World Heritage Review
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Pages 4 Rotella, Lot 51 Pagine
LOT 42 In copertina | Cover Pagine 4 | Pages 4 Pagina 133 | Page 133 Baechler, lot 15 Rotella, lot 51 Turcato, lot 29 Retro copertina | Back cover Pagine 6-7 | Pages 6-7 Pagina 142 | Page 142 Arman, lot 25 Schifano, lot 30 Melotti, lot 33 Pagina 1 | Page 1 Pagine 8-9 | Pages 8-9 Pagina 143 | Page 143 Dorazio, lot 42 Music, lot 60 Cassinari, lot 39 SEDE - VIA SANT’AGNESE 18, 20123 MILANO ASTA ARTE MODERNA E CONTEMPORANEA 10 NOVEMBRE 2020 MILANO, VIA SACCHI 7 – presso LA POSTERIA 23 OTTOBRE - 4 NOVEMBRE, MILANO VIA SANT’AGNESE 18 0 (ORARIO 10.00-19.00 – ESCLUSO FESTIVI E 29 OTTOBRE) PREVIO APPUNTAMENTO 7-8-9 NOVEMBRE, MILANO, VIA SACCHI 7 (ORARIO 10.00-19.00) UNICA SESSIONE MARTEDÌ 10 NOVEMBRE 2020 ORE 16.00 LOTTI 1 - 243 PRESENTAZIONE TELEVISIVA TOP LOTS Lunedì 2/11 ore 21.30-23 canale 134 del digitale terrestre Martedì 3/11 ore 21.30-23 canale 134 del digitale terrestre Giovedì 5/11 ore 21.30-23 canale 134 del digitale terrestre Venerdì 6/11 ore 21.30-23 canale 134 del digitale terrestre OFFERTE SCRITTE FINO A LUNEDÌ 9 NOVEMBRE 2020 ORE 15.00 FAX +39 02 40703717 [email protected] È possibile partecipare in diretta on-line inscrivendosi (almeno 24 ore prima) sul nostro sito www.ambrosianacasadaste.com CONSULTAZIONE CATALOGO E MODULISTICA www.ambrosianacasadaste.com da venerdì 23 ottobre 2020 AMBROSIANA CASA D’ASTE / GALLERIA POLESCHI CASA D’ASTE - VIA SANT’AGNESE 18 20123 MILANO - TEL. +39 0289459708 - FAX +39 0240703717 www.ambrosianacasadaste.com • [email protected] LOT 51 338 1226703 5 MODERN AND CONTEMPORARY ART -
Copertina Artepd.Cdr
Trent’anni di chiavi di lettura Siamo arrivati ai trent’anni, quindi siamo in quell’età in cui ci sentiamo maturi senza esserlo del tutto e abbiamo tantissime energie da spendere per il futuro. Sono energie positive, che vengono dal sostegno e dal riconoscimento che il cammino fin qui percorso per far crescere ArtePadova da quella piccola edizio- ne inaugurale del 1990, ci sta portando nella giusta direzione. Siamo qui a rap- presentare in campo nazionale, al meglio per le nostre forze, un settore difficile per il quale non è ammessa l’improvvisazione, ma serve la politica dei piccoli passi; siamo qui a dimostrare con i dati di questa edizione del 2019, che siamo stati seguiti con apprezzamento da un numero crescente di galleristi, di artisti, di appassionati cultori dell’arte. E possiamo anche dire, con un po’ di vanto, che negli anni abbiamo dato il nostro contributo di conoscenza per diffondere tra giovani e meno giovani l’amore per l’arte moderna: a volte snobbata, a volte non compresa, ma sempre motivo di dibattito e di curiosità. Un tentativo questo che da qualche tempo stiamo incentivando con l’apertura ai giovani artisti pro- ponendo anche un’arte accessibile a tutte le tasche: tanto che nei nostri spazi figurano, democraticamente fianco a fianco, opere da decine di migliaia di euro di valore ed altre che si fermano a poche centinaia di euro. Se abbiamo attraversato indenni il confine tra due secoli con le sue crisi, è per- ché l’arte è sì bene rifugio, ma sostanzialmente rappresenta il bello, dimostra che l’uomo è capace di grandi azzardi e di mettersi sempre in gioco sperimen- tando forme nuove di espressione; l’arte è tecnica e insieme fantasia, ovvero un connubio unico e per questo quasi magico tra terra e cielo. -
Churches of Peace (Poland) Protestants Were Persecuted and Deprived of the Right and Possibility to Practise Their Faith
for his subjects. At that time Silesia was a part of the Catholic Habsburg monarchy. In most of the province Churches of Peace (Poland) Protestants were persecuted and deprived of the right and possibility to practise their faith. Through the agency of the No 1054 Lutheran king of Sweden, the Emperor finally allowed (1651–52) the erection of three churches, henceforth known as the Churches of Peace, in Silesian principalities under direct Habsburg rule in Glogow (Glogau), which ceased to exist in the 18th century, Jawor (Jauer), and Swidnica (Schweidnitz) in the south-west part of present-day Poland. The Emperor’s consent was, however, given upon conditions Identification