DOCSLIB.ORG

Objektliste Ausstellung Ideal Und Form Stand: 14.10.2020

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Objektliste Ausstellung Ideal Und Form Stand: 14.10.2020 Objektliste Ausstellung Ideal und Form Stand: 14.10.2020 Lfd. Nr. Abb. Künstler Objektbeschriftung Material Maße Leihgeber Inv.- Technik Nr. Die Anfänge der Berliner Bildhauerschule – Franzosen in Berlin 01 Tassaert, Jean- Jean-Pierre Antoine Tassaert (1727 – 1788) Bronze Höhe x Breite x B I Pierre Antoine Moses Mendelssohn, 1785 (Guss 1905/06) Tiefe: 50 x 43 x 31 245 Bronze, Abguss vom Gipsmodell aus der cm Abgusssammlung für die Jahrhundert- Ausstellung 1906 02 Bosio, François- François-Joseph Bosio (1768 – 1845) Bronze Höhe x Breite x B I Joseph Hyazinth, 1817 (Guss 1827) Tiefe: 50 x 124, 5 515 Bronze, Schenkung des Künstlers an Friedrich x 46,5 cm Wilhelm III. von Preußen, 1878 Überweisung an das Königliche Museum 03 Schadow, Johann Gottfried Schadow (1764 – 1850) Und Marmor Höhe x Breite x Leihgabe der Johann Ridolfo Schadow (1786 – 1822) Tiefe: 272 x 123 x Gemeinde Gottfried und Grabmal Dorothee Louise Scheffler, 1809 12 cm Ridolfo Marmor, Leihgabe der Gemeinde 04 Schadow, Johann Gottfried Schadow (1764 – 1850) Marmor Höhe x Breite x Leihgabe aus F.V. Johann Grabmal Des Grafen Friedrich Wilhelm Von Tiefe: 127 x 136 x Privatbesitz 325 Gottfried Arnim-Boitzenburg, 1801 – 1803 75 cm Marmor, Leihgabe aus Privatbesitz Zwische Antike und Moderne – Berliner Bildhauer in Rom 05 Wolff, Emil Emil Wolff (1802–1879) Marmor Höhe x Breite x Leihgabe der ANT Hermes, Antikenergänzung, nach 1824 Tiefe: 180 x 60 x Antikensamml Marmor, Leihgabe der Antikensammlung 50 cm ung in Restaurierung – kommt zukünftig wieder in FWK 05 Mayer, Eduard Eduard Mayer (1812-1881) Marmor 166 x 70 x 89 cm Merkur als Argustöter, 1877 Marmor, 1878 Ankauf vom Künstler 06 Kümmel, Heinrich Kümmel (1810 – 1855) Marmor, Messing Höhe x Breite x B II 51 Heinrich August Fischerknabe, wohl spätestens 1839 Tiefe: 131 x 54 x Georg (Ausführung 1840) 56 cm Marmor und Messing, Bis 1906 Palais Redern Berlin, 1949 Überweisung vom Amt für Rückführung von Kunstwerken 07 Schadow, Johann Gottfried Schadow (1764 – 1850) Gips Höhe x Breite x G 287 Johann Mars, 1792/93 Tiefe: 92 x 38 x 41 Gottfried Gips, 1888 Ankauf von Eugenie Schadow, geb. cm d’Alton-Rauch 08 Schadow, Johann Gottfried Schadow (1764 – 1850) Gips Höhe x Breite x B I 76 Johann Doppelstandbild der Prinzessinnen Luise und Tiefe: 174 x 100 x Gottfried Friederike von Preußen, 1795 59 cm Gips, 1899 Ankauf vom Großherzog von Mecklenburg-Strelitz in Restaurierung – kommt zukünftig wieder in FWK 09 Schadow, Johann Gottfried Schadow (1764 – 1850) Terrakotta Höhe x Breite x B II 75 Johann Prinzessin Friederike Von Preußen, 1795 Tiefe: 53 x 34, 5 x Gottfried Terrakotta, 1884 Überweisung aus der 26 cm; Gipsformerei Gewicht geschätzt: 05 kg 10 Schadow, Johann Gottfried Schadow (1764 – 1850) Terrakotta Höhe x Breite x B I Johann Selbstbildnis, um 1791 Tiefe: 41 x 22 x 23 404 Gottfried Terrakotta, 1917 Ankauf von Adelheid Kaibel, cm geb. Schadow Objektliste Ausstellung Ideal und Form Stand: 14.10.2020 Lfd. Nr. Abb. Künstler Objektbeschriftung Material Maße Leihgeber Inv.