You Are Invited to the Berlin State Museums Workshops For

Total Page:16

File Type:pdf, Size:1020Kb

You Are Invited to the Berlin State Museums Workshops For GENERALDIREKTION BILDUNG, VERMITTLUNG, BESUCHERDIENSTE Welcome! You are invited to the Berlin State Museums Workshops for Refugees: Children and Families Welcome to the Berlin State Museums! There’s plenty for you to discover in our diverse range of museums! We are inviting you to our workshops to explore our various museums and try out different forms of artistic expression. Assistants from our Education and Communication department will accompany you on your expedition. Hamburger Bahnhof – Museum für Gegenwart (Museum for the Present) – Berlin In love with painting Painting is simply fantastic! It can be so diverse: one colour or multi-coloured, modest or wild, serious or funny. Famous artists show us everything painting can do and the things we can experience with it. We will try out various painting techniques and develop our own, individual painting style. It’s really fun! Altes Museum (Old Museum) Mosaic Ancient Romans decorated their villas with colourful mosaics, pictures made of small stones. They are beautiful to look at and give us an insight into life as it was thousands of years ago. See how a mosaic is constructed, how one picture can be formed with many stones, and give it a go yourself. Neues Museum (New Museum) The most beautiful woman in Egypt What does Egypt’s most beautiful woman look like? What sort of jewellery does she wear? During a round tour of the New Museum, we will explore the roles that jewellery, fashion, makeup and hairstyling played for the women and men in ancient Egypt. In the studio, we will design our own jewellery in the style that the ancient Egyptians loved. Alte Nationalgalerie (Old National Gallery) Animal fun The animals have escaped in the Old National Gallery! Come and help us track them down. In the museum, we will discover dogs, goats, monkeys, lions and even a horse with wings! With your own folding book, you can create a funny zoo on paper and take it home with you. Seite 1/4 Kunstgewerbemuseum (Museum of Decorative Arts) Paper dresses Fashion is change. In our fashion studio, we will experience the appeal of fashion on our own bodies. We will design extraordinary creations and cut them out of paper, experimenting with shapes and colours. Wearing our paper dresses, we will pose in front of a mirror and camera and witness our own transformation up close. Scharf-Gerstenberg Collection Take a chance Without a plan – mix colours, paint with string, put the bottom at the top, let the lines meander and get ready to be surprised... we will be investigating the accidental techniques used by surrealists and seeing what can emerge from dots and lines when your brain doesn’t intervene. Workshops for refugees: children and families 120 minutes/max. 25 participants All offers can be booked in German and English. If required, events can be accompanied by an Arabic or Farsi-speaking interpreter (subject to availability). Thanks to support from the advisory board at the Prussian Cultural Heritage Foundation, we are able to offer this programme for refugees free of charge and will also bear the costs for travelling here via public transport. Entry to the museums is free for the participants and the accompanying aid workers. Information and booking: Berlin State Museums Education, Communication, Visitor Services 030 266 42 42 42 (Mon – Fri, 09:00 – 16:00) [email protected] Seite 2/4 Welcome! You are invited to the Berlin State Museums Offers for Refugees: Adults Welcome to the Berlin State Museums! We are inviting you to discover the highlights and showpieces in our diverse range of museums. Our arts and cultural assistants will accompany you on your round tours of the museums. Hamburger Bahnhof – Museum für Gegenwart (Museum for the Present) – Berlin Contemporary art The Hamburger Bahnhof is home to one of the world’s largest and most significant public collections of contemporary art. During a group tour, you will witness various stages in contemporary art and discuss them together. Altes Museum (Old Museum) The ancient world in the Old Museum The introduction to the exhibition gives you your first steps into the ancient world in the Old Museum. Inside the impressive museum architecture from the 19th century, you can immerse yourself in the ancient world of gods and heroes and gain an insight into the lives of the Romans, Greeks and Etruscans with the aid of original artefacts. Neues Museum (New Museum) The diversity of the ancient Egyptians The round tour gives you access to the collections in this Egyptian museum: a sarcophagus weighing tons, papyrus as light as a feather and finely worked reliefs invite you to examine them closely. Selected highlights like elaborate burial objects, ritual chambers and the famous bust of Nefertiti bring the history of ancient Egypt to life. Museum Berggruen In other words Pablo Picasso, Henri Matisse, Paul Klee or Paul Cézanne – there’s a lot to be said about these and other modernist artists in the Museum Berggruen. But what do their works mean to us personally? What associations do we make? We will collect people’s individual words on the artwork, write or draw them down and exchange our views on them. Alte