Schiller-Porträts
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Anton Graff, Dresden, 1913 ~Cop., Pstl, 38X31 (Hedwig Nathusius, Née Wolfenbüttel, Munich, 1986– , No
Neil Jeffares, Dictionary of pastellists before 1800 Online edition GRAFF, Anton Winterthur 18.XI.1736 – Dresden 22.VI.1813 Graff went to Germany around 1756 to study with Johann Jakob Haid in Augsburg. He moved to Ansbach (1757–59), Regensburg (1764–65) before settling in Dresden, where he was court painter from 1766. He travelled to Berlin (1771), Leipzig etc. A versatile and prolific portrait painter and draughtsman, there seems to be no reliable evidence that Graff undertook pastels in his own hand, and the records are probably all copies after his oil paintings by some of the numerous pastel copyists active in Berlin at the end of the eighteenth century. Philipp Daniel LIPPERT (1702–1785) Graff is one among many artists who have ~cop. J. C. Seiforth, Halle, pstl. Exh.: Berlin Photo courtesy Stiftung Weimarer Klassik und Kunstsammlungen unconvincingly been suggested as the author of 1804, no. 158. Lit.: Berckenhagen 1967, no. ~grav. J. F. Bause 1773. Lit.: H. D. von the celebrated pastel of comtesse Potocka (v. 887 Diepenbroik-Grüter, Allgemeiner Porträt- Éc. fr.). Herr LOTH, Kauf- und Handelsherr in Leipzig, Katalog. Hamburg, 1931, no. 25632 ∞ Christiane, pnt. Lit.: Berckenhagen 1967, ~grav. Pfenninger. Lit.: P. Mortzfeld, ed., Die Monographic exhibitions no. 910 Porträtsammlung der Herzog August Bibliothek Graff 1913: Anton Graff, Dresden, 1913 ~cop., pstl, 38x31 (Hedwig Nathusius, née Wolfenbüttel, Munich, 1986– , no. 21521 Albrecht Kasimir von Sachsen, Herzog von Bibliography Wrocław, 1903). Lit.: Berckenhagen 1967, TESCHEN (1738–1822) Berckenhagen 1967; Börsch-Supan 1988; s.no. 910 ~cop., pstl (Dresden). Lit.: Berckenhagen 1967, Brieger 1921; Darmstadt 1914; Dresden 2009; Christiane LOTH no. -
Schiller and Music COLLEGE of ARTS and SCIENCES Imunci Germanic and Slavic Languages and Literatures
Schiller and Music COLLEGE OF ARTS AND SCIENCES ImUNCI Germanic and Slavic Languages and Literatures From 1949 to 2004, UNC Press and the UNC Department of Germanic & Slavic Languages and Literatures published the UNC Studies in the Germanic Languages and Literatures series. Monographs, anthologies, and critical editions in the series covered an array of topics including medieval and modern literature, theater, linguistics, philology, onomastics, and the history of ideas. Through the generous support of the National Endowment for the Humanities and the Andrew W. Mellon Foundation, books in the series have been reissued in new paperback and open access digital editions. For a complete list of books visit www.uncpress.org. Schiller and Music r.m. longyear UNC Studies in the Germanic Languages and Literatures Number 54 Copyright © 1966 This work is licensed under a Creative Commons cc by-nc-nd license. To view a copy of the license, visit http://creativecommons. org/licenses. Suggested citation: Longyear, R. M. Schiller and Music. Chapel Hill: University of North Carolina Press, 1966. doi: https://doi.org/ 10.5149/9781469657820_Longyear Library of Congress Cataloging-in-Publication Data Names: Longyear, R. M. Title: Schiller and music / by R. M. Longyear. Other titles: University of North Carolina Studies in the Germanic Languages and Literatures ; no. 54. Description: Chapel Hill : University of North Carolina Press, [1966] Series: University of North Carolina Studies in the Germanic Languages and Literatures. | Includes bibliographical references. Identifiers: lccn 66064498 | isbn 978-1-4696-5781-3 (pbk: alk. paper) | isbn 978-1-4696-5782-0 (ebook) Subjects: Schiller, Friedrich, 1759-1805 — Criticism and interpretation. -
Rulers Portraits on Coins and in Arts – a Comparison
Rulers Portraits on Coins and in Arts – a Comparison By Carol Schwyzer, © MoneyMuseum Sometimes, portraits can be so lifelike that they cost the portrayed's life. In 1793 the French king Louis XVI ended up on the scaffold because in Varennes, on his way out of the country, he was recognised by a postmaster's son. The king bore far too much resemblance to his effigy on the circulating coins! Whenever a ruler has him or herself portrayed, two components come into play: the person as an individual and as the representative of his realm, his throne and his people. Besides, regents like to be portrayed by the best artists of their time, because every subject or citizen is to know what the boss looks like. On the other hand his image is to be kept until long after his death. This picture tour is all about such portraits, comparing the effigies of rulers on coins with those of other forms of portrayal and revealing thus different facets of their personality. 1 von 16 www.sunflower.ch Alexander III the Great, king of Macedonia (336-323 BC) Left: Motif on a tetradrachm, minted under Ptolemy I Soter, satrap of the kingdom of Egypt, Alexandria, around 320 BC. Right: Detail from the Alexander mosaic, Pompeii, 2nd half of the 2nd century BC, Museo Archeologico Nazionale, Naples The tetradrachm shows Alexander the Great wearing an elephant's scalp, a symbol referring to his conquest of India, and the attributes of Zeus: the horn of Ammon and the aegis, a cape worn to demonstrate protection provided by a high religious authority or even a god. -