- Technik Nr. 11 Wolff, Emil Emil Wolff (1802 – 1879) Marmor, Bronze Höhe x Breite x B II 50 Nereide mit Dreizack, 1839 (Ausführung Tiefe: 124 x 117 x 1840) 61 cm Marmor und Bronze, Bis 1906 Palais Redern Berlin, 1949 Überweisung vom Amt für Rückführung von Kunstwerken 12 Schadow, Ridolfo Schadow (1786 – 1822) Marmor Höhe x Breite x Leihgabe Skulpt Ridolfo Spinnerin, 1816 (Ausführung 1818) Tiefe: 125 x 58 x Stiftung . Marmor 77 cm Preußische slg. Schlösser und 5579 Gärten 13 Wolff, Emil Emil Wolff (1802 – 1879) Marmor Höhe x Breite x B I 80 Circe (Fragment), 1862 Tiefe: 50 x 35 x 30 Marmor, 1890 Nachlass Robert von Patow cm 14 Wolff, Emil Emil Wolff (1802 – 1879) Marmor Höhe x Breite x Schen Der Winter, um 1845 (Ausführung 1847) Tiefe: 97 x 48 x 34 kung Marmor, 2018 Schenkung Volker Westphal cm West phal 15 Felder, Katharina Felder (1816 – 1848) Gips Höhe x Breite x FV o. Katharina Maria Bauernkinder, um 1845 Tiefe: 12 x 7 x 4, 5 Nr. Gips, Wohl aus dem ehemaligen Rauch- cm (Bauern- Museum oder Beuth-Schinkel-Museum junge); Höhe x Breite x Tiefe: 14 x 7 x 5 cm (Bauernmädchen) 16 Rauch, Christian Christian Daniel Rauch (1777 – 1857) Gips Höhe x Breite x RM Daniel Danaide mit hochgestecktem Haar, 1833 Tiefe: 38, 5 x 14, 5 49 Gips, Aus dem Bestand des ehemaligen x 15 cm Rauch-Museums 17 Rauch, Christian Christian Daniel Rauch (1777 – 1857) Gips Höhe x Breite x RM Daniel Narziss, 1831 Tiefe: 36, 5 x 22 x 34 Gips, Aus dem Bestand des ehemaligen 17 cm Rauch-Museums 18 Rauch, C. D. Christian Daniel Rauch (1777 – 1857) Marmor Höhe x Breite x RM Relief Jason und Medea, um 1805 – 1810 Tiefe: 128 x 140 x 211 (Ausführung unvollendet) 21 cm Marmor, aus dem Bestand des ehemaligen Rauch-Museums 19 Tieck, Christian Christian Friedrich Tieck (1776 – 1851) Gips Höhe x Breite x G 295 Friedrich Persephone, 1826, Elektra, 1827 Tiefe: 89 x 69 x Gipsrepliken der Statuetten für den Teesalon 32,5 cm im Berliner Schloss, aus der Modell- und Abgusssammlung 19 Tieck, Christian Christian Friedrich Tieck (1776 – 1851) Gips Höhe x Breite x G 292 Friedrich Persephone, 1826, Elektra, 1827 Tiefe: 82, 5 x 63,5 Gipsrepliken der Statuetten für den Teesalon x 31 cm im Berliner Schloss, aus der Modell- und Abgusssammlung 20 Tieck, Christian Christian Friedrich Tieck (1776 – 1851) Gips Höhe x Breite x Leihgabe Skulpt Friedrich Achill, 1825 Tiefe: 128 x 140 x Stiftung . Originalgips der