Nationalgalerie (Old National Gallery) Paintings and Sculptures from the 19th Century The Old National Gallery houses paintings and sculptures from the 19th century. During a round tour through the impressive building, we will behold works by famous artists such as the romanticist Caspar David Friedrich, the German-Roman Arnold Böcklin, the impressionist Claude Monet and the realist Adolph Menzel. Seite 3/4 Pergamonmuseum (Pergamon Museum) Monumental architecture in the Pergamon Museum The colourful Ishtar Gate and the richly adorned Mshatta Facade are just two of the Pergamon Museum’s special highlights. During our round tour, we will discuss the meaning and function of both of these monumental structures, which are now part of the Near Eastern Museum and the Museum of Islamic Art collection in the Pergamon Museum. 90 minutes/max. 25 participants All offers can be booked in German and English. If required, events can be accompanied by an Arabic or Farsi-speaking interpreter (subject to availability). Thanks to support from the advisory board at the Prussian Cultural Heritage Foundation, we are able to offer this programme for refugees free of charge and will also bear the costs for travelling here via public transport. Entry to the museums is free for the participants and the accompanying aid workers. Information and booking: Berlin State Museums Education, Communication, Visitor Services 030 266 42 42 42 (Mon – Fri, 09:00 – 16:00) [email protected] Seite 4/4 .
Recommended publications
  • The Mosse Art Research Project, a Cooperation with the German
    AiA Art News-service German researchers trace Jewish newspaper mogul’s vast Nazi-looted art collection The Mosse Art Research Project, a cooperation with the German government, identifies eight works and launches online database CATHERINE HICKLEY 8th May 2018 10:00 GMT August Gaul, Lying Lion by (1903) was returned to the heirs of Felicia Lachmann-Mosse in 2015. It will go on show in the new James Simon Gallery, the entrance building for Museum Island currently under construction.© SPK / ART+COM, 2017 A ground-breaking research project initiated last year by the German government, museums, research institutes in cooperation with the heirs of a Jewish media mogul has traced eight works confiscated by the Nazis and launched an online database to help find more. Thousands of paintings, books, sculptures and antiques were seized from Rudolf Mosse, who was one of the richest men in Berlin at the end of the 19th century. The Mosse Art Research Initiative, which was announced in March 2017, has a budget of €500,000 funded by the heirs and the German government’s Lost Art Foundation and is led by Meike Hoffmann, an art historian at Berlin’s Free University. It is the first such cooperative research project between the heirs of a Jewish collector robbed by the Nazis and the German government. The eight works the project has so far traced include a painting by Emil Jakob Schindler at Vienna’s Belvedere and a work by Jozef Israëls at the Tel Aviv Museum in Israel. A member of the Mosse Art Research Project team identified a painting of skaters called Winter by Carl Melchers at the Arkell Museum in Canajoharie, New York, when museum staff posted it on Facebook before the Christmas holidays, Hoffmann says.
    [Show full text]
  • Münzkabinett – Museum
    030-037 29.04.2005 9:57 Uhr Seite 30 Das Münzkabinett der Staatlichen Museen zu Bernd Kluge Berlin – Preußischer Kulturbesitz ist mit über Rainer Fisch einer halben Million Münzen, Medaillen und weiteren Zeugnissen aus 2500 Jahren Mensch- heitsgeschichte von Erfindung der Münzen im 7. Jahrhundert v. Chr. bis zur Gegenwart eine der Münzkabinett – Museum der Kaiserzeit Instandsetzung und Restaurierung Bauherr client Nutzer occupant Planungstermine project stages Stiftung Preußischer Kulturbesitz Staatliche Museen zu Berlin, Münzkabinett Entwurfsbeginn start of design 1998 Bundesamt für Bauwesen und Raumordnung Architekt architect Atelier Fischer, Berlin Baubeginn start of construction 1998 Rainer Fisch, Wolf Dietrich Werner, Projektsteuerung project management Fertigstellung completion 2004 Barbara Große-Rhode ibb-ingenieurbüro, Berlin 30 030-037 29.04.2005 9:57 Uhr Seite 31 Zugang zum Tresorraum. Massive Stahltresortür. Entrance to the vault room. Solid steel vault door. Seite 30: Detail der Stahltresortür. Drehrad und Türgriff aus Messing. Page 30: Detail of steel vault door. Brass locking wheel and door handle. 31 030-037 29.04.2005 9:57 Uhr Seite 32 Bode-Museum. Grundriss Erdgeschoss mit Münzkabinett (gelb) im Südwestflügel. The Bode Museum. Ground level floor plan showing the Münzkabinett (yellow) in the southwest wing. international bedeutendsten numismatischen für den beinahe sechzig Meter langen, an Türen Seit dem Jahr 2000 wird das Bode-Museum Sammlungen. Seine Wurzeln liegen im frühen und Fenstern bankmäßig gesicherten großen generalsaniert und wird 2006 seine Pforten für 17. Jahrhundert in den Kunst- und Antiken- Tresor mit seiner über die gesamte Länge lau- das Publikum wieder öffnen. Bereits zwei Jahre sammlungen der Kurfürsten von Brandenburg. fenden und von einer Bibliotheksgalerie über- früher und pünktlich zur Hundertjahrfeier des Im Berliner Schloss bildete es um 1700 neben wölbten Flucht von achtundvierzig eigens kon- am 18.