ANTON GRAFF Zur Ausstellung in Der Nationalgalerie in Berlin (Mit 1 Abbildung) Anläßlich Der 150
ANTON GRAFF Zur Ausstellung in der Nationalgalerie in Berlin (Mit 1 Abbildung) Anläßlich der 150. Wiederkehr des Todestages von Anton Graff - er starb am 22. Juni 1813 in Dresden - zeigt die Nationalgalerie vom 4. 10. - 1. 12. 1963 Gemälde und Zeichnungen dieses bedeutenden Porträtisten. Zweiundsiebzig gemalte Bildnisse, drei Landschaften und dazu noch knapp drei Dutzend Zeichnungen aus dem Besitz staatlicher Museen und öffentlicher Sammlungen in Berlin, Brandenburg, Dresden, Gotha, Halberstadt, Halle, Leipzig, Rudolstadt und Weimar belegen in klug getroffener Auswahl Graffs Schaffen über fast fünfzig Jahre. Die vorgenommene Hängung nutzt die zur Verfügung stehenden acht Säle und Kabinette im Erdgeschoß der National galerie (auf der Museumsinsel) geschickt aus, indem Graffs Entwicklungsstufen raum weise aufeinander folgen. Zunächst seine maltechnisch bereits höchst vollkommene, im Bildaufbau aber noch konventionelle Dresdener Frühzeit. Ihr interessanter Auftakt ist mit dem Selbstbildnis von 1765 gegeben, das der Anlaß wurde zu Graffs Berufung an die Dresdener Kunst akademie. Daneben hängen so ausgezeichnete Porträts wie die des sächsischen Diplo maten Peter Friedrich Graf von Hohenthal, des Malerkollegen Christian Wilhelm Ernst Dietrich und des Dichters Christian August Clodius, den bekanntlich der junge Goethe parodiert hat. Im folgenden Raum haben sich die Vertreter des geistigen Deutschlands in reicher Zahl gleichsam zusammengefunden: die Aufklärer - alles Angehörige des dritten Standes - Mendelssohn, Gellert, Lessing, Ramler und Sulzer. Zu ihnen gesellen sich außerdem der Weltreisende Forster, Ekhof als Charakterdarsteller, der Hofhistorio graph Böhme, der Thomaskantor Hiller und Reich, der Leipziger Buchhändler, für den Graff von 1769-74 berühmte Zeitgenossen gemalt hat. Einigen dieser sonst in der Universitätsbibliothek zu Leipzig bewahrten schlichten, ganz auf die jeweilige indivi duelle Persönlichkeit konzentrierten Porträts begegnet man hier. -
Staatliche Museen Zu Berlin September 24–29, 2017 September, 2017
Staatliche Museen zu Berlin September 24–29, 2017 September, 2017 Dear PREP Participants Welcome back to PREP and Willkommen in Berlin! It is wonderful to have you all here. We hope the coming week will be as interesting and insightful as the week we spent in New York in February. Over the coming days, we aim to introduce you to the key re- sources Berlin has to offer to researchers studying art losses in the Nazi-Era and also to other colleagues here in Berlin who are involved in provenance research in a variety of ways. We would also like to make you familiar with some of the institutions that are part of the Staatliche Museen zu Berlin and give you an idea of the work they are doing with regard to provenance research. Most of all, however, we would like to provide the setting in which you can continue the conversations you began in New York and carry on building the network that is PREP. We have asked you to contribute to quite a few of the events – thank you all for your many ideas and suggestions! We have tried to build PREP around the participants and your expertise and input are crucial to the success of the program. This applies not only to the coming week, but also to the future develop- ment of the PREP-Network. There are two ways in which we hope you will contribute to the long term success of PREP. One of these is that we hope you will all keep in touch after you leave Berlin and continue supporting each other in the impor- tant work you do. -
Words Full of Deed Prophets and Prophecy in German Literature
