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Hausenstein's Klee in the Year 1921, in His Book Kairuan, Oder Eine
Charles W. Haxthausen Paul Klee, Wilhelm Hausenstein, and «the Problem of Style» Guten Tag, Monsieur Ich, was haben Sie heute für eine Krawatte umgebunden? möchte man manchmal einem «Kunstwerk» zu- rufen. Paul Klee, Tagebücher, 1906 Hausenstein’s Klee In the year 1921, in his book Kairuan, oder eine Geschichte vom Maler Klee und von der Kunst dieses Zeitalters, the eminent German art critic Wilhelm Hausenstein de- clared his subject the quintessential artist of his era. Yet his reasons made the honor an ambiguous one: Wir […] sind in die Epoche des Anarchischen und der Disgregation eingetreten. […] Der Malerzeichner Klee nahm von der Zeit, was sie war. Er sah, was sie nicht war; sah ihr Va- kuum, ihre Sprünge; sah ihre Ruinen und saß über ihnen. Sein Name bedeutet kein Sys- tem. Seine Kunst ist irrational, selbst in der raffiniertesten Überlegung naiv, ist der uner- hörten Verwirrung des Zeitalters hingegeben.1 Such gloomy words seem strangely discordant with our image of Klee. They must have seemed especially incongruous when read alongside the artworks illustrat- ing Hausenstein’s book. For most of us familiar with Klee’s art, his name evokes humor and charm, fantasy and poetry, witty and evocative titles, aesthetic en- chantment, delights for the mind as well as the eye—not «Sprünge» and «Ruinen», not anarchy and disintegration. What «Verwirrung» was Hausenstein talking about? To be sure, the confusion of modernity was by then a well-estab- lished trope, yet if we read Hausenstein’s previous writing we will see that he had something more specific in mind. The symptom of the confusion of the age was the confusion of styles, and that confusion was manifest in Klee’s art more than in any other. -
The University of Chicago Objects of Veneration
THE UNIVERSITY OF CHICAGO OBJECTS OF VENERATION: MUSIC AND MATERIALITY IN THE COMPOSER-CULTS OF GERMANY AND AUSTRIA, 1870-1930 A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF MUSIC BY ABIGAIL FINE CHICAGO, ILLINOIS AUGUST 2017 © Copyright Abigail Fine 2017 All rights reserved ii TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES.................................................................. v LIST OF FIGURES.......................................................................................... vi LIST OF TABLES............................................................................................ ix ACKNOWLEDGEMENTS............................................................................. x ABSTRACT....................................................................................................... xiii INTRODUCTION........................................................................................................ 1 CHAPTER 1: Beethoven’s Death and the Physiognomy of Late Style Introduction..................................................................................................... 41 Part I: Material Reception Beethoven’s (Death) Mask............................................................................. 50 The Cult of the Face........................................................................................ 67 Part II: Musical Reception Musical Physiognomies............................................................................... -
Berlin - Wikipedia
Berlin - Wikipedia https://en.wikipedia.org/wiki/Berlin Coordinates: 52°30′26″N 13°8′45″E Berlin From Wikipedia, the free encyclopedia Berlin (/bɜːrˈlɪn, ˌbɜːr-/, German: [bɛɐ̯ˈliːn]) is the capital and the largest city of Germany as well as one of its 16 Berlin constituent states, Berlin-Brandenburg. With a State of Germany population of approximately 3.7 million,[4] Berlin is the most populous city proper in the European Union and the sixth most populous urban area in the European Union.[5] Located in northeastern Germany on the banks of the rivers Spree and Havel, it is the centre of the Berlin- Brandenburg Metropolitan Region, which has roughly 6 million residents from more than 180 nations[6][7][8][9], making it the sixth most populous urban area in the European Union.