Literatura académica sobre el tema "German House decoration"

"Friedrich Balthes was a young master of the national architectural style of the Transylvanian Saxons. Being a victim of the First World War (he died at the age of only 32, on the Serbian front, in 1914), he was almost completely forgotten during the century. Only the architectural monuments created at the beginning of the 20th century, of a remarkable modernity, are left behind by Balthes. These works are part of the German architectural movement, which was the forerunner of modern and also traditionalist architecture of the 20s of last century. Balthes designed many buildings in the national style of the Transylvanian Saxons: a style brought from Germany, and adapted to the Transylvanian cultural landscape. He was a multi-talented personality, also writing various studies and essays on the architectural art, on the cityscape, the culture of housing, interior art, folk art, the maintenance of rural art, the color in architecture and the decoration of the streets with plants, about the old frescoes of the evangelical chirch in Cisnădie and on many other subjects. As a self-confident Transylvanian Saxon intellectual, Balthes published his articles with the purpose to educate his nation for the new cultural ideas of his time. The following study aims to present a sketch of the multidisciplinary legacy of this remarcable artist, by showing some examples of his work. One of Balthes´ many architectural creations we presented herewith the evangelical school and parish house in Bruiu (built between 1912 and 1914), wich is a good example of the architects idea of a new style, whitch overrcomes art nouveau. It was a Transylvanian Saxon national architecture, very modern for that period. It was a harmonious combination of the Transylvanian Saxon vernacular motives, with elements inspired by the German Reformarchitektur, promoted by architect and architecture theorist Hermann Muthesius. Keywords: Art History, Architecture History, Transylvanian Saxons, Reform 1900‒1914, History 1900‒1914"

The research is based on the analysis of the 1821 detailed description of the premises of the apartment of the Moscow University professor Heim, who had just passed away. From 1781 Heim, who maintained ties with Germany, rose to professor and then to rector of the Moscow University. His home environment provides material for reconstruction of the life of a “Russian German”, a representative of academic culture (with its academic everyday life). According to the inventory, the rector’s apartment near Mokhovaya Street contains four living rooms, a kitchen and a stable (on the lower floor). The room-by-room description of furniture, clothing, utensils and other household items, and information on the composition of the home library embody the anthropological characteristics of the professor’s subculture. The author of the article views a home item as a tangle of cultural practices, and the structure of the home and its contents as an embodiment of the professor’s way of life. The list of numerous kitchen utensils, a carriage, a droshky and several sets of harness in the stable indicate the complete autonomy of existence, and a large number of chairs and dining utensils allows us to speak about a certain degree of the publicity of the space. A set of clothes (casual and ceremonial), orders, letters of loan and idle money indicate a relatively high material and social status of Heim, demonstrate prosperity, the desire for domestic convenience of a “private man”. But the restrained style of apartment decoration, lots of desks, books, measuring instruments and stationery (attributes of routine academic writing) speak of the priority of the professor’s intellectual pursuits at home. The material of the inventory, considered against historical and cultural background, allows us to expand our views on understudied subculture of university professors as a specific layer of “middle-class people”, Russian intellectual elite of the late 18th and the early 19th centuries.