Statuette für den Teesalon im 21 cm Preußische slg. Berliner Schloss Schlösser und 2487 Gärten Erfolgsexporte – Berlin in England und den USA 21 Kiss, August und August Kiss (1802 – 1865) Marmor Höhe x Breite x Blaeser, Gustav vollendet von Gustav Blaeser (1813 – 1874) Tiefe: 220 x 205 x Glaube, Liebe, Hoffnung, um 1865 106 cm (Ausführung 1867 – 1869) Marmor, 1869 Schenkung der Witwe des Künstlers Objektliste Ausstellung Ideal und Form Stand: 14.10.2020 Lfd. Nr. Abb. Künstler Objektbeschriftung Material Maße Leihgeber Inv.- Technik Nr. 22 Brütt, Adolf Adolf Brütt (1855 – 1939) Marmor Höhe x Breite x B I 90 Eva mit ihren Kindern, 1899 (Ausführung Tiefe: 177 x 70 x 1890) 50 cm Marmor, 1891 Ankauf vom Künstler 23 Begas, Reinhold Reinhold Begas (1831 – 1911) Marmor Höhe x Breite x B II 68 Eva mit ihren Kindern Kain und Abel, vor 1909 Tiefe: 118 x 146 x (Ausführung 1909) 77 cm Marmor, 1953 aus dem Alten Stadthaus Berlin überwiesen 24 Eberlein, Gustav Gustav Heinrich Eberlein (1847 – 1926) Gips Höhe x Breite x SKG Heinrich Venus fesselt Amor, 1893 Tiefe: 76 x 38 x 40 22a/7 Gips, 1972 Schenkung aus Berliner cm 2 Privatbesitz 25 Tuaillon, Louis Louis Tuaillon (1862 – 1919) Bronze Höhe x Breite x B II 82 Phryne, 1884, (Guss nach 1892) Tiefe: 40 x 19 x 30 Bronze, 1972 Ankauf von R. Weichenhain cm 26 Tuaillon, Louis Louis Tuaillon (1862 – 1919) Bronze Höhe x Breite x NG Sandalenbinderin, 1886 (Guss wohl nach Tiefe: 56 x 25 x 27 32/65 1903) cm Bronze, 1965 Ankauf von Werkner Küpper 27 Kiss, August August Kiss (1802 – 1865) Gips Höhe x Breite x B II Bergpredigt, 1833 Tiefe: 41 x 181 x 314 Gips, Wohl aus dem Beuth-Schinkel-Museum 11,5 cm Erneuerer – Deutsch-Römer zwischen Berlin, Rom und Paris 28 Hildebrand, Adolf Von Hildebrand (1847 – 1921) Marmor Höhe x Breite x B I Adolf von Schlafender Hirtenknabe, 1871 – 1873 Tiefe: 105 x 68 x 175 Marmor, 1903 Nachlass Conrad Fiedlers 106 cm 29 Peterich, Paul Paul Peterich (1864 – 1937) Marmor Höhe x Breite x B I Stehender Knabe, 1908 Tiefe: 152 x 55 x 312 Marmor, 1912 Ankauf vom Künstler 31 cm 30 Volkmann, Artur Artur Volkmann (1851 – 1941) Marmor, Höhe x Breite x NG Nackter Jüngling (Paris), 1913 – 1918 bemalt Tiefe: 175 x 49 x 139/8 getönter und farbig gefasster Marmor, 1981 getönt 49 cm 1 Ankauf aus Auktion 31 Hildebrand, Adolf von Hildebrand (1847 – 1921) Gips Höhe x Breite x NG Adolf von Hermine Habel, 1869/70 Tiefe: 58 x 40,5 x 11/63 Gips, 1963 Ankauf von Friedrich Glum 28 cm 32 Volkmann, Artur Artur Volkmann (1851 – 1941) Marmor, Höhe x Breite x B I 43 Weibliche Idealbüste, um 1876/77 bemalt Tiefe: 55 x 35 x 26 getönter und farbig gefasster Marmor, 1884 getönt cm Ankauf vom Künstler 33 Kraus, August August Kraus (1868 – 1934) Marmor Höhe x Breite x B I Frau Arnthal, wohl 1905 – 1912 Tiefe: 66 x 48 x 26 517 Marmor, 1930 Schenkung Therese cm Weidemann Objektliste Ausstellung Ideal und Form Stand: 14.10.2020 Lfd. Nr. Abb. Künstler Objektbeschriftung Material Maße Leihgeber Inv.