[5] Due to its location in the European Plain, Berlin is influenced by a temperate seasonal climate. Around one- third of the city's area is composed of forests, parks, gardens, rivers, canals and lakes.[10] First documented in the 13th century and situated at the crossing of two important historic trade routes,[11] Berlin became the capital of the Margraviate of Brandenburg (1417–1701), the Kingdom of Prussia (1701–1918), the German Empire (1871–1918), the Weimar Republic (1919–1933) and the Third Reich (1933–1945).[12] Berlin in the 1920s was the third largest municipality in the world.[13] After World War II and its subsequent occupation by the victorious countries, the city was divided; East Berlin was declared capital of East Germany, while West Berlin became a de facto West German exclave, surrounded by the Berlin Wall [14] (1961–1989) and East German territory. -
List of Films Set in Berlin
LisListt of ffilmsilms sesett in Berlin From Wikipedia, the free encyclopedia This is a list of films whose setting is Berlin, Germany. Contents 1 1920s 2 1930s 3 1940s 4 1950s 5 1960s 6 1970s The world city Berlin is setting and filming location of 7 1980s numerous movies since the beginnings of the silent film 8 1990s era. 9 2000s 10 2010s 11 See also 1920s 1922 Dr. Mabuse the Gambler ( ( Dr Dr.. Mabuse, dederr SpielSpieler er ), 1922 - first (silent) film about the character Doctor Mabuse from the novels of Norbert Jacques, by Fritz Lang. 1924 The Last Laugh ( ( Der Letzte Mann), 1924 - The aging doorman at a Berlin hotel is demoted to washroom attendant but gets the last laugh, by F.W. Murnau. 1925 Varieté ( (Variety), 1925 - Circus melodrama set in Berlin, with the circus scenes in the Berlin Wintergarten, by EwEwalaldd AnAndrédré DDuupontpont.. Slums of Berlin ( ( Di Diee Verrufenen), 1925 - an engineer in Berlin is released from prison, but his father throws him out, his fiancée left him and there is no chance to find work. Directed by Gerhard Lamprecht. 1926 Di Diee letzte DrDroschkeoschke vvonon BeBerlirlinn, 1926 - showing the life of an old coachman in Berlin still driving the droshky during the time when the automobile arises. Directed by Carl Boese. 1927 Ber Berlin:lin: Symphony of a GGreatreat City ( ( Ber Berlin:lin: DiDiee Sinfonie der GroßsGroßstadt tadt ), 1927 - Expressionist documentary film of 1920s Berlin by Walter Ruttmann. Metropolis, 1927 - Berlin-inspired futuristic classic by Fritz Lang. 1928 Refuge ( ( Zuflucht ), 1928 - a lonely and tired man comes home after several years abroad, lives with a market-woman in Berlin and starts working for the Berlin U-Bahn. -
Morton Review
REVIEWS: Eighteenth- and Nineteenth-Century Literature and Culture 549 Morton, Marsha. Max Klinger and Wilhelmine Culture. On the Threshold of German Modernism. Farnham: Ashgate, 2014. 434 pp. £80.00 (hardcover). Max Klinger’s (1857–1920) life-size, polychrome marble sculpture of Ludwig van Beet- hoven formed the centerpiece of the 14th Vienna Secession Exhibition in 1902. In many ways, the exhibition wasasmuch a celebration ofthe Leipzig artist asit wasofthe great composer. By this point in time, Klinger had reached the zenith of his international fame as a modern artist and yet, his art historical position soon started to become increasingly precarious—especially after his death in 1920. Although his drawings and print cycles continued to enter private and public collections (especially in the United States), Klinger’s idiosyncratic realism—especially in his paintings—posed an insurmountable challenge to post-war formalism and abstraction. Klingerwasvirtuallyforgottenuntilthe1960sand1970s,whenaseriesofexhibitionsandpub- lications gradually generated renewed interest. Since then, Klinger slowly made his way back into the “story of modern art” but most of the scholarship continues to be offered in German. Marsha Morton’s 2014 publication under review here changes this unsatisfactory situation and makes a significant intervention not only in Klinger scholarship but also in the study of late nineteenth-century German art and culture more generally. Morton’s book is so multi-faceted that this short review cannot do it justice. But her key thesis is constructed around Klinger’s evocative visual engagement with the disquieting psy- chological undercurrents of modern urban life. This analytical emphasis on the psychological rather than an exclusively formalist modernism is part of a broader shift in the literature (the work of Debora L. -