Կոստանդնուպոլսում 1705 թ. հրատարակվում է հայատառ երկրորդ տպագիր «Աստվածաշունչ» մատյանը: Տպագրիչն էր Ոսկան Երևանցու աշակերտ Պետրոս Լատինացին: Վերջինիս ջանքերով էլ հավանաբար Ոսկանյան տպարանի գույքը տեղափոխվել էր Կոստանդնուպոլիս: Լատինացու հրատարակությունները սակավ են, որոնց մեջ իր կարևորությամբ և գեղարվեստական հարդարանքով առանձնանում է 1705 թ. պատկերազարդ Աստվածաշունչը: Այն բաղկացած է Հին և Նոր Կտակարաններից և բնագրային առումով Ոսկանյան Աստվածաշնչի կրկնությունն է: Լատինացու Աստվածաշնչի գեղարվեստական ձևավորումը բաղկացած է փորագիր զարդանախշերից, ինչպես նաև թեմատիկ, բնագրի հետ համադրված փորագրապատկերներից: Զարդանախշերի կապը ձեռագրարվեստի զարդարուն տարրերի հետ տակավին սերտ է, սակայն այդ ամենի հետ կան նաև այնպիսիք, որոնք բնորոշ են միայն եվրոպական գրքարվեստի սկզբունքներին: Ինչ վերաբերում է թեմատիկ փորագրա-պատկերներին, ապա դրանց ստեղծման համար հիմք են ծառայել Ոսկան Երևանցու Աստվածաշնչում զետեղված Հին և Նոր Կտակարանների փորագրապատկերների տպատախտակները, որոնց հեղինակն է ծագումով գերմանացի, Հոլանդիայում իր գործունեությունը ծավալած փորագրիչ-նկարիչ Քրիստոֆել վան Զիխեմը: Պետրոս Լատինացու Աստվածաշունչը թեև մեծավ մասամբ Ոսկանյան Աստվածաշնչի կրկնությունն էր թե՛ բնագրային, թե՛ գեղարվեստական հարդարանքի տեսանկյունից, այնուամենայնիվ, կարևոր քայլ էր հայ գրատպության զարգացման գործում: В 1705 г. в Константинополе учеником Воскана Ереванци Петросом Латинаци была издана вторая армяноязычная «Библия». Вероятно, именно благодаря усилиям Петроса Латинаци весь инвентарь типографии Восканян был перевезен в Константинополь. Издания, осуществленные Петросом Латинаци, немногочисленны, среди них по своей важности и художественному оформлению можно выделить вышеупомянутую красочно иллюстрированную Библию с Ветхим и Новым Заветом, являвшую собой переиздание Библии Восканян. Художественное оформление Библии Латинаци включает в себя гравированные декоративные элементы, равно как и соответствующие оригиналу тематические гравюры. Очевидна связь между орнаментальными элементами издания и элементами декора, которые присутствуют в рукописном искусстве, но вместе с тем есть и такие орнаментальные узоры, которые характерны лишь для европейского книжного искусства. Что же касается тематических гравюр, то основой для их создания послужили печатные платы Библии Воскана Ереванци, автором кото-рых является немецкий гравировщик – художник Кристоффель ван Зихем, развернувший деятельность в Голландии. Хотя это издание в целом является переизданием изданной Восканом Ереванци Библии как с точки зрения ориги-нального текста, так и художественного оформления, но в то же время оно явилось важным шагом в развитии армянского книгопечатания. The second Armenian printed Bible was published by Petros Latinatsi, Voskan Yere-vantsi’s pupil in 1705 in Constantinople. Due to the latter's efforts, the property of the Voskanian printing house was probably moved to Constantinople. The editions of Latinatsi are scarce, among which the illustrated Bible published in 1705 stands out with its richness and artistic decoration. It consists of the Old and New Testaments and is a replica of the original Voskanian Bible. The artistic decoration of the Latinatsi՛s Bible consists of engraved ornaments, and thematic engravings combined with the original. The connection of ornaments with the decorative elements of manuscript art is still close, but with all that there are those which are characteristic only of the principles of European book art. As for the thematic engravings, the basis for their creation was the printing boards of the Old and New Testament engravings in the Bible of Voskan Yerevantsi, which were created by Chris-topher van Sichem the Younger, a German-born engraver and painter based in the Netherlands. Although Latinatsi’s edition was largely a duplication of the Voskanian Bible, both in terms of original and artistic decoration, it was nevertheless an important step in the development of Armenian typography.