- Technik Nr. Standbild aus dem Alten Museum 34 Drake, Friedrich Friedrich Drake (1805 – 1882) Marmor Höhe x Breite x B II Christian Daniel Rauch, 1851 (Ausführung Tiefe: 224 x 73 x 304 1864) 67 cm Marmor, Standbild aus der Vorhalle des Alten Museums 35 Hagen, Hugo Hugo Hagen (1818 – 1871) Marmor Höhe x Breite x B II Johann Gottfried Schadow, 1866 (Ausführung Tiefe: 203 x 75 x 306 1869) 79 cm Marmor, Standbild aus der Vorhalle des Alten Museums 36 Tieck, Christian Christian Friedrich Tieck (1776 – 1851) Marmor Höhe x Breite x B II Friedrich vollendet von Hermann Wittig (1819 – 1891) Tiefe: 196 x 83 x 303 Karl Friedrich Schinkel, 1843 – 1855 69 cm (Marmorkopie von Franz Tübbecke (1848 – 1924) aus den Jahren 1894 – 1899), Standbild aus der Vorhalle des Alten Museums 37 Drake, Friedrich Friedrich Drake (1805 – 1882) Gips Höhe x Breite x B I Karl Friedrich Schinkel, 1835 Tiefe: 44,5 x 13 x 615 Gips, 1936 Vermächtnis Pauline Persius 14 cm 38 Tieck, Christian Christian Daniel Tieck (1776 – 1851) Gips Höhe x Breite x B II Daniel Karl Friedrich Schinkel, 1819 Tiefe: 67 x 38 x 170 Gips, Alter Depotbestand 26,5 cm 39 Wichmann, Ludwig Wichmann (1788 – 1859) Marmor Höhe x Breite x B II Ludwig Wilhelm Johann Joachim Winckelmann,
Load more

Recommended publications
  • 11. Heine and Shakespeare
    https://www.openbookpublishers.com © 2021 Roger Paulin This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text providing attribution is made to the authors (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: Roger Paulin, From Goethe to Gundolf: Essays on German Literature and Culture. Cambridge, UK: Open Book Publishers, 2021, https://doi.org/10.11647/OBP.0258 Copyright and permissions for the reuse of many of the images included in this publication differ from the above. Copyright and permissions information for images is provided separately in the List of Illustrations. In order to access detailed and updated information on the license, please visit, https://doi.org/10.11647/OBP.0258#copyright Further details about CC-BY licenses are available at, https://creativecommons.org/ licenses/by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Updated digital material and resources associated with this volume are available at https://doi.org/10.11647/OBP.0258#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. ISBN Paperback: 9781800642126 ISBN Hardback: 9781800642133 ISBN Digital (PDF): 9781800642140 ISBN Digital ebook (epub): 9781800642157 ISBN Digital ebook (mobi): 9781800642164 ISBN Digital (XML): 9781800642171 DOI: 10.11647/OBP.0258 Cover photo and design by Andrew Corbett, CC-BY 4.0.