that were difficult to comply with. The churches had to be built exclusively of perishable materials (wood and clay), Nomination Churches of Peace in Jawor and Swidnica located outside city walls, and built in a limited period of time. These restrictions, together with the need to provide Location Historic region of Silesia, Principality of adequate space for large crowds of worshippers, forced the Swidnica and Jawor architect, Albrecht von Sabisch (1610–88), a prominent master-builder and fortification designer active in Wroclaw, State Party Republic of Poland to implement pioneering constructional and architectural solutions of a scale and complexity unknown ever before or Date 30 June 2000 since in wooden architecture. The timber-framed structures of enormous scale and complexity were assembled. The Churches of Peace, as they are still called today, were to be as inconspicuous as possible in the townscape; they were to be the refuge of a legally disadvantaged and only reluctantly tolerated minority, whose role as outsiders Justification by State Party should be evident in the location of the churches outside The Churches of Peace in Jawor and Swidnica give the protective city walls. -
Catalogo 144 TENDENZE INFORMALI
COMUNE DI BRESCIA CIVICI MUSEI D’ARTE E STORIA PROVINCIA DI BRESCIA ASSOCIAZIONE ARTISTI BRESCIANI TENDENZE INFORMALI DAGLI ANNI CINQUANTA AI PRIMI ANNI classici del contemporaneo SETTANTA NELLE COLLEZIONI BRESCIANE mostra a cura di Alessandra Corna Pellegrini 144 aab - vicolo delle stelle 4 - brescia 22 settembre - 17 ottobre 2007 orario feriale e festivo 15.30 - 19.30 edizioni aab lunedì chiuso L’AAB è orgogliosa di inaugurare la stagione 2007/2008 con una prestigiosa esposizione, di rilievo certamente non solo locale, che propone opere di artisti fra i più rappresentativi dell’Informale. La mostra prosegue la fortunata serie “Classici del contemporaneo” dedicata al collezionismo della nostra provincia, che ha già proposto artisti come Kolàr, Demarco, Fontana, Munari, Birolli, Dorazio, Vedova, Fieschi, Adami, Baj ed esponenti della Nuova Figurazione. La curatrice della rassegna, la storica dell’arte Alessandra Corna Pellegrini, ha selezionato un nucleo essenziale di opere (34) che rappresentano esempi molto significativi dell’esperienza e del linguaggio di un movimento pur tanto complesso e così difficile da circoscrivere come l’Informale e dimostrano l’alta qualità delle collezioni bresciane, sia pubbliche sia private. L’impegno dell’AAB, scientifico organizzativo finanziario, può ben essere documentato dall’importanza internazionale degli autori proposti, da Dubuffet Mathieu Schneider a Afro Basaldella Corpora Dorazio Fontana Morlotti Santomaso Scanavino Scialoja Tancredi Turcato. L’esposizione, come è prassi costante dell’Associazione, -
Cadastral Maps in Fond 126 in the Polish State Archives Przemyśl (Archiwum Państwowe W Przemyślu)
Cadastral Maps in Fond 126 in the Polish State Archives Przemyśl (Archiwum Państwowe w Przemyślu) (click on link at left to view images online) Sygnatura Nazwa jednostki (Title) Lata (Year) Dorf Adamówka in Galizien Przemysler Kreis [Mapa wsi 56/126/0/1M 1854 Adamówka w Galicji w obwodzie przemyskim] Aksmanice sammt Ortschaft Gaje in Galizien [Mapa wsi 56/126/0/3M 1855 Aksmanice z miejscowością Gaje w Galicji] 56/126/0/4M Albigowa in Galizien [Mapa wsi Albigowa w Galicji] 1852 56/126/0/5M Arłamów in Galizien [Mapa wsi Arłamów w Galicji] 1854 Markt Babice sammt Ortschaft Babice in Galizien [Mapa 56/126/0/6M 1854 miasteczka Babice z miejscowością Babice w Galicji] Dorf Babica in Galizien Jasloer Kreis [Mapa wsi Babica w 56/126/0/7M 1851 Galicji w obwodzie jasielskim] Dorf Babula in Galizien Tarnower Kreis [Mapa wsi Babula w 56/126/0/9M 1850 Galicji w obwodzie tarnowskim] 56/126/0/10M Bachlowa in Galizien [Mapa wsi Bachlowa w Galicji] 1854 56/126/0/11M Bachory w Galicji powiat Cieszanów 1875 56/126/0/12M Bahnowate in Galizien [Mapa wsi Bachnowate w Galicji] 1855 Dorf Bachórz in Galizien Sanoker Kreis [Mapa wsi Bachórz 56/126/0/13M 1852 w Galicji w obwodzie sanockim] Dorf Bachórzec in Galizien Sanoker Kreis [Mapa wsi 56/126/0/15M 1852 Bachórzec w Galicji w obwodzie sanockim] Dorf Bachów in