The Silverman Collection
Richard Nagy Ltd. Richard Nagy Ltd. The Silverman Collection Preface by Richard Nagy Interview by Roger Bevan Essays by Robert Brown and Christian Witt-Dörring with Yves Macaux Richard Nagy Ltd Old Bond Street London Preface From our first meeting in New York it was clear; Benedict Silverman and I had a rapport. We preferred the same artists and we shared a lust for art and life in a remar kable meeting of minds. We were more in sync than we both knew at the time. I met Benedict in , at his then apartment on East th Street, the year most markets were stagnant if not contracting – stock, real estate and art, all were moribund – and just after he and his wife Jayne had bought the former William Randolph Hearst apartment on Riverside Drive. Benedict was negotiating for the air rights and selling art to fund the cash shortfall. A mutual friend introduced us to each other, hoping I would assist in the sale of a couple of Benedict’s Egon Schiele watercolours. The first, a quirky and difficult subject of , was sold promptly and very successfully – I think even to Benedict’s surprise. A second followed, a watercolour of a reclining woman naked – barring her green slippers – with splayed Richard Nagy Ltd. Richardlegs. It was also placed Nagy with alacrity in a celebrated Ltd. Hollywood collection. While both works were of high quality, I understood why Benedict could part with them. They were not the work of an artist that shouted: ‘This is me – this is what I can do.’ And I understood in the brief time we had spent together that Benedict wanted only art that had that special quality. -
Surreal Visual Humor and Poster
Fine Arts Status : Review ISSN: 1308 7290 (NWSAFA) Received: January 2016 ID: 2016.11.2.D0176 Accepted: April 2016 Doğan Arslan Istanbul Medeniyet University, [email protected], İstanbul-Turkey http://dx.doi.org/10.12739/NWSA.2016.11.2.D0176 HUMOR AND CRITICISM IN EUROPEAN ART ABSTRACT This article focused on the works of Bosh, Brughel, Archimboldo, Gillray, Grandville, Schön and Kubin, lived during and after the Renaissance, whose works contain humor and criticism. Although these artists lived in from different cultures and societies, their common tendencies were humor and criticism in their works. Due to the conditions of the period where these artists lived in, their artistic technic and style were different from each other, which effected humor and criticism in the works too. Analyzes and comments in this article are expected to provide information regarding the humor and criticism of today’s Europe. This research will indicate solid information regarding humor and tradition of criticism in Europe through comparisons and comments on the works of the artists. It is believed that, this research is considered to be useful for academicians, students, artists and readers who interested in humour and criticism in Europe. Keywords: Humour, Criticism, Bosch, Gillray, Grandville AVRUPA SANATINDA MİZAH VE ELEŞTİRİ ÖZ Bu makale, Avrupa Rönesans sanatı dönemi ve sonrasında yaşamış Bosch, Brueghel, Archimboldo, Gillray, Grandville, Schön ve Kubin gibi önemli sanatçıların çalışmalarında görülen mizah ve eleştiri üzerine kurgulanmıştır. Bahsedilen sanatçılar farklı toplum ve kültürde yaşamış olmasına rağmen, çalışmalarında ortak eğilim mizah ve eleştiriydi. Sanatçıların bulundukları dönemin şartları gereği çalışmalarındaki farklı teknik ve stiller, doğal olarak mizah ve eleştiriyi de etkilemiştir. -
Program Berlinica Presents