    [Show full text]
  • European Art and Culture 1750-1850 Icy Perfection: Antonio Canova And
    Diploma Lecture Series 2013 Revolution to Romanticism: European Art and Culture 1750-1850 Icy Perfection: Antonio Canova and Neoclassical Sculpture Brian Ladd 24 / 25 April 2013 Lecture summary: The Italian sculptor Antonio Canova worked for patrons as eminent as the Pope, Napoleon, the Austrian Habsburgs and the Most Serene Republic of Venice. It is surprising then that this once celebrated artist is largely ignored today. Is it simply a case of an individual artist being out of fashion? Or was an entire art movement discredited for most of the twentieth century, with neoclassical art falling victim to the changing avant-garde? This lecture will explore the development of neoclassical sculpture in Europe during the late 18th century and early 19th century. It will examine how this art came to be associated with political power and authority. A focus will be on the outstanding oeuvre of Antonio Canova (1757-1822), undoubtedly the leading exponent of this movement. Other sculptors will also be discussed, including Jean-Antoine Houdon (French 1741- 1828); Bertel Thorvaldsen (Danish 1770-1844); Johann Gottfried Schadow (Prussian 1764-1850), and John Flaxman (English 1755-1826). Slide list: N.B. Sculptures are made of marble unless otherwise stated. 1. Hugh Douglas Hamilton, Antonio Canova in his studio with artist Henry Tresham 2. and a plaster model of ‘Psyche revived by Cupid’s kiss’. 1788-91, pastel on paper, V & A Museum 3. Antonio Canova, Self-portrait, 1790, oil on canvas, Uffizi Museum, Florence 4. Giuseppe Bernardi, St. Matthew, St. Mark, St. Luke and St. John, c. 1750s, terracotta, Birmingham Museum of Art, Alabama 5.
    [Show full text]
  • Page, Canvas, Wall: Visualising the History Of
    Title Page, Canvas, Wall: Visualising the History of Art Type Article URL https://ualresearchonline.arts.ac.uk/id/eprint/15882/ Dat e 2 0 2 0 Citation Giebelhausen, Michaela (2020) Page, Canvas, Wall: Visualising the History of Art. FNG Research (4/2020). pp. 1-14. ISSN 2343-0850 Cr e a to rs Giebelhausen, Michaela Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author Issue No. 4/2020 Page, Canvas, Wall: Visualising the History of Art Michaela Giebelhausen, PhD, Course Leader, BA Culture, Criticism and Curation, Central St Martins, University of the Arts, London Also published in Susanna Pettersson (ed.), Inspiration – Iconic Works. Ateneum Publications Vol. 132. Helsinki: Finnish National Gallery / Ateneum Art Museum, 2020, 31–45 In 1909, the Italian poet and founder of the Futurist movement, Filippo Tommaso Marinetti famously declared, ‘[w]e will destroy the museums, libraries, academies of every kind’.1 He compared museums to cemeteries, ‘[i]dentical, surely, in the sinister promiscuity of so many bodies unknown to one another… where one lies forever beside hated or unknown beings’. This comparison of the museum with the cemetery has often been cited as an indication of the Futurists’ radical rejection of traditional institutions. It certainly made these institutions look dead. With habitual hyperbole Marinetti claimed: ‘We stand on the last promontory of the centuries!… Why should we look back […]? Time and Space died yesterday.’ The brutal breathlessness of Futurist thinking rejected all notions of a history of art.
    [Show full text]
  • A History of German-Scandinavian Relations
    A History of German – Scandinavian Relations A History of German-Scandinavian Relations By Raimund Wolfert A History of German – Scandinavian Relations Raimund Wolfert 2 A History of German – Scandinavian Relations Table of contents 1. The Rise and Fall of the Hanseatic League.............................................................5 2. The Thirty Years’ War............................................................................................11 3. Prussia en route to becoming a Great Power........................................................15 4. After the Napoleonic Wars.....................................................................................18 5. The German Empire..............................................................................................23 6. The Interwar Period...............................................................................................29 7. The Aftermath of War............................................................................................33 First version 12/2006 2 A History of German – Scandinavian Relations This essay contemplates the history of German-Scandinavian relations from the Hanseatic period through to the present day, focussing upon the Berlin- Brandenburg region and the northeastern part of Germany that lies to the south of the Baltic Sea. A geographic area whose topography has been shaped by the great Scandinavian glacier of the Vistula ice age from 20000 BC to 13 000 BC will thus be reflected upon. According to the linguistic usage of the term
    [Show full text]
  • 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.