During the Renaissance and Mannerist periods, in most European countries the fashion for decorating walls with sgraffiti covered a large part of continent, from Portugal to Romania, and from Central Italy to the German countries and Poland. Its popularity in the middle part of Europe peaked in the 16th and 17th centuries. In many regions, sgraffito was the dominant method of decorating buildings. Sgraffito styles were differentiated by design, artistic level, local conditions and investor preferences. In many regions north of the Alps, sgraffito decorations were, on the one hand, a frequently used method of modernizing medieval buildings, and, on the other, a form of expressing views, often religious ones. Everywhere, however, they expressed supranational belonging to the world of a post-medieval, revival community. It was no different in Silesia, where the sgraffiti madness arrived, thanks to artists who came from the northern regions of Italy around 1540 and settled down until the middle of the next century. The research carried out by the author has proven that, for Silesia, sgraffito was an iconic sign of the architecture of that period. In this region, then belonging to the Habsburg Monarchy, sgraffito decorations covered a wide variety of architectural objects, from barns, walls, and gates to tenement houses, manors, castles, and churches. In the case of the latter, research has shown that temples in Gothic style are heavily decorated with sgraffiti, which should be considered a distinctive feature when compared to other regions. At the same time, it was found that the vast majority of them appeared in forms and themes known to us from other countries covered by the sgraffito fashion. The frame composition made in this technique and, most probably modeled directly on the template by S. Serlia (Tutte L’opere d’Architettura et Prospettiva) from 1619, should be considered as the Silesian contribution to the sgraffito heritage as well as oval bossages. While studying Silesian sgraffito, some local technological differences were also noticed. With the advent of the Baroque period, a large part of the sgraffito decoration was covered (and thus preserved) with a new, baroque decorative costume. We still discover them in the present while carrying out conservation works (sometimes multiple) on historic buildings. Many others, those constantly on display, have been restored to preserve their original shape, or have been reconstructed. Various and simultaneously modernized methods are used to implement these works. Their correct selection depends on in-depth knowledge of sgraffito (historical, artistic, technological and technical) and their regional specificity. It also depends on the constant exchange of experiences between all those dealing with sgraffito heritage.

The Former German Governor’s Residence in Qingdao was by far the most spectacular building in residential architectures on the German Colonial period. This article studied architectural art of the Former German Governor’s Residence from architectural plan layout, building facades decorating, building structures and materials, and made these three respects compare with the Chinese traditional residential architecture. The architectural plan layout was in common about separate house on the German Colonial period, it inherited the German romantic style of the traditional residential buildings since the 16th century; its facades kept different and changeful; but primary and secondary clear, gorgeous, lively and dignified. The architectural structure was brick stone and wood hybrid construction. In this eclectic style of the building could be seen Germany was one of the birthplaces of the Modern Movement, and it had begun to explore using modern materials and new technologies, but its architectural forms was still the old form.

Kelmscott Manor, the country home of William Morris, houses a remarkable collection of ceramics bearing a singular relationship to one of the most influential figures in Victorian cultural history. This study of Kelmscott’s collection of German stoneware reveals new interpretations of its production history and fascinating insights into its significance for the cultural context of Morris’s work. Based on a complete catalogue, the paper examines the ensemble of approximately thirty pieces of eighteenth- to nineteenth-century Westerwald stoneware, or grès de Flandres, as it was known to Morris and his contemporaries. The Kelmscott group is the largest collection of this material known from an English historic house and has a composite and well-documented provenance. Supplementary material provided as an online appendix contains a fully illustrated, descriptive catalogue.Westerwald pottery of the seventeenth century and earlier has been extensively studied, but its ceramics of the late eighteenth to nineteenth centuries have received little attention. Most accounts stress the simplification of vessel forms and ‘degeneration’ of decorative designs during this period, leading towards mass-production c 1900. This paper re-assesses later Westerwald output, drawing attention to a vernacular pottery tradition of significant interest in its own right. This paper suggests that it was this continuing tradition of vernacular production and its naturalistic, decorative schemes that attracted the interest of Morris throughout his adult life, from the Red House experiment to the heyday of Morris & Co. Examining his writing on creativity, the minor arts and labour, the paper interprets grès de Flandres as an expression of Morris’s idealisation of the relationship between labour and craft production.

