B. Civic Responsibilities
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Erich Mercker and “Technical Subjects”: Industrial Painting in the Eras of Weimar and Nazi Germany
H-Labor-Arts Erich Mercker and “Technical Subjects”: Industrial Painting in the Eras of Weimar and Nazi Germany Discussion published by Patrick Jung on Saturday, October 7, 2017 (Copyright 2008, Society of Industrial Archeology and reprinted with permission) From the author: This article was published earlier in Industrial Archaeology: The Journal of the Society for Industrial Archeology, vol. 34, nos. 1 & 2. It is reproduced here on H-Labor Arts to make it available to a wider audience. I wrote this article while I was in the midst of finishing a book-length manuscript on Erich Mercker, who was, undoubtedly, one of the top industrial artists in Germany from 1919 to 1945. He and his contemporaries (e.g., Fritz Gärtner, Franz Gerwin, Ria Picco-Rückert, Leonhard Sandrock, and Richard Gessner) constituted a school of artists who I have provisionally labeled the “Heroic School” of German industrial art from 1919 to 1945. The Grohmann Museum in Milwaukee, Wisconsin has paintings produced by virtually all of these artists. It also has more than 90 paintings by Erich Mercker, more than any other art museum in the world. Thus, it is fitting this article should appear on the H-Labor Arts site titled “From the Grohmann….” I also hope this essay will spur more research into Mercker and his “Heroic School” contemporaries, all of whom produced some of the most stunning examples of industrial art during the course of the early twentieth century. Those interested in reading the full-length biography on Erich Mercker (for which this article paved the way) should contact the Grohmann Museum at [email protected]. -
David Laing, LL. D. a Memoir of His Life and Literary Work
Digitized by the Internet Arciiive in 2008 witii funding from IVIicrosoft Corporation littp://www.arcliive.org/details/davidlainglldmemOOgoud DAVID LAING DAVID LAING, LL.D. A Memoir of His Life and Literary Work BY GILBERT GOUDIE, F.S.A.Scot. AUTHOR OF 'the CELTIC AND SCANDINAVIAN ANTIQUITIES OF SHETLAND* EDITOR OF mill's ' DIARY,' ETC. ETC. WITH INTRODUCTION BY LORD GUTHRIE EDINBURGH PRINTED FOR PRIVATE CIRCULATION BY T. AND A. CONSTABLE 1913 2^0 Copies printed i^ Ui4Cr^t V PREFACE J It has been said that to write a Life as it should be written it should be done ' while the memory of the man himself is still vivid in the mind of his biographer and of others.' In the present instance ^^^ more than thirty years had passed between Laing's demise and the time when I was asked to under- V take his memoir. I could yet, however, claim to "^ have had the privilege of his acquaintance and to f4\<\ have retained a vivid impression of his personality. The request was therefore complied with, though not without hesitation, because the undertaking was obviously attended with difficulties due to the lapse of time and the uncertainty as to the ade- J quacy of any biographic materials that might be available. These difficulties were, however, gradu- ally surmounted as the work proceeded. My aim has been to present the man, his life and character, not from any preconceived idea of my own, but as he is portrayed by himself in the occasional biographic scraps he has left, by the tone and tenor of his works, and by the independent 2i40'?G vi DAVID LAING testimony of men of light and leading, contempor- aries of his own, in this country and abroad, who knew him well, who were entitled to speak, and did speak, with no uncertain voice both during his life- time and after his decease. -
Descendants of Frederick C. Krueger