    [Show full text]
  • Alexander Trippels Goethe-Büste: Werk Und Wirkung
    "Dass die Idee, als hätte ich so ausgesehen, in der Welt bleibt" : Alexander Trippels Goethe- Büste : Werk und Wirkung Autor(en): Maaz, Bernhard Objekttyp: Article Zeitschrift: Zeitschrift für schweizerische Archäologie und Kunstgeschichte = Revue suisse d'art et d'archéologie = Rivista svizzera d'arte e d'archeologia = Journal of Swiss archeology and art history Band (Jahr): 52 (1995) Heft 4: Alexander Trippel (1744-1793) PDF erstellt am: 08.10.2021 Persistenter Link: http://doi.org/10.5169/seals-169465 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch «Dass die Idee, als hätte ich so ausgesehen, in der Welt bleibt» Alexander Trippels Goethe-Büste: Werk und Wirkung von Bernhard Maaz ^ Abb.
    [Show full text]
  • Lange Nacht Der Museen JUNGE WILDE & ALTE MEISTER
    31 AUG 13 | 18—2 UHR Lange Nacht der Museen JUNGE WILDE & ALTE MEISTER Museumsinformation Berlin (030) 24 74 98 88 www.lange-nacht-der- M u s e e n . d e präsentiert von OLD MASTERS & YOUNG REBELS Age has occupied man since the beginning of time Cranach’s »Fountain of Youth«. Many other loca- – even if now, with Europe facing an ageing popula- tions display different expression of youth culture tion and youth unemployment, it is more relevant or young artist’s protests: Mail Art in the Akademie than ever. As far back as antiquity we find unsparing der Künste, street art in the Kreuzberg Museum, depictions of old age alongside ideal figures of breakdance in the Deutsches Historisches Museum young athletes. Painters and sculptors in every and graffiti at Lustgarten. epoch have tackled this theme, demonstrating their The new additions to the Long Night programme – virtuosity in the characterisation of the stages of the Skateboard Museum, the Generation 13 muse- life. In history, each new generation has attempted um and the Ramones Museum, dedicated to the to reform society; on a smaller scale, the conflict New York punk band – especially convey the atti- between young and old has always shaped the fami- tude of a generation. There has also been a genera- ly unit – no differently amongst the ruling classes tion change in our team: Wolf Kühnelt, who came up than the common people. with the idea of the Long Night of Museums and The participating museums have creatively picked who kept it vibrant over many years, has passed on up the Long Night theme – in exhibitions, guided the management of the project.We all want to thank tours, films, talks and music.