    [Show full text]
  • National Gallery of Art
    National Gallery of Art FOR IMMEDIATE RELEASE: Deborah Ziska, April 30, 2001 Press and Public Information Officer MEDIA CONTACT: Lisa Knapp, publicist (202) 842-6804 /-/<[email protected]/ "SPIRIT OF AN AGE" PRESENTS MAJOR 19TH-CENTURY GERMAN PAINTINGS SURVEY FROM ROMANTICISM TO EXPRESSIONISM OPENS JUNE 10 AT THE NATIONAL GALLERY OF ART Washington, D.C.-One of the most significant presentations, in terms of range and quality, of 19th-century German painting ever to be shown in the United States will be on view at the National Gallery of Art, East Building, June 10 through September 3, 2001. Spirit of an Age: Nineteenth-Century Paintings from the Nationalgalerie, Berlin provides a survey of 19th-century German painting, and a history of Germany itself, through 75 of the finest works by 35 artists from the collection of the Alte Nationalgalerie (Old National Gallery), Berlin. The museum, which opened in 1876 to house the Prussian king's collection of paintings and sculpture, is currently closed for renovations as part of a larger reorganization of all Berlin's museums. In December 2001, when the museum reopens, it will display for the first time since 1939 the complete collection of work for which it was built. ("aspai David I-nednch mm ill//if ll'uulm. 182: The exhibition is made possible by the Anna-Maria and Stephen Kellen Foundation. "This enlightening exhibition offers American audiences the unique opportunity to study the works of important German painters who are rarely represented in North American collections," said Earl A. Powell III, director, National Gallery of Art, Washington.
    [Show full text]
  • Smithsonian Institution
    Smithsonian Institution Provenance Research Exchange Program Washington, D.C. FOR IMMEDIATE RELEASE [email protected] 2019 PREP -- CALL for APPLICATIONS The German/American Provenance Research Exchange Program (PREP) for Museum Professionals, 2017-2019 5th Exchange: Dresden State Art Collections (March 17-22, 2019) 6th Exchange: Smithsonian Institution, Washington, D.C. (October 20-26, 2019) Application deadline extended until October 14, 2018 The German/American Provenance Research Exchange Program (PREP) brings together, for the first time, museum professionals from both sides of the Atlantic who specialize in World War II-era provenance projects for a three-year, systematic exchange that expands and elaborates on the methods and practices through which both countries have approached the issues pertaining to Holocaust-era art looting. PREP is also widening the scope of WWII-era provenance research, which to date has prioritized painting, sculpture, and Judaica, by including Asian art, decorative arts, and works on paper. 2019 is the final year of PREP, which brings together researchers, curators, collections managers, archivists, lawyers, and IT specialists to establish a transatlantic network to accelerate research on WWII-era art loss. PREP introduces participants to resources and experts at institutions in both countries; provides a forum for professional growth and networking; facilitates collaborative research projects; and increases public awareness of the work of museum communities in both countries to widen access to provenance resources and results through the development of new technologies. PREP launched in 2017 with the 1st Exchange, hosted by The Metropolitan Museum of Art in New York, followed by the 2nd Exchange, hosted by the Berlin State Museums.