Descendants of Frederick C. Krueger Generation 1 1. FREDERICK C.1 KRUEGER was born on 26 Feb 1854 in Germany. He died on 19 May 1946 in New London, Outagamie, Wisconsin, USA (Age: 92). He married (1) ULRIKI M. SCHEWE, daughter of Carl Ludwig Schewe and Charlotte Maria F Ewald, on 09 Sep 1878 in Bonduel, Shawano, Wisconsin, USA. She was born on 28 Aug 1857 in Wisconsin. She died on 21 Jul 1887 in Hartland, Shawano, Wisconsin, USA. He married (2) BERTHA BRESIKE on 17 Jun 1902 in New London, WI. She was born on 28 Aug 1857 in Germany. She died in 1942 in New London, Outagamie, Wisconsin, USA. Frederick C. Krueger and Ulriki M. Schewe had the following children: i. LINDA M2 KRUEGER was born on 21 May 1882 in Bonduel, Shawano, Wisconsin, USA. She died on 04 Jan 1968 in New London, Wisconsin (Age: 85). She married CHARLES ALVIN NORDER. He was born on 01 Jan 1881 in Bonduel, Shawano, Wisconsin, USA. He died on 27 Oct 1960 in Nelo, Wisconsin. 2. ii. FREDRICK WILLIAM CARL KRUEGER was born on 21 Jun 1884 in Bonduel, Shawano, Wisconsin, USA. He died on 28 Dec 1964 in Cass Lake, Cass, Minnesota, USA (cause of death was renal (kidney) failure). He married (1) IDA THEOLINE IVERSON, daughter of Christ Iversen and Elina Iversen, on Bef. 1916. She was born on 26 Jan 1887 in St Pauls, Ramsey, Minnesota. She died on 24 Dec 1947 in St Paul, Ramsey, Minnesota, USA. He married (2) HILDA MARIE OLSEN, daughter of Greg Skaret Olson and Anne Romma, on 08 Sep 1917 in Oshkosh, WI. -
1. Before Photography
1. Before Photography Part 1: Discovering Light The most basic aspect of photography is our understanding of how light works, and the first known writings on this come from well over two thousand years ago in China. Mo Ti (later known as Mo Tsu) was a philosopher who lived from 470 to 391 BC. Unlike most philosophers he came from a poor background, perhaps why his teachings were based on the conviction that all men were of equal worth. His followers or 'Moists' were taught that right living demanded they take responsibility for the well being of others and ensured that their actions did not harm others, but practised a universal love for others. If people follow this path, the world is 'ordered and peaceful,' if not, 'the world becomes disorder, violent, and chaotic.' Although difficult to argue against, these ideas did not generally win the affection of the rich and powerful, and Moism soon died out. Mo Ti also thought deeply about the natures of shadows, realising that they were formed by light travelling in straight lines, the first recorded law of optics. He also was able to use this to explain why the images formed when light entered a darkened room through a small aperture were inverted, so can be credited both with recognising the role of an aperture in forming an image and also with an understanding of what later became known as the 'camera obscura' which will be looked at in more detail in a later section. Back in the more primitive west, the Greek philosophers were also noticing similar effects. -
PART 9 : History of Outagamie County Wisconsin, in PDF Format
808 HISTORY OF OUTAGAMIE COUNTY capacity of 125 barrels. Charles Keune was married at Manitowoc, Wisconsin, to Caroline Hacker, daughter of John Hacker, who came to the United States in 1850, and whose other children were: Lena, who married a Mr. KIolpe; Mrs Luepke of Manitowoc and John and Charles. Charles Keune died in 1903 at the age of sixty-four years, and the death of his wife occurred in 1895, when she was fifty years old. Both were members of the German Lutheran Church, and had these children: Charles, Alfred G., Gustave, William, August, Em- ma, who married Allen Krause; Ida, who married Adolph Hoops; Elvina, who died at the age of twenty-two years, and Clara and Alma, who are single. Alfred G. Keune came to Seymour in 1908 and purchased from John Bickert the Seymour Flour Mills, a three-story, steam- operated plant with a capacity of sixty barrels, and here he has con- tinued to operate to the present time, manufacturing the well known "Daisy" and "World's Best Rye" brands. Mr. Keune was married in Manitowoc, in 1897, to Mary Mills, born March 4, 1875, daughter of John and Anna (Kassa) Mills, natives of Prussia, Germany, who are now residing at Centerville, Wisconsin. Mr. Mills, who is a veteran of the Civil War, having served with the Fifth Wisconsin Volunteers, Co. A, from 1862 to the close of the war, was one of the first chairman of the town board of Centerville. He and his wife had five children, namely: Albert, Paula, Ada, Olga and Mary, of whom Ada is deceased. -
Brushstrokes the Art of Putting the Right Color in the Right Spot