    [Show full text]
  • Nicolaus Copernicus Immanuel Kant
    NICOLAUS COPERNICUS IMMANUEL KANT The book was published as part of the project: “Tourism beyond the boundaries – tourism routes of the cross-border regions of Russia and North-East Poland” in the part of the activity concerning the publishing of the book “On the Trail of Outstanding Historic Personages. Nicolaus Copernicus – Immanuel Kant” 2 Jerzy Sikorski • Janusz Jasiński ON THE TRAIL OF OUTSTANDING HISTORIC PERSONAGES NICOLAUS COPERNICUS IMMANUEL KANT TWO OF THE GREATEST FIGURES OF SCIENCE ON ONCE PRUSSIAN LANDS “ElSet” Publishing Studio, Olsztyn 2020 PREFACE The area of former Prussian lands, covering the southern coastal strip of the Baltic between the lower Vistula and the lower Nemunas is an extremely complicated region full of turmoil and historical twists. The beginning of its history goes back to the times when Prussian tribes belonging to the Balts lived here. Attempts to Christianize and colonize these lands, and finally their conquest by the Teutonic Order are a clear beginning of their historical fate and changing In 1525, when the Great Master relations between the Kingdom of Poland, the State of the Teutonic Order and of the Teutonic Order, Albrecht Lithuania. The influence of the Polish Crown, Royal Prussia and Warmia on the Hohenzollern, paid homage to the one hand, and on the other hand, further state transformations beginning with Polish King, Sigismund I the Old, former Teutonic state became a Polish the Teutonic Order, through Royal Prussia, dependent and independent from fief and was named Ducal Prussia. the Commonwealth, until the times of East Prussia of the mid 20th century – is The borders of the Polish Crown since the times of theTeutonic state were a melting pot of events, wars and social transformations, as well as economic only changed as a result of subsequent and cultural changes, whose continuity was interrupted as a result of decisions partitions of Poland in 1772, 1793, madeafter the end of World War II.
    [Show full text]
  • 9. Gundolf's Romanticism
    https://www.openbookpublishers.com © 2021 Roger Paulin This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text providing attribution is made to the authors (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: Roger Paulin, From Goethe to Gundolf: Essays on German Literature and Culture. Cambridge, UK: Open Book Publishers, 2021, https://doi.org/10.11647/OBP.0258 Copyright and permissions for the reuse of many of the images included in this publication differ from the above. Copyright and permissions information for images is provided separately in the List of Illustrations. In order to access detailed and updated information on the license, please visit, https://doi.org/10.11647/OBP.0258#copyright Further details about CC-BY licenses are available at, https://creativecommons.org/ licenses/by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Updated digital material and resources associated with this volume are available at https://doi.org/10.11647/OBP.0258#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. ISBN Paperback: 9781800642126 ISBN Hardback: 9781800642133 ISBN Digital (PDF): 9781800642140 ISBN Digital ebook (epub): 9781800642157 ISBN Digital ebook (mobi): 9781800642164 ISBN Digital (XML): 9781800642171 DOI: 10.11647/OBP.0258 Cover photo and design by Andrew Corbett, CC-BY 4.0.
    [Show full text]
  • City of Displacement: on the Unsteadiness of Berlin Sites and Sights1
    WEIMARPOLIS, Multi-disciplinary Journal of Urban Theory and Practice Vol. 1, Issue 2, pp. 53-64, ISSN 1869-1692 City of Displacement: On the unsteadiness of Berlin sites and sights1 Marc Schalenberg Helsinki Collegium for Advanced Studies Email: [email protected] Abstract This essay starts from the observation that the city of Berlin, throughout the 20th century, has been particularly prone to shift buildings in their entirety or in parts to other sites. These shiftings have to be seen against their specific backgrounds, such as war destruction, technological refurbishment, myth making, symbolic or memory politics by the respective political regime, resuming the “spirit” or name of a place for reasons of identification or marketing. But beyond those, the disposition to translocate can be understood as symptomatic in a city whose narratives, images and practices have been explicitly oriented towards the “new”, “unsteady” and “shiftable”. Attempts to remove material objects – not less than their meanings – are to be found in completely diverse political and cultural contexts. It seems an interesting challenge, therefore, to transcend the level of individual instances of displacements and try to test some concepts recently suggested in Urban Studies, like “habitus” or “intrinsic logic” for Berlin. Zusammenfassung Der Beitrag geht von der in Berlin vor allem im 20. Jahrhundert auffallenden Bereitschaft aus, Bauwerke oder Teile von ihnen an andere Orte der Stadt zu versetzen. Jenseits der konkreten Hintergründe (z.B. Kriegszerstörung, technische Modernisierung, „Mythenbildung“, Symbol- und Erinnerungspolitik des jeweiligen politischen Regimes, Anknüpfen an den „Geist“ eines Ortes bzw. Namens aus identifikatorischen oder kommerziellen Gründen) wird diese Disposition als symptomatisch verstanden für eine Stadt, deren Narrative, (Selbst-) Bilder und Praktiken stark am „Neuen“, „Unsteten“ und „Verrückbaren“ orientiert waren und sind.