Galizien Przemysler Kreis [Mapa wsi 56/126/0/17M 1852 Bachów w Galicji w obwodzie przemyskim] Dorf Baydy in Galizien Jasloer Kreis [Mapa wsi Bajdy 56/126/0/21M 1851 Galicji w obwodzie jasielskim] Markt Baligród in Galizien [Mapa miasteczka Baligród w 56/126/0/23M 1854 Galicji] 56/126/0/24M Balnica in Galizien [Mapa wsi Balnica w Galicji] 1854 56/126/0/25M Bałucianka in Galizien [Mapa wsi Bałucianka w Galicji] 1854 Dorf Banica in Galizien Sandecer Kreis [Mapa wsi Banica w 56/126/0/26M 1846 Galicji w obwodzie sądeckim] Markt Baranów in Galizien Tarnower Kreis [Mapa 56/126/0/28M 1850 miasteczka Baranów w Galicji w obwodzie tarnowskim] 56/126/0/30M [Mapa wsi Bartkówka w Galicji w obwodzie sanockim] b.d. -
Welcome to Gorlice County
WELCOME TO GORLICE COUNTY © Wydawnictwo PROMO Dear Readers, The publication commissioned by I wish to invite you to the beautiful and hospitable Gorlice County located in County Head Office in Gorlice south-eastern Poland. It is a perfect place for active recreation, offering you an opportunity to experience the natural beauty of the Beskid Niski as well as the multiculturality, richness and historical diversity of our region. In the past, Bishop Karol Wojtyła – the Polish pope St. John Paul II – traversed this land on foot with young people. Participants of the 06 World Youth Days Editing: Wydawnictwo PROMO as well as many pilgrims and wayfarers continue to follow in his footsteps across the Land of Gorlice. I would like to recommend the Wooden Architecture Route, abundant in Proofreading: Catholic and Orthodox churches with as many as five entered on the UNSECO Maciej Malinowski World Heritage List. Feel invited to come and trek along the Trail of First World War Cemeteries where soldiers of many nationalities rest in peace and the Petro- Translation: leum Trail featuring the world’s first oil rigs and a place in Gorlice where Ignacy Mikołaj Sekrecki Łukasiewicz lit up the world’s first kerosene streetlamp. Be sure to visit the royal town of Biecz, with a hospital funded by Saint Queen Jadwiga and Bobowa with strong Hasidic ties. Feel invited to use the well-being facilities available in our Photography: Paweł Kutaś, health resorts Wysowa Zdrój and Wapienne as well as the lake in Klimkówka and Archive of the Culture and Promotion Centre of Bobowa Municipality (p. -
Bulletin POLISH NATIONAL COMMISSION
biuletyn 2013 PRZEGLÑD POLSKIEGO KOMITETU DO SPRAW UNESCO PRZEGLÑD POLSKIEGO KOMITETU DO SPRAW UNESCO biuletynbiuletyn|| 2013 2013 POLISH NATIONAL COMMISSION for UNESCO Reviev bulletin | bulletin | for UNESCO Review UNESCO for POLISH NATIONAL COMMISSION COMMISSION NATIONAL POLISH bulletin 2013 covBIUL13gr.indd 1 14-11-03 14:34 POLISH NATIONAL COMMISSION for UNESCO Review bulletin| 2013 Table of Contents Andrzej Rottermund Workshop for Restorers A Few Words 53 in Nesvizh 5 About Our Activities Last Year Marek Konopka UNESCO 55 Anamnesis – Re-minding Programme Priorities 8 for the Coming Years 61 Kraków – UNESCO City of Literature What We Dealt with Sławomir Ratajski 12 in 2013 UNESCO 2005 Convention 63 A Tool of Cultural Policy Why and How to Protect Cultural 21 Heritage by Modern Means? Intercultural Education Workshops 72 for Teachers Bogusław Szmygin Protecting Our Heritage Libyan Journalists 25 – Contemporary Approach 73 on a Study Visit to Poland Leszek Kolankiewicz The Concept of Intangible Euro-Arab Dialogue Conference Cultural Heritage “Our Commonly Shared Values” 32 in the 2003 Convention 75 held in Algarve Mariusz Czuba Anna Kalinowska Wooden Orthodox Churches Contemporary Man In Dialogue (Tserkvas) of the Polish 77 With The Environment? and Ukrainian Carpathian Region 43 on the World Heritage List Magdalena Machinko-Nagrabecka How to Teach Katarzyna Piotrowska 85 on Sustainable Development? Wieliczka and Bochnia Royal Salt Mines Educating in Dialogue 46 on UNESCO World Heritage List 90 with the Environment 93 ASPnet for Global -
Export / Import: the Promotion of Contemporary Italian Art in the United States, 1935–1969