    [Show full text]
  • Early Māori Collections in Berlin and Their Representation in the Museum Für Völkerkunde (Now Ethnologisches Museum)
    RIHA Journal 0194 | 20 July 2018 Curios and Taonga: Early Māori Collections in Berlin and Their Representation in the Museum für Völkerkunde no! Ethnologisches Museum" Markus #chindlbeck %$stract This article gives an overview of the very early collections of !ori artefacts in "erlin# These enco$%ass the collections asse$&le' &y Johann Reinhol' an' (eorg )orster an' others on the fa$ous voyages of Ja$es *oo+ to the ,outh ,eas at the en' of the eighteenth century, &ut also o&.ects collecte' &y the /orth A$erican ca%tain Ha'loc+ at the &eginning of the nineteenth century# 0ater a wi'e range of (er$an visitors re%orte' fro$ their tours through /ew 1ealan' an' &rought &ac+ artefacts an' %hotogra%hs# This %a%er %oints out the %rovenances of the core areas of the !ori collection in "erlin an' retraces so$e shifts in the collecting %ractices as well as in the $useu$ installations# It will &e shown how the %erce%tion an' evaluation of these o&.ects change' an' how they &eca$e sym&ols of i'entity in the course of the nineteenth an' twentieth century. Contents Intro'uction The Early Paci4c / M!ori O&.ects in Berlin The Paci4c / M!ori Collections in Berlin in the Secon' Half of the Nineteenth *entury The Re%resentation of M!ori Art in the Museu$’s Early Exhi&ition Gui'es *onclusion Intro'uction 91: The history of anthro%ological collections has always constitute' a $a.or 4el' of $useology research# However- in the course of the last ten years or so- scholars have co$e to focus their attention once again on the issue of the %rovenance of o&.ects#
    [Show full text]
  • D6.1 Access, Participation, Learning: Digital Strategies for Audience Engagement with Cultural Heritage in Museums and Libraries
    This project has received funding from the European Union’s Seventh Framework programme for research, technological development and demonstration under grant agreement no. 612789 D6.1 Access, Participation, Learning: Digital strategies for audience engagement with cultural heritage in museums and libraries Partner responsible for deliverable: SPK Deliverable authors: Katerina Charatzopoulou, Monika Hagedorn-Saupe, Andrea Prehn (SPK) Amalia Sabiescu, Eline Kieft and Tim Hammerton (COVUNI) Bahadir Aydinonat, Hakan Koray Ozluk (KYGM) Claudio Prandoni, Mercè Lopez, Tania Masi, Valentina Bachi, Claudia Pierotti (PROMOTER) - Subject to final approval - Page 1 of 190 RICHES Deliverable D6.1 Access, Participation, Learning: Digital strategies for audience engagement with cultural heritage in museums and libraries Statement of originality: This deliverable contains original unpublished work except where clearly indicated otherwise. Acknowledgement of previously published material and of the work of others has been made through appropriate citation, quotation or both. Page 2 of 190 RICHES Deliverable D6.1 Access, Participation, Learning: Digital strategies for audience engagement with cultural heritage in museums and libraries Page 3 of 190 RICHES Deliverable: D6.1 Access, Participation, Learning: Digital strategies for audience engagement with cultural heritage in museums and libraries TableAccess, Participation,of Contents Learning: Digital strategies for user engagement with cultural heritage in museums and libraries 1 Executive Summary .................................................................................................................................
    [Show full text]
  • Smithsonian Institution
    Smithsonian Institution Provenance Research Exchange Program Washington, D.C. FOR IMMEDIATE RELEASE [email protected] 2019 PREP -- CALL for APPLICATIONS The German/American Provenance Research Exchange Program (PREP) for Museum Professionals, 2017-2019 5th Exchange: Dresden State Art Collections (March 17-22, 2019) 6th Exchange: Smithsonian Institution, Washington, D.C. (October 20-26, 2019) Application deadline extended until October 14, 2018 For questions about the PREP program or application process, please contact [email protected] or [email protected] The German/American Provenance Research Exchange Program (PREP) brings together, for the first time, museum professionals from both sides of the Atlantic who specialize in World War II-era provenance projects for a three-year, systematic exchange that expands and elaborates on the methods and practices through which both countries have approached the issues pertaining to Holocaust-era art looting. PREP is also widening the scope of WWII-era provenance research, which to date has prioritized painting, sculpture, and Judaica, by including Asian art, decorative arts, and works on paper. 2019 is the final year of PREP, which brings together researchers, curators, collections managers, archivists, lawyers, and IT specialists to establish a transatlantic network to accelerate research on WWII-era art loss. PREP introduces participants to resources and experts at institutions in both countries; provides a forum for professional growth and networking; facilitates collaborative research projects; and increases public awareness of the work of museum communities in both countries to widen access to provenance resources and results through the development of new technologies. PREP launched in 2017 with the 1st Exchange, hosted by The Metropolitan Museum of Art in New York, followed by the 2nd Exchange, hosted by the Berlin State Museums.