Words Full of Deed Prophets and Prophecy in German Literature around 1800 Patrick J. Walsh Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2017 © 2017 Patrick J. Walsh All rights reserved Abstract Words Full of Deed: Prophets and Prophecy in German Literature around 1800 Patrick J. Walsh In this dissertation, I consider the role of prophets and prophecy in German drama and dramatic discourse of the Romantic period. Against the backdrop of the upheaval wrought by the Enlightenment, the French Revolution, and the Revolutionary and Napoleonic Wars, such discourse exhibits a conspicuous fascination with political and social crisis in general as well as a preoccupation with imagining how the crises of the present could provide an opportunity for national or civilizational renewal. One prominent manifestation of this focus is a pronounced interest in charismatic leaders of the legendary or historical past—among them prophets like Moses, Muhammad and Joan of Arc—who succeeded in uniting their respective societies around a novel vision of collective destiny. In order to better understand the appeal of such figures during this period, I examine works of drama and prose fiction that feature prophets as their protagonists and that center on scenarios of political or religious founding. Reading texts by major authors like Johann Wolfgang Goethe, Friedrich Schiller and Achim von Arnim alongside those by the lesser- known writers such as Karoline von Günderrode, August Klingemann and Joseph von Hammer, I analyze the various ways these scenarios are staged and situate them within their specific political, intellectual and literary contexts. -
The First Exhibition of the Art Collection of the Jewish Community Berlin1
The First Exhibition of the Art Collection of the Jewish Community Berlin1 From the report on the opening day by Moritz Stern Out of the great wealth of precious material our collection contains, only part of it can be exhibited due to limited space: an exhibition, I assembled from Albert Wolf’s donation, from acquisitions made, and from loans from the Community with the addition of several library treasures2. A so-called “Guide through the Exhibition,” it is to be hoped, will soon provide the necessary orientation. For today, the following overview shall offer a kind of substitute. Only few antiquities from Palestine can be found in Europe. These are solely owed to excavations. Wolf managed to acquire several that give us insight into private life in ancient Palestine. Reminding us in its shape of the worship in the time of the older kingdom is an idolatry figure (Astarte) from clay, even though it might originate only from the Maccabean period. The subsequent period, when the Second Temple was still in existence, emerges before our mind’s eyes thanks to an oil lamp, also from clay. We can see the inventory of Palestinian houses in the Roman period through various valuable glasses, a small gold chain, a little bronze lion, and other items. A valuable coin collection gradually assembled by Wolf is transferring us into the public life of the Jewish state. It is an excellent visual and educational example for our laypeople, but also a treasure trove for the archeological science; since it forms a complement to the collections of the Münzkabinett (Numismatic Collection) in Berlin and the British Museum in London. -
Fishermen on the River Zschopau by Kriebstein Castle, Saxony Pen and Brown Ink and Brown Wash
Adrian ZINGG (St. Gallen 1734 - Leipzig 1816) Fishermen on the River Zschopau by Kriebstein Castle, Saxony Pen and brown ink and brown wash. Signed Zingg. Del(?) at the lower left centre. Inscribed Krÿpstein beij Waldheim on the verso. Further inscribed A. Zingg del. Coln de Fick and Kriepstein bei Waldheim on the old mount. 498 x 663 mm. (19 5/8 x 26 1/8 in.) RECENTLY ACQUIRED BY THE J. PAUL GETTY MUSEUM, LOS ANGELES. A friend and fellow artist, Daniel Chodowiecki, noted that Adrian Zingg’s working method consisted of making landscape sketches en plein air, working in pencil in a sketchbook. Once back in the studio, he would work these sketches up with pen and wash or watercolour. Zingg’s meticulously drawn landscapes are usually topographically accurate, although the homogeneity of his technique throughout his career makes the dating of individual drawings difficult. As Thomas DaCosta Kaufmann has written of another of the artist’s large landscape drawings, ‘topographic exactness is combined with elements that anticipate Romantic conceptions of landscape. These include the emphasis on naturalistic details in the foreground, such as the large, boldly drawn plants and weeds, the contrasting areas of light, and the animated clouds…The technique Zingg developed for his landscape and city views, in which the pen strokes become increasingly delicate as they approach the background, adds to the overall effect of transposing compositional emphases from particular aspects of topography to more universally discoverable elements of nature.’ First constructed in the late 14th century and remodeled in the 15th and 17th centuries, Kriebstein Castle sits on a steep crag above the River Zschopau, near Waldheim in Saxony. -
What If You Stumbled Upon a Long-Lost Masterpiece That Possessed the Power to Change History?