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2016 Export / Import: The Promotion of Contemporary Italian Art in the United States, 1935–1969 Raffaele Bedarida Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/736 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] EXPORT / IMPORT: THE PROMOTION OF CONTEMPORARY ITALIAN ART IN THE UNITED STATES, 1935-1969 by RAFFAELE BEDARIDA A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2016 © 2016 RAFFAELE BEDARIDA All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy ___________________________________________________________ Date Professor Emily Braun Chair of Examining Committee ___________________________________________________________ Date Professor Rachel Kousser Executive Officer ________________________________ Professor Romy Golan ________________________________ Professor Antonella Pelizzari ________________________________ Professor Lucia Re THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT EXPORT / IMPORT: THE PROMOTION OF CONTEMPORARY ITALIAN ART IN THE UNITED STATES, 1935-1969 by Raffaele Bedarida Advisor: Professor Emily Braun Export / Import examines the exportation of contemporary Italian art to the United States from 1935 to 1969 and how it refashioned Italian national identity in the process. -
Carroll Barnes (March 1–March 15) Carroll Barnes (1906–1997) Worked in Various Careers Before Turning His Attention to Sculpture Full Time at the Age of Thirty
1950 Sculpture in Wood and Stone by Carroll Barnes (March 1–March 15) Carroll Barnes (1906–1997) worked in various careers before turning his attention to sculpture full time at the age of thirty. His skills earned him a position as a professor of art at the University of Texas and commissions from many public and private institutions. His sculptures are created in various media, such as Lucite and steel. This exhibition of the California-based artist’s work presented thirty-seven of his sculptures. Barnes studied with Carl Milles (1875– 1955) at the Cranbrook Academy of Art. [File contents: exhibition flier] Color Compositions by June Wayne (March) June Wayne’s (1918–2011) work received publicity in an article by Jules Langsner, who praised her for developing techniques of drawing the viewer’s eye through imagery and producing a sense of movement in her subjects. Her more recent works (as presented in the show) were drawn from the dilemmas to be found in Franz Kafka’s works. [File contents: two articles, one more appropriate for a later show of 1953 in memoriam Director Donald Bear] Prints by Ralph Scharff (April) Sixteen pieces by Ralph Scharff (1922–1993) were exhibited in the Thayer Gallery. Some of the works included in this exhibition were Apocrypha, I Hate Birds, Walpurgisnacht, Winter 1940, Nine Cats, and Four Cows and Tree Oranges. Watercolors by James Couper Wright (April 3–April 15) Eighteen of James Couper Wright’s (1906–1969) watercolors were presented in this exhibition. Wright was born in Scotland, but made his home in Southern California for the previous eleven years. -
Drewniane Kościoły I Cerkwie W Krajobrazie Karpat Wooden Roman-Catholic and Orthodox Churches in Carpathian Landscape
DREWNIANE KOŚCIOŁY I CERKWIE W KRAJOBRAZIE KARPAT WOODEN ROMAN-CATHOLIC AND ORTHODOX CHURCHES IN CARPATHIAN LANDSCAPE Anna Sołtysik dr inż. arch. Uniwersytet Rzeszowski Wydział Biologiczno-Rolniczy Zakład Architektury Krajobrazu STRESZCZENIE Największa różnorodność drewnianych budowli sakralnych – ich planów, form i konstruk- cji, a także zróżnicowanie ich zdobnictwa widoczne jest u stóp Karpat. Tradycje ciesiel- skie kształtowały tu swoisty „krajobraz kultury drewna”. Powstało tym samym bogate źró- dło symboli kształtujących lokalną tożsamość – nie tylko kulturową. Nośnikiem tych zna- czeń w krajobrazie stawały się elementy materialne i niematerialne, wynikające z wielo- kulturowości opisywanego obszaru. Słowa kluczowe: krajobraz, problemy ochrony zabytków, świątynie drewniane. ABSTRACT The most varied sacral wooden buildings are in the Carpathians region, where the forms, constructions and details were differentiated. Rich craftsman's tradition result in Culture of wood of the landscape. It became for us the source of symbols an meanings, which cre- ate local identity – not only in cultural aspect. Signs of this identity are material and intan- gible, which came from multicultural aspect of southeastern Poland. Key words: landscape, problems with preservation of historic buildings, wooden temples. 