    [Show full text]
  • Records Concerning the Central Collecting Points (“Ardelia Hall Collection”): Omgus Headquarters Records, 1938–1951
    M1941 RECORDS CONCERNING THE CENTRAL COLLECTING POINTS (“ARDELIA HALL COLLECTION”): OMGUS HEADQUARTERS RECORDS, 1938–1951 National Archives and Records Administration Washington, DC 2004 Library info INTRODUCTION On the 45 rolls of this microfilm publication, M1941, are reproduced the general records, activity reports, and restitution and custody receipts of the Monuments, Fine Arts, and Archives (MFAA) Section as distributed to the Headquarters of Office of Military Government, U.S. Zone (Germany) [OMGUS]. The MFAA transferred Nazi-looted works of art and artifacts from various storage areas and shipped the objects to one of four U.S. central collecting points. In order to research restitution claims, the MFAA officers gathered intelligence reports, interrogation reports, captured documents, and general information regarding German art looting. This microfilm publication includes a small portion of the records that comprise the “Ardelia Hall Collection.” The entire collection is located in the Records of United States Occupation Headquarters, World War II, Record Group (RG) 260. BACKGROUND The basic authority for taking custody of property in Germany was contained in Joint Chief of Staff (JCS) Directive 1067/6, which directed the U.S. Zone Commander to “impound or block” certain specified categories of property, including those of the German Reich; the Nazi Party and affiliated organizations and their prominent members; and absentee owners of non-German nationality, including United Nations and neutral governments and individuals. The American Zone Commander was also required to impound all property that was transferred under duress or through wrongful acts of confiscation, disposition, or spoliation, and to block the relocation of works of art and cultural material of value or importance, regardless of its ownership.
    [Show full text]
  • Art Histories, Archaeologies, Anthropologies, Aesthetics, Berlin
    4A Laboratory: Art Histories, Archaeologies, Anthropologies, Aesthetics, Berlin Berlin, Oct 1, 2019–Jul 1, 2020 Application deadline: Apr 15, 2019 Kunsthistorisches Institut in Florenz – Max-Planck-Institut 4A Laboratory: Art Histories, Archaeologies, Anthropologies, Aesthetics The Berlin-based research and fellowship program "4A Laboratory: Art Histories, Archaeologies, Anthropologies, Aesthetics" invites scholars to apply for up to two doctoral and six postdoctoral fellowships for the academic year 2019/2020. 4A LABORATORY is a joint Fellowship Program of the Kunsthistorisches Institut in Florenz – Max-- Planck-Institut, a research institute of the Max Planck Society (www.khi.fi.it), and the Stiftung Preußischer Kulturbesitz (www.preussischer-kulturbesitz.de/) in collaboration with the Humboldt University, Berlin, the Forum Transregional Studies and other partners. The Stiftung Preußischer Kulturbesitz is an internationally outstanding cultural and scientific institution with unique muse- ums, archives, libraries and research facilities; the Kunsthistorisches Institut in Florenz is a global- ly connected research institute, with a strong agenda in transcultural art histories. 4A Lab connects diverse disciplines, types of collections and multiple institutions in an innovative way. In particular, 4A Lab attempts to foster dialogues and exchanges between art history, archae- ology, anthropology and aesthetics, (4 A), as well as other disciplines concerned with objects, practices, environments and narratives (OPEN). The Fellowship program
    [Show full text]
  • 1 Initiatives of Museums in Europe in Connection to Migrants and Refugees
    Initiatives of museums in Europe in connection to migrants and refugees (as by January 2016) What is in the NEMO pipeline? - Some of our members are working to submit an application under the Erasmus+ or the Creative Europe programme to identify how - as cultural learning institutions - museums can work in partnership with other agencies to provide skills, education and employability skills to help disadvantaged young people, in particular young migrant/immigrants/refugees/asylum seekers aged 16-26. - Another group of members is working to submit a proposal about “Museums and Conflict Resolution” within DG Justice’ programme to support transnational projects to prevent and combat racism, xenophobia, homophobia and other forms of intolerance - JUST/2015/RRAC/AG - One of our webinars in 2016 will be about the inclusion of and work with migrants in museums Examples from museums/initiatives etc a) Individual Museum Projects: - DK: Louisiana Museum of Modern Art, Denmark: TRAVELLING WITH ART: a learning project for refugee children https://www.rodekors.dk/media/1626037/Traveling-with-art-report.pdf - DK: ROMU is a local Danish museum located in Roskilde, Lejre and Frederikssund by Roskilde Fjord. ROMU have a vision to include new target groups and to take a social responsibility, interested in creating social meeting places where people can meet without paying for a ticket. The museum has established a cooperation with Danish Red Cross asylum centres in the area where offering cultural activities, introducing migrants to Danish history, culture and traditions, local communities and cultural activities. For both refugees and persons seeking asylum the museum offers a) Learning programs for migrants about Danish history and culture and the society today including democracy, monarchy and the development of the Danish labour market and Welfare State.