BRUSHSTROKES THE ART OF PUTTING THE RIGHT COLOR IN THE RIGHT SPOT 19. November 2019 – En e 2021 Be!"nn"n! #n en o$ %&e %o'r (Room 1 #n 2) Dedicated to the question of what we mean when we say that a picture is ªwell painted,º this presentation examines the art of painting from a variety of angles. Aspects to be addressed include the pace of painting, beginner's luck, questions of authorship, theories of color, and the quest for ªpureº painting: Lovis Corinth created an enormous painted bouquet of flowers, a gift for his wife on her birthday in 1911, in a mere three days. When Franz von Stuck started experimenting with oil paints and the picture turned out well, he proudly labeled it ªmy first oil paintingº right on the canvasÐa message intended for himself as well as for posterity. A rapidly yet brilliantly executed unsigned portrait of a woman might be by Wilhelm Busch or by Franz von Lenbach, as both painted in very similar styles in the early stages of their careers. One would think that landscape painters should have a penchant for the color green, but oddly enough, pure green straight from the tube was derided as ªspinach.º Wilhelm Leibl, finally, cared only for the ªhow,º not the ªwhatº; his search for the ªessence of paintingº inspired his colleague Carl Schuch to make a radically simplified still life with leeks. The exhibition explores what and, more importantly, how the artists of the nineteenth and early twentieth centuries painted. The question of the painterly took on such significance at the time that it spurred both the early plein-air painters and the circle around Wilhelm Leibl to chart thoroughly innovative creative practices. -
Moritz Von Schwind's Cinderella (1852–1854): the Beginning of Fairy Tale Painting and Aspects of Marketing Strategies in Germany's Art Scene
Regina Freyberger Moritz von Schwind's Cinderella (1852–1854): The Beginning of Fairy Tale Painting and Aspects of Marketing Strategies in Germany's Art Scene Nineteenth-Century Art Worldwide 6, no. 2 (Autumn 2007) Citation: Regina Freyberger, “Moritz von Schwind's Cinderella (1852–1854): The Beginning of Fairy Tale Painting and Aspects of Marketing Strategies in Germany's Art Scene,” Nineteenth- Century Art Worldwide 6, no. 2 (Autumn 2007), http://www.19thc-artworldwide.org/ autumn07/125-moritz-von-schwinds-cinderella-1852-1854-the-beginning-of-fairy-tale- painting-and-aspects-of-marketing-strategies-in-germanys-art-scene. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2007 Nineteenth-Century Art Worldwide Freyberger: Moritz von Schwind‘s Cinderella (1852–1854) Nineteenth-Century Art Worldwide 6, no. 2 (Autumn 2007) Moritz von Schwind's Cinderella (1852–1854): The Beginning of Fairy Tale Painting and Aspects of Marketing Strategies in Germany's Art Scene by Regina Freyberger When artists in nineteenth-century Germany no longer had the economic security of working permanently either for the Church or the Crown, and thus had to face the challenges of the open art market, they had to invent marketing strategies in order to stand out above the keen competition at art exhibitions. They also had to satisfy the demands of the new buying class—the culturally interested and wealthy bourgeoisie. While the artists tried to fulfill their artistic ideals first, and were anxious not to commit themselves to short-lived fads or to commercial art, these challenges greatly affected their paintings, both in the choice of their subjects and in their execution. -
Biographical Sketches of Settlers in the 1880'S
Compiled from 1880 MN federal census (Cass Co) and 1885 MN state census, and Park Rapids Enterprize articles through 1883, with some additions from secondary sources, by Peter Wilson, 8 East 25 St, Minneapolis MN 55404. Ph 612-871-4807. E-mail at [email protected]î A hard copy of the 1989 history, with bibliography, and notes on state and natural history, is in Park Rapids public library. Please send additions and corrections to Hubbard Co. Genealogical Society, to update this record. BIOGRAPHICAL SKETCHES OF SETTLERS IN THE 1880'S A. H. Abbott was born in 1859 in Illinois. His wife, Lilly, was born in 1864 in Illinois. Children: Irene was born in 1889 in Minnesota; Vianna (sp?) was born in 1892 in Minnesota; Ina was born in 1893 in Minnesota. Mr. Abbott was a farmer who moved directly to Todd Township in