120 s p a c e & FORM | przestrzeń i FORMa ‘22/3_2014 1. WSTĘP Polska jest krajem, w którym do drugiej połowy XX w. przetrwało wiele budowli drewnia- nych. Takiemu budownictwu sprzyjała możliwość uzyskania budulca z puszcz i lasów zasobnych w różne gatunki drzew, jak dąb, modrzew i sosna. Budownictwo to daje do dziś świadectwo wysokiej kultury – jakości rzemiosła oraz wrażliwości plastycznej cieśli. Przemiany ekonomiczno-społeczne XX w. spowodowały znaczną degradację obiektów drewnianych, szczególnie takich, które utraciły swoich użytkowników (cerkwie, domy mieszkalne, ale także wiatraki czy szałasy). -
4. Multinational Cultural Heritage in the Landscape of Contemporary Poland
Mariusz Kulesza* 4. MULTINATIONAL CULTURAL HERITAGE IN THE LANDSCAPE OF CONTEMPORARY POLAND 4.1. Introduction Cultural heritage (patrimoine culturel) is a concept that has been expanding its range in recent years. It is considered to be an impor- tant factor in economic and social development, a means of search- ing for agreements in regions suffering from ethnic or religious conflicts and an expression of cultural diversity in various countries and regions all over the world. It is hard to disagree that respect for the past, the historical heritage, is one of the most important deter- minants of the level of culture of a society or a nation, the degree of its civilisation development. It has not only cultural and emotional dimensions, but also often translates into the concrete material ben- efits in the modern world. Even though the concept of cultural heritage was formulated more than 100 years ago, it has been greatly expanded over time, * Mariusz Kulesza – University of Łódź, Faculty of Geographical Sciences, De- partment of Political Geography and Regional Studies, Kopcińskiego 31, 90-142 Łódź, Poland, e-mail: [email protected] 114 Mariusz Kulesza gaining in importance in the last dozen years. Experts in the field note, that there are further objects that seem worth protecting, there is also the problem of selecting what the heritage includes, how to properly identify it and shape it so it becomes a memory of objects, qualities and places that reflect the widest possible social image. We need to remember that: “Cultural heritage is an object, an idea that originates in a specific reality, under certain conditions, based on historical principles of historical conditioning architectur- al and urban solutions. -
Werner Haftmann As the Director of the Neue Nationalgalerie in Berlin
692 V. Benedettino УДК: 7.036(4), 069.02:7 ББК: 79.17 А43 DOI: 10.18688/aa200-5-66 V. Benedettino Werner Haftmann as the Director of the Neue Nationalgalerie in Berlin (1967–1974): Survey of the Curatorial Concept in the West German National Modern Art Gallery during the Cold War The following paper will present preliminary results related to key aspects of Werner Haft- mann’s curatorial activity as the director of the Neue Nationalgalerie in Berlin from 1967 un- til 1974. The archival research was undertaken in several public archives in Germany and Italy in the frame of my Ph. D. at Universität Heidelberg and École du Louvre in Paris1. Firstly, Haftmann’s biography will be briefly outlined in order to contextualize his career as an art historian in the first half of the 20th century in Germany, Italy, and after World War II in West Germany. Afterwards, the circumstances of his appointment as the director of the Neue Na- tionalgalerie, built by the renowned architect Mies van der Rohe in West Berlin from 1965 until 1968, will be discussed. Finally, Haftmann’s curatorial concept concerning temporary exhibitions and artworks purchase policy, in addition to his statement about the mission of a national modern art museum will be highlighted. The professional career of Werner Gustav Haftmann (1912–1999) must be analysed in the light of the turbulent political and historical events that occurred in Germany during the 20th century. The art historian started a successful career in the 1930s during the repressive Nazi regime and consolidated it after World War II, in the time of West Germany’s recon- struction.