WHAT IF YOU STUMBLED UPON A LONG-LOST MASTERPIECE THAT POSSESSED THE POWER TO CHANGE HISTORY? “A ‘what if’ novel that begins in the glittering salons of Enlightenment Berlin where, beneath the surface, are sentiments too sinister to be named and culminating in New York present day, And After the Fire is an intellectual thriller and a beautiful love story. Sure to establish Belfer as a fearless, provocative writer. Impossible to put down.” —Sara Gruen, #1 New York Times bestselling author of At the Water’s Edge and Water for Elephants “Can any mortal adjective convey my adoration for this brilliant and mesmerizing story? Ask my friends: Since reading And After the Fire, I’ve been trumpeting it as the best novel I’ve had the pleasure of reading in years. Brava, Lauren Belfer. I thank you for this fascinating, virtuoso, unforgettable book.” —Elinor Lipman, New York Times bestselling author of Then She Found Me Dear Colleague, The unexpected discovery of a shocking Meisterwerk is the inspiration behind New York Times bestselling author Lauren Belfer’s atmospheric, enthrallingly suspenseful novel, AND AFTER THE FIRE (Harper, $26.99/$33.50; Hardcover; ISBN 13: 9780062428516; on-sale: May 3, 2016). Belfer explains, “I was taking a class on Johann Sebastian Bach and I thought, what if I found a work of art stolen during World War II—not a painting, but an unknown choral masterpiece, a cantata by Bach, and what if its content was, by modern standards, prejudicial and inflammatory?” The result is her best novel yet. AND AFTER THE FIRE is a transporting, unputdownable, multi-generational saga, spanning centuries and continents, and interweaving two women’s lives through the riveting history of Belfer’s imagined choral score. -
Goethe Und Weimar Ohne Ruecksichten, Filterungen Und
1 Goethe und Weimar ohne Rücksichten, Filterungen und Schönungen Von Helmut Wurm, Betzdorf (Stand des Manuskriptes 25. 3. 2010) Inhaltsverzeichnis I. Begründung für dieses Manuskript II. Der historische Zeitraum III. Die soziale Schichtung oder Deutschland/Mitteleuropa voller Parallelgesellschaften IV. Die allgemeine wirtschaftliche Situation der Zeit um 1800 V. Die allgemeinen Verkehrswege und Kommunikationswege der Zeit VI: Die allgemeine Sittenlage bezüglich Liebe, Heiraten, Familie, Kinder VII. Das politische Konstrukt „Herzogtum Sachsen-Weimar-Eisenach“ VIII. Die Stadt Weimar um 1800 IX. Die wirtschaftliche und finanzielle Situation im Kleinstaat Sachsen-Weimar- Eisenach um 1800 X. Der Weg zur klassischen Literatursprache um 1800 in Deutschland XI. Die fürstlich-herzogliche Familie und der Musenhof in Weimar 1. Anna-Amalia 2. Karl August 3. Friedrich Ferdinand Constantin 4. Höfische Vergnügungen in Weimar XII. Goethe als Mensch 1. Wie sah Goethe aus? 1.1. Goethe-Beschreibungen für seine Jugendzeit 1.2. Wie Goethe als Erwachsener beschrieben wird 2. Goethes Wesen 3. Goethes Ablehnung und Überempfindlichkeit gegenüber allem „Nicht-Schönen“ 4. Goethe und seine Krankheiten 5. Die erotisch-sexuelle Seite in Goethes Wesen XIII. Goethe und seine Zeit vor Weimar 1. Die Vorfahren 2. Goethes Jugendjahre 3. Goethe als Student XIV. Goethe und seine Zeit in Weimar 1. Weshalb Goethe nach Weimar kam 2. Weshalb Goethe in Weimar blieb. 3. Goethes Wirkung in Weimar 4. Goethe und Herzog Karl August von Sachsen-Weimar 5. Goethe als Minister 6. Goethe und Charlotte von Stein 7. Goethes Flucht nach Italien 8. Goethes Rückkehr nach Weimar. 9. Goethe und Christiane Vulpius 10. Der späte Goethe 11. Die gezielte Einleitung eines „Goethe-Kultes des Schönen und Guten“ durch die Nachlass- verwalter XV. -