    [Show full text]
  • Unesco Welterbe Museumsinsel Berlin
    to the list of UNESCO World Heritage. World UNESCO of list the to pm, closed Mondays closed pm, 8 to Thurs pm, 6 – am 10 Sun – Tues Mondays closed pm, 8 to Thurs pm, 6 – am 10 Sun – Tues pm 8 to Thurs pm, 6 – am 10 Sun – Mon Mondays closed pm, 8 to Thurs pm, 6 – am 10 Sun – Tues added was Berlin Museumsinsel 1999 In century. 19th the to Entrance: Monbijoubrücke Entrance: Kolonnadenhof) (via Bodestraße Entrance: James-Simon-Galerie) or Kolonnadenhof (via Lustgarten Am Entrance: world, ancient the through history, early and Age Stone the Entrance: Bodestraße Bodestraße Entrance: collections. The encyclopaedic spectrum of works spans from from spans works of spectrum encyclopaedic The collections. art unique Berlin’s zu Museen Staatliche the housing Museum (Ethnological Museum) with European artworks. European with Museum) (Ethnological Museum Schadow are on view in the sculpture hall. hall. sculpture the in view on are Schadow is the mysterious “Berlin Golden Hat” from the Bronze Age. Bronze the from Hat” Golden “Berlin mysterious the is architecture museum of years 100 represent buildings Its Museum” juxtaposes masterpieces from the Ethnologisches Ethnologisches the from masterpieces juxtaposes Museum” Rauch, Berthel Thorvaldsen, Antonio Canova and Rudolph Rudolph and Canova Antonio Thorvaldsen, Berthel Rauch, from the Stone Age to the Middle Ages. One of the highlights highlights the of One Ages. Middle the to Age Stone the from level. upper the on display on is Period Imperial Roman the and important and most beautiful museum ensembles in the world. world. the in ensembles museum beautiful most and important the exhibition “Beyond Compare.
    [Show full text]
  • Acquisitions Portraits in the Print Room
    74 the rijks museum bulletin Acquisitions Portraits in the Print Room • erik hinterding, marije jansen, huigen leeflang and jacqueline de raad • 1 johannes wierix (Antwerp 1549-in or after 1620 Brussels?) Portrait of Philips Marnix of St Aldegonde, 1581 Proof from an engraved silver plate, state 2(3), 130 x 94 mm In the medallion upper right: repos/ aillevrs/ 1581 The silver plate with the portrait of Philips Marnix Impressions of his portrait are particularly rare. of St Aldegonde, engraved by Johannes Wierix Aside from the newly acquired sheet, we currently (p. 77, fig. a), is among the treasures that are know of only five other old impressions, three in cherished in the Rijksmuseum for both their the Print Room of the Koninklijke Bibliotheek van great artistic significance and their historical België in Brussels, one in the Frits Lugt Collection significance. The engraving shows William of in the Fondation Custodia in Paris and one in the Orange’s confidant and advisor at around the age Oranje Nassau Museum Collection in the Rijks- of forty-one, half-length, flanked by his family museum Paleis Het Loo in Apeldoorn. A note coat of arms and his personal motto ‘Repos kept with the silver plate in the Rijksmuseum Ailleurs’ – Peace is Else where. refers to prints being pulled in 1910 and 1911. In Rare and costly engravings like this were usually Hollstein (see literature) two modern impressions commissioned by the sitter and served a dual are recorded in the Print Room of Museum purpose. The engraved silver or gold plates are Boijmans van Beuningen in Rotterdam.
    [Show full text]