the spring of 1886. On June 18, 1895, B. F. Wright enumerated the Abbotts 39th in Todd Township. Cornelius A. Abbott was born in 1834 in Indiana. He was a carpenter and moved to Minnesota in February, 1885, and to the Hubbard Enumeration District in May 1895. On June 5, 1895, E. R. Hinds enumerated Corneluis 27th in Hubbard. George Abbot was born in 1817 in Tennessee. His wife, Abigail, was born in 1837 in Canada. The 1885 state census lists him as a Union veteran, distinguishing him from many of his Tennessee relations. Children: Moses was born in 1860 in Minnesota; Angelina was born in 1872 in Minnesota; George was born in 1877 in Minnesota; and Margaret was born in 1881 in Minnesota. -
Ancestors of Darnell Marie Brunner
Ancestors of Darnell Marie Brunner Generation No. 1 1. Darnell Marie Brunner, born Private. She was the daughter of 2. Walter Frank Jr. Brunner and 3. Virginia Mary Haggerty. She married (1) Bobby Lee 'Doe Doe' Smith Private. He was born Private. She married (2) Alvin Deangelo Beck Private. He was born Private. He was the son of Alvin Edward Beck and Bobbie Jean Varnado. More About Alvin Beck and Darnell Brunner: Private-Begin: Private Generation No. 2 2. Walter Frank Jr. Brunner, born Private. He was the son of 4. Walter Frank Sr. Brunner and 5. Shirly Lydia Surbeck. He married 3. Virginia Mary Haggerty Private. 3. Virginia Mary Haggerty, born Private. She was the daughter of 6. Albin John Haggerty and 7. Eleanore Ruth Fullmer. More About Walter Brunner and Virginia Haggerty: Private-Begin: Private Child of Walter Brunner and Virginia Haggerty is: 1 i. Darnell Marie Brunner, born Private; married (1) Bobby Lee 'Doe Doe' Smith Private; married (2) Alvin Deangelo Beck Private. Generation No. 3 4. Walter Frank Sr. Brunner, born April 13, 1902 in New Orleans Louisiana; died July 17, 1966 in New Orleans Louisiana. He was the son of 8. Otto Brunner and 9. Christine Hans. He married 5. Shirly Lydia Surbeck January 04, 1928 in Orleans Parish Louisiana. 5. Shirly Lydia Surbeck, born February 21, 1908 in New Orleans Louisiana; died January 11, 1981 in St Bernard Parish Louisiana. She was the daughter of 10. Charles Lawernce Surbeck and 11. Leodile Marie Denesse. Notes for Walter Frank Sr. Brunner: Died at 64 years buried in St Roch #1 in tomb Hans SS#: 433-01-4723 Brunner - on Sunday July 17, 1966 at 3:50 P.M. -
German Art Academies and Their Impact on Artistic Style. In: Facos, M. (Ed.) a Companion to Nineteenth-Century Art
Wieber, S. (2018) German art academies and their impact on artistic style. In: Facos, M. (ed.) A Companion to Nineteenth-Century Art. John Wiley & Sons, Inc.: Hoboken, NJ, pp. 103-121. ISBN 9781118856352. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/180566/ Deposited on: 22 February 2019 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk German Art Academies and their Impact on Artistic Style Sabine Wieber Introduction European art academies played an important role in the production and dissemination of nineteenth-century art. The academic model was based on the premise that ‘good’ art followed specific rules and could thus be taught through a rigorous curriculum. Education and training formed the core of the academy’s rationale but the institution also organized regular exhibitions in the form of annual or biennial Salons. For much of the nineteenth century, Salons represented one of the few institutional sites for contemporary art. Academicians consequently set rigid stylistic standards against which contemporary art was judged and shaped public and private collecting practices. This essay examines the fascinating relationship between shifting academic pedagogies and stylistic developments such as naturalism and realism at particular historical junctures. Although the German art world shared many features with Britain and France, it differed in one crucial aspect. Due to its complicated political make-up for much of the nineteenth century as a series of independent states rather than a unified nation state, Germany did not have a centralized academy that formalized standards in terms of education and taste like the École des Beaux Arts in Paris (established in 1648) or the Royal Academy in London (established in 1768).