Ärzteblatt Sachsen 06/2008
Personalia Medizingeschichte 13. 07. Jänicke, Inge 04288 Leipzig Anton Graff 18. 07. Dr. med. Gromoll, Heinz (1736 – 1813) 04299 Leipzig 27. 07. Prof. Dr. med. habil. Anton Graff – seine künstlerischen Gläser, Albrecht Besonderheiten und seine Augen 04178 Leipzig erkrankung. 81 Jahre 31. 07. Dr. med. Bönisch, Lothar Anton Graff, am 18. 11. 1736 in Win- 09306 Wiederau terthur geboren, wurde einer der be deutendsten und produktivsten Por- 82 Jahre traitmaler im 18. und zu Beginn des 11. 07. Dr. med. Dorscheid, Marie-Luise 01705 Freital 19. Jahrhunderts. 83 Jahre Graff war Sohn eines Handwerkers, 22. 07. Grams, Johanna eines Zinngießers, in der Schweiz. 04347 Leipzig Winterthur, hier stand die Glas- und 84 Jahre Ofenmalerei in großer Blüte, später Bild 2: Der Preußenkönig im Alter 31. 07. Dr. med. Seikowski, Gisela Augsburg und Süddeutschland waren von 68 Jahren, gemalt 1780. Stiftung 08645 Bad Elster Anton Graffs Ausbildungsstationen Preußische Schlösser und Gärten als Maler, insbesondere die Portrait- Berlin-Brandenburg, Berlin Schloss 85 Jahre malerei. Charlottenburg. 06. 07. Dr. med. habil. Böhm, Heinz 01307 Dresden Im Alter von 30 Jahren wurde Anton 12. 07. Dr. med. Winkler, Susanne Graff als Hofmaler in Dresden ange- Das Lehramt an der Akademie in 01445 Radebeul stellt. Für einen noch weithin unbe- Dresden war für Graff mit den Wür- 21. 07. Dr. med. Böricke, Erika kannten Maler ein recht ehrenvoller den und Bürden eines Hofmalers ver- 01324 Dresden Ruf in die Sächsische Residenz, an bunden. Außer den offiziellen Kur- 85 Jahre die neu gegründete Dresdener Kunst- fürstenbildnissen gehörten vorwie- 08. 07. Dr. med. Weber, Ulrich akademie. In den ersten Monaten in gend der Adel und das wohlhabende 08645 Bad Elster Dresden zeichnete und malte Graff Bürgertum zu seinen Auftragge- 12. -
Friedrich Schiller. the Poet's Biography
FRIEDRICH SCHILLER.^ BY THE EDITOR. A T AY nintli, the centenary of Schiller's death, is approaching; iVX and vast preparations are being made to honor the great German poet on the memorial day of the completion of his re- markable life. Friedrich Schiller is not merely a great poet, he is great as a man, as a thinker, and as a leader in the progress of hnmanity. lie is a disciple of Kant, but not his blind follower. He applies Kant's philosophy to practical life, but works it out in his own way. Especially in his religious convictions Schiller is far ahead of his time. He points out a wa\- of conservative advance along the lines of liberty and reverence, and so the opposition in which he stands to the narrow dogmatism of his age, is not a lack of religion but the surest evidence of a dee]) religious spirit. It pervades all his works and makes him a ])rophet of the religion of the future, a priest on the altar of mankind, and a poet of the eternal ideals of life. THE POET'S BIOGRAPHY. The great poet's father, Johann Kaspar Schiller, was born Oc- tober ij, 1723. in Bittenfeld, near Waiblingen. He was" the son of Johann Schiller, the mayor of the village, and his wife, Eva Maria, whose maiden name was Schatz. Schiller's father was a military surgeon. He served both as soldier and as army physician, especially in Holland. After his marriage, in 1749, he settled in Marbach. In 1753 he entered the Wiirttemberg army and fought against Prussia in 1758.