    [Show full text]
  • 4403975 Reflection.Pdf
    Graduation Project P4 Reflection Interiors, Buildings, Cities Beyond the White Cube Student: Mengyi Dang 4403975 Tutors: Daniel Rosbottom Mauro Parravicini Sam De Vocht Sereh Mandias The relationship between the project and the wider social context The need of the museum complex Neue Nationalgalerie—Museum of the 20th Century (M20) it to situate permanently the Marx and Pietsch collections, the Marzona archive and works from the Museum of Prints and Drawings. It will also be the first time in the history that these collections joining together. The Neuw Nationalgalerie and the Museum of 20th Century (M20) is contently and functionally related. While the site is consists of architectural icons, except for the Neue Nationalgalerie by Ludwig Mies van der Rohe, there are Philharmonie, St. Matthew’s Church, and State Library, as well as the Kulturforum built in recent 50 to 60 years. As the future home of the M20, the Kulturforum is the most important location of the Berlin State Museums besides the Museum Island. However, the Kulturforum itself has now agreed by the public having problems in architecture and urban planning. This paper is to look at the problem of the urban and architectural problems of the site and discuss possible approach to the new design of Museum of the 20th Century. Due to the complicity of the history of Berlin, the Kulturforum today is a political and cultural record of the formerly divided city, and one of the most challenging areas of the inner city’s development. The name ‘Kulturforum’ might expect a cohesive image of the area, but the fact is that the visitors are greeted by a quite different picture, a loose assemblage of buildings which is cloven rather than held together by the six-lane Potsdamer Street and the open space outside St.
    [Show full text]
  • The Collection of Kurt Rohde and Frieda Hinze
    THE COLLECTION OF KURT ROHDE AND FRIEDA HINZE Stefan Körner As the last wisps of vapor from the flash powder slowly dis- appeared, the exciting, eventful story of an art dealer began to unfold. With turtle soup in tureens of Meissen porcelain, chester cake for dessert and military marches by the wedding band, the best of Dresden society turned out to greet the young bridal couple in the late summer of 1912: Charlotte Berbig, the daughter of wealthy textile industrialists from Dresden and Kurt Rohde, a dashing officer in the Prussian army, had summoned their guests together for a wedding photo on Brühl’s Terrace at the Belvedere. However, it was more the building’s magnificent features and less the military marches which captivated the groom. Kurt Rohde was much more fascinated by art and collecting than by the ability of his troops to march in step, and even the guests, with all their titles of court and commerce, of privy councilor and war councilor, much preferred to revel in the style of the upper class associated with the late empire than to busy themselves with the social upheaval and escalating political tension rampant in Europe. In 1912 the Berbig clan celebrated the young couple with an opulence reminiscent of this “bygone era”, oblivious to the world around them. For the ambitious Kurt Rohde, however, the marriage would provide him with the financial possibilities to make his dreams reality. Kurt Rohde and Charlotte Berbig’s wedding photo taken ADVANCEMENT WITHIN THE EMPIRE on Brühl’s Terrace at the Royal Belvedere in Dresden, photo 28 September 1912 Kurt (Paul Friedrich Franz) Rohde was born in 1882 – quite randomly, as it were, in Erfurt – considering that the family constantly moved due to the father’s job as customs inspector during the prosperous era of Germany’s Gründerjahre.
    [Show full text]