THE AMERICAN PUBLISHING COMpaNY FOR BOOKS, MOVIES, AND MUSIC FROM BERLIN 2018 PROGRAM Berlinica Presents: 2018 Program BERLINICA, a publisher based in New from outside of Berlin, namely Mar- York and Berlin, brings Berlin to tin Luther’s Travel Guide. On the Trail of America. Our 2018 program features the Reformation in Germany, by Corne- A Place They Called Home: Reclaiming lia Doemer and Leipzig! One Thousand Citizenship, written by children and Years of German History by Sebastian grandchildren of Holocaust survi- Ringel. Both books are full color with vors who recently became German numerous pictures and maps. citizens. The collection is compiled In 2019, we will release Kurt Tuchol- and edited by Donna Swarthout. sky. The Short Fat Berliner Who Tried to Later in 2018 will have another Stop a Catastrophe With A Typewriter. book out by Kurt Tucholsky, Hereaf- This is a reprint of Harold Poor’s ter, where the iconic Weimar author landmark Tucholsky biography. Also imagines funny musing about the af- coming up: Our West-Berlin, a story terlife. The book is translated by Cin- collection by numerous Berlin writ- dy Opitz, the preface is by William ers and journalists. And finally, we Grimes. This will be our fifth book will publish a series of plays, start- by the German-Jewish writer after ing with Hinkemann by Ernst Toller, Germany? Germany! Satirical Writings; translated by Peter Wortsman. Prayer After the Slaughter, Rheinsberg; A All our books are in English and Storybook for Lovers; and Berlin! Berlin! available through Amazon, Barnes Berlinica publishes books on the & Noble, and all bookstores, and Berlin Wall and World War II history, also as ebooks. -
Erdheilungsreise Nach Berlin Mit Inaara & Anna Vom
Erdheilungsreise nach Berlin mit Inaara & Anna Vom 15. - 21. Juni 2011 Berlin! Dieser Ruf in mir wurde in den letzten Monaten immer lauter..... Berlin! Was sollte ich dort? Und wann? Warum Berlin? Ich war noch nie dort… Und außerdem, das ganze Jahr war wie die Jahre zuvor verplant. Seit Elias zur Schule geht ist Reisen nur in den Ferien möglich, und diese waren nun mal verplant.... In den Faschingsferien waren wir mit der Ausbildungsgruppe in Ägypten, trotz all der Schwierigkeiten die die politische Lage dort mit sich brachte. Berlin? Ursprünglich sollte ich zu dieser Zeit in Korfu sein, doch die Ausbildung in Angel - Therapy sollte dieses Mal in Freising stattfinden. Keine einzige Anmeldung für Korfu - das gab es noch nie..., aber viele Anfragen zur Ausbildung wie: „Warum machst Du sie nicht in Freising“? Als ich endlich kapierte was die Engel wollten, setzten wir kurzfristig den 1. Teil der Ausbildung über Pfingsten in Freising an. Der Kurs war wieder voll belegt , wie immer wunderschön und sehr informativ! Die Engel gaben durch das unsere ganzen Erdheilungsreisen nach Ägypten, Jordanien, Israel, Griechenland und Malta nötig gewesen wären, um jetzt den nächsten Schritt in Angriff nehmen zu können - den Freisinger Domberg, mit seinem Mutterkristall zu heilen. Freising war immer ein Machtzentrum der Kirche, früher hochrangiger als München, der Machtbereich und Besitz vom Freisinger Kirchenamt reichte bis in die Steiermark, Annas und meiner Heimat. Wichtige Ley-Lines gehen genau über den Domberg, damals wusste die katholische Kirche schon wo sie ihre Kirchen hinbauen sollte. Es waren meist Kraftorte. Malta ist zum Beispiel eines der hochenergetischsten Plätze der Erde. -
Inspiration Beethoven
DE | EN 08.12.2020–05.04.2021 INSPIRATION BEETHOVEN EINE SYMPHONIE IN BILDERN AUS WIEN 1900 PRESSEBILDER | PRESS IMAGES 01 01 CASPAR VON ZUMBUSCH CASPAR VON ZUMBUSCH 1830–1915 1830–1915 Reduktion des Denkmals für Ludwig van Beethoven, 1877 Reduction of the memorial to Ludwig van Beethoven, 1877 Bronze, 53 × 24 × 27 cm Bronze, 53 × 24 × 27 cm Belvedere, Wien Belvedere, Vienna Foto: Belvedere, Wien Photo: Belvedere, Vienna 02 02 GUSTAV KLIMT GUSTAV KLIMT 1862–1918 1862–1918 Schubert am Klavier. Schubert at the Piano. Entwurf für den Musiksalon im Palais Dumba, 1896 Study for the music room in Palais Dumba, 1896 Öl auf Leinwand, 30 × 39 cm Oil on canvas, 30 × 39 cm Privatsammlung/Dauerleihgabe