decorative arts career. They ex- amine his early work as a graphic designer and his involvement with the Vienna Secession, with spe- cial focus given to his role as an PRESTEL PRESTEL artist for the journal Ver Sacrum (Sacred Spring). -
Step 2025 Urban Development Plan Vienna
STEP 2025 URBAN DEVELOPMENT PLAN VIENNA TRUE URBAN SPIRIT FOREWORD STEP 2025 Cities mean change, a constant willingness to face new develop- ments and to be open to innovative solutions. Yet urban planning also means to assume responsibility for coming generations, for the city of the future. At the moment, Vienna is one of the most rapidly growing metropolises in the German-speaking region, and we view this trend as an opportunity. More inhabitants in a city not only entail new challenges, but also greater creativity, more ideas, heightened development potentials. This enhances the importance of Vienna and its region in Central Europe and thus contributes to safeguarding the future of our city. In this context, the new Urban Development Plan STEP 2025 is an instrument that offers timely answers to the questions of our present. The document does not contain concrete indications of what projects will be built, and where, but offers up a vision of a future Vienna. Seen against the background of the city’s commit- ment to participatory urban development and urban planning, STEP 2025 has been formulated in a broad-based and intensive process of dialogue with politicians and administrators, scientists and business circles, citizens and interest groups. The objective is a city where people live because they enjoy it – not because they have to. In the spirit of Smart City Wien, the new Urban Development Plan STEP 2025 suggests foresighted, intelli- gent solutions for the future-oriented further development of our city. Michael Häupl Mayor Maria Vassilakou Deputy Mayor and Executive City Councillor for Urban Planning, Traffic &Transport, Climate Protection, Energy and Public Participation FOREWORD STEP 2025 In order to allow for high-quality urban development and to con- solidate Vienna’s position in the regional and international context, it is essential to formulate clearcut planning goals and to regu- larly evaluate the guidelines and strategies of the city. -
Building an Unwanted Nation: the Anglo-American Partnership and Austrian Proponents of a Separate Nationhood, 1918-1934
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Carolina Digital Repository BUILDING AN UNWANTED NATION: THE ANGLO-AMERICAN PARTNERSHIP AND AUSTRIAN PROPONENTS OF A SEPARATE NATIONHOOD, 1918-1934 Kevin Mason A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of PhD in the Department of History. Chapel Hill 2007 Approved by: Advisor: Dr. Christopher Browning Reader: Dr. Konrad Jarausch Reader: Dr. Lloyd Kramer Reader: Dr. Michael Hunt Reader: Dr. Terence McIntosh ©2007 Kevin Mason ALL RIGHTS RESERVED ii ABSTRACT Kevin Mason: Building an Unwanted Nation: The Anglo-American Partnership and Austrian Proponents of a Separate Nationhood, 1918-1934 (Under the direction of Dr. Christopher Browning) This project focuses on American and British economic, diplomatic, and cultural ties with Austria, and particularly with internal proponents of Austrian independence. Primarily through loans to build up the economy and diplomatic pressure, the United States and Great Britain helped to maintain an independent Austrian state and prevent an Anschluss or union with Germany from 1918 to 1934. In addition, this study examines the minority of Austrians who opposed an Anschluss . The three main groups of Austrians that supported independence were the Christian Social Party, monarchists, and some industries and industrialists. These Austrian nationalists cooperated with the Americans and British in sustaining an unwilling Austrian nation. Ultimately, the global depression weakened American and British capacity to practice dollar and pound diplomacy, and the popular appeal of Hitler combined with Nazi Germany’s aggression led to the realization of the Anschluss . -
Price List Hofburg New Year's Eve Ball on 31 December 2019
PRICE LIST HOFBURG NEW YEAR’S EVE BALL ON 31 DECEMBER 2019 GRAND TICKET WITH GALA DINNER Admission entrance Heldenplatz at 6.30 pm The ticket price includes the entrance and a seat reservation at a table as well as a glass of sparkling wine for the welcome (at the Hofburg Foyer until 7.00 pm), a four-course dinner with white / red wine, mineral water and a glass of champagne at midnight at your table. Musical entertainment by live-orchestras and dance floor. Festsaal EUR 780.- per person Zeremoniensaal Center EUR 730.- per person Zeremoniensaal Wing EUR 700.- per person Geheime Ratstube EUR 520.- per person STAR TICKET WITH SEAT RESERVATION Admission entrance Heldenplatz at 9.15 pm The ticket price includes the entrance ticket and the seat reservation at a table, a glass of sparkling wine for the welcome (at the Hofburg Foyer until 10.00 pm). Festsaal Seat reservation in a centrally located state hall musical entertainment by live-orchestras, dance floor EUR 440.- per person Wintergarten or Marmorsaal Seat reservation in a centrally located state hall or in a room with a view over the Heldenplatz EUR 350.- per person Seitengalerie or Vorsaal seat reservation in a centrally located state hall EUR 300.- per person Künstlerzimmer or Radetzky Appartment seat reservation in a smaller, historical state hall EUR 250.- per person CIRCLE TICKET Admission entrance Heldenplatz at 9.15 pm The ticket price comprises access to all ballrooms and a glass of sparkling wine for the welcome (at the Hofburg Foyer until 10.00 pm). A seat reservation is not included. -
ECAP Vienna 2018
ECAP Vienna 2018 Documentation European Conference for Architectural Policies “High Quality Building for Everyone. Baukultur and the Common Good in Europe.” 13 to 15 September 2018 University of Technology Vienna 1040 Wien, Karlsplatz 13, Kuppelsaal English with simultaneous translation into French European Conference for Architectural Policies, Vienna 2018 Documentation Vienna, 2019 Imprint Publisher: Federal Chancellery of Austria, 1010 Vienna www.baukultur.gv.at E-Mail: [email protected] www.bundeskanzleramt.gv.at Editing: Barbara Feller, Elsa Brunner, Gerhard Jagersberger Photo Credits: All photos by www.kunst-dokumentation.com exept: p.46 and 47 (above and below): Lisa Schwarz; p.47 (center), 49, 50, 51 (below): Lars Christian Uhlig; p. 48: PlanSinn; p. 51 (above): Barbara Feller Design: BKA Design & Grafik Printer: Digitalprintcenter des BMI Vienna, 2019 Table of Contents Introduction 5 Program 6 1st Conference Day, September 13th, 2018 7 2nd Conference Day, September 14th, 2018 23 3rd Conference Day, September 15th, 2018 48 The Five Messages of the Conference 52 Die fünf Botschaften der Konferenz 57 Links 58 Introduction As part of the Austrian Presidency of the Council of the European Union and the European Year of Cultural Heritage, the European Conference for Architectural Policies took place in Vienna from September 13th to 15th, 2018. Participants included highly esteemed speakers from Austria and abroad, and around 150 guests from 25 countries from different fields of specialization (trade associations, state architectural administrations, architecture education) under the broad umbrella of the Baukultur field of work. The conference was held in the impressive cupola hall of the TU Wien, the perfect space for the lectures and workshops.