im Leopold Museum, Wien Private Collection/Permanent Loan, Leopold Museum, Vienna Foto: Leopold Museum, Wien/Manfred Thumberger Photo: Leopold Museum, Vienna/Manfred Thumberger 03 03 JOSEF MARIA AUCHENTALLER JOSEF MARIA AUCHENTALLER 1865–1949 1865–1949 Elfe am Bach. Für das Beethoven-Musikzimmer Elf at the Brook. For the Beethoven Music Room der Villa Scheid in Wien, 1898/99 of Villa Scheid in Vienna, 1898/99 Öl auf Leinwand, 176,5 × 88,3 cm Oil on canvas, 176,5 × 88,3 cm Andreas Maleta, aus der Victor & Martha Thonet Sammlung, Andreas Maleta, from the Victor & Martha Thonet Collection, Galerie punkt12, Wien gallery punkt12, Vienna Foto: amp, Andreas Maleta press & publication, Wien, 2020 Photo: amp, Andreas Maleta press & publication, Vienna, 2020 04 04 JOSEF MARIA AUCHENTALLER JOSEF MARIA AUCHENTALLER 1865–1949 1865–1949 Elfenreigen. Für das Beethoven-Musikzimmer -
Nineteenth & Early Twentieth Century German & Austrian
NINETEENTH & EARLY TWENTIETH CENTURY! GERMAN & AUSTRIAN! PAINTINGS, DRAWINGS & SCULPTURE! SEPTEMBER 21ST - OCTOBER 20TH, 2010! SHEPHERD & DEROM! GALLERIES! © Copyright: Robert J. F. Kashey! for Shepherd Gallery, Associates, 2010! COVER ILLUSTRATION: see entry for Károly Alexy.! TECHNICAL NOTES: All measurements are approximate and in inches and in centimeters; height precedes width. All drawings, prints, and photographs are framed. Prices on request. All works subject to prior sale.! NINETEENTH & EARLY TWENTIETH CENTURY! GERMAN & AUSTRIAN! PAINTINGS, DRAWINGS & SCULPTURE! September 21st through October 20th, 2010! Exhibition organized by! Robert Kashey and David Wojciechowski! Catalog by Jennifer Spears Brown! SHEPHERD & DEROM! GALLERIES! 58 East 79th Street! New York, N.Y. 10075! Tel: 212 861 4050! Fax: 212 772 1314! [email protected]! www.shepherdgallery.com! NINETEENTH & EARLY TWENTIETH CENTURY! GERMAN & AUSTRIAN! PAINTINGS, DRAWINGS & SCULPTURE! September 21st through October 20th, 2010! Shepherd Gallery is pleased to present Nineteenth & Twentieth Century German and Austrian Paintings, Drawings & Sculpture. We have showcased art from this region since 1969 when we mounted our first exhibition exclusively devoted to German-speaking artists. This exhibition, drawn from the gallery’s stock, coincides with German Master Drawings from the Wolfgang Ratjen Collection, 1580 – 1900, at the National Gallery of Art, Washington, D.C. A broad range of works include oil paintings by Anton Einsle and Max Klinger, works on paper by Carl Agricola, -
Landesmuseum Mainz
27_008679 bindex.qxp 10/25/06 1:25 PM Page 675 Index Altes Rathaus (Old City Hall) An der Hauptwache Aachen (Aix-la-Chapelle), Bamberg, 219 (Frankfurt), 464 513–517 Göttingen, 590 Annweiler, 494 Abercrombie & Kent, 55 Hannover, 580 An Sibin (Frankfurt), 472 Above and Beyond Tours, 45 Leipzig, 185 Antik & Flohmarkt (Berlin), 147 Abteikirche St. Maria Lindau, 373 Antikensammlung (Berlin), 120, (Amorbach), 255 Munich, 312 122 Accommodations, 46, 63 Regensburg, 237 Antikensammlungen (Munich), best, 12–14 Altes Residenztheater (Cuvilliés 320 Agfa-Historama (Cologne), 528 Theater; Munich), 318, Antiques Airfares, 46, 51–52 330–331 Bamberg, 220 Airlines, 49–50, 59 Altes Schloss (Meersburg), 8, Berlin, 142–143 bankrupt, 41 380 Bremen, 569 Airport security, 50–51 Altes Schloss and Dresden, 204 Aix-la-Chapelle (Aachen), Württembergisches Düsseldorf, 541 513–517 Landesmuseum (Stuttgart), Hamburg, 617 Alamannen Museum 439–440 Leipzig, 188 (Weingarten), 390 Altes Schloss Eremitage Lübeck, 631 Albertinum (Dresden), 202 (Bayreuth), 215 Munich, 327 Albrecht Dürer House Altmarkt (Dresden), 201 Archäologisches (Nürnberg), 227 Altmühltal Nature Park, 210 Landesmuseum (Schleswig), Albrechtsburg Castle Alt-Sachsenhausen (Frankfurt), 637 (Meissen), 209 468 Architecture, 20–27 Alexanderplatz (Berlin), 130 Altstadt (Old Town) Armory (Dresden), 203 Alf, 548 Düsseldorf, 538–539, 542 Arnstadt, 172 Alpengarten (Alpine Garden; Frankfurt, 464–466 Arsenal (Schwerin), 648 Pforzheim), 412 Goslar, 587 Art, 16–20 Alpspitz, 358–359 Hamburg, 612 Art galleries Alsterpark (Hamburg),