The paper “From Ruins to the Decorative and Applied Arts Museum” reflects the complicated path passed by the outstanding monument, a pseudo-gothic style - mezzanine - “New Cavalry House”- designed by the architect of German origin - Albert Zaltzmann. Based on scientific research, the work presents content and functional loading possibilities for the new Decorative Applied Arts Museum building and its outer space. One of the main goals is to replace the Russian narrative with European content. The European-style architecture Museum, located in the centre of the popular Georgian Spa resort Borjomi, with displayed decorative and applied arts collections belonging to the royal family, will be interesting for all visitors. Accordingly, it will be in demand and profitable. It has been noted that the museum is of an extraordinary, unusual nature, and it stands out from the rest of the similar museum institutions in Georgia thanks to the peculiar architecture, content, and collections displayed here. The paper describes the mission of the future museum, its content, and the vital role it has to play in the context of educational and economic development, promoting the region and the whole country.

Among the decorative binding papers of the 18th century, brocade papers, so called because of their resemblance to expensive gold woven fabrics, can be recognized as particularly spectacular. The rich relief pattern, the combination of gold and silver lustre with a multi-coloured paper backing was the secret of their popularity in European countries for a whole century.The technique of paper gilding and embossing originated in the early 18th century in Augsburg. Subsequently, brocade papers were produced in various cities in Germany and mainly spread throughout Europe from there. Although brocade papers were also used by Russian masters, there are no special works about this binding material in the Russian historiography.The article is devoted to the description of the collection of brocade papers preserved as covers and forzats in Russian civil books of the 18th century in the collection of the Book Museum of the Russian State Library (RSL). The questions of terminology, production technology and systematization of brocade papers are considered. The main types of domestic publications characterized by the use of this material are calendars, published annually at the Academy of Sciences printing house in St. Petersburg, and descriptions of various celebrations, speeches “on occasion”, odes, “instructive words” and “reasonings”, produced by different printing houses and usually small in volume.The collection provides rich material for a more accurate understanding of the role of the printing house and the aesthetic preferences of the reading public in the external design of books in the period of the birth of bookbinding in Russia. Decorative binding papers are valuable not only for the researcher of old-printed books, librarian, collector or restorer, but also for the cultural historian in a broad sense, as content, stylistically and technologically they reflect general trends in the production of wallpapers, fabrics, furniture and trade packaging. On the basis of the description of the quantitative and qualitative composition of the collection of the RSL Book Museum a methodology of working with brocade papers is proposed, which can be applied to the collections of other fund holders as well.

The house which Immanuel Kant bought in Königsberg in 1783 has not survived, having been pulled down in the late nineteenth century. Likewise, hardly any of the great philosopher’s personal belongings have survived. Many pieces of furniture and household utensils were auctioned off after his death. So the Kant museum had few original exhibits from the Königsberg thinker’s house, and almost all these artefacts were lost during the Second World War. Today, digital technologies make it possible to present a virtual picture of the various rooms, reconstruct the decorations and furniture characteristic of a Prussian urban dwelling in late eighteenth — early nineteenth centuries. With the help of 3D modelling and historical sources a realistic model of Kant’s house has been created, showing both the exterior and the interior. In addition to the paucity of sources, the task was complicated by technical problems due to the need to recreate several rooms at one location simultaneously. Reconstruction draws on several gen­uine objects from Kant’s house, now kept at museums in Germany. Also available are written and visual sources showing the exterior of the house and mentioning some furniture items located in the living room and elsewhere in the structure. Now 3D reconstructions have been made of the house’s exterior and the urban environment, the anterooms on the ground and first floors, the lecture hall, kitchen, study, drawing room, bedroom, library and dining room.

The article concerns the final architectural and design activity of Hector Guimar (1867–1942), when he was forced to withdraw from his unique Guimar style. During this period, the sociopolitical and cultural life of Europe underwent fundamental changes. Bourgeois modernism was replaced by more laconic democratic styles (functionalism, constructivism, etc.). Not wanting to lose the professional orders, the French architect created projects with-out the former plastics and warmth. It is noted that before the World War II, he was mainly engaged in the design of multistorey residential buildings, occasionally, in decorative design of their facades and interiors, elements of technical equipment. His architectural projects of that period are residential complexes on Rue Jean de la Fontaine and Rue Agar (1910–1912), House Tremois on Rue François Millet (1909–1910), synagogue building Agoudas Hakehilos on Rue Pavee (1913–1914). Briefly considered the vicissitudes of his life after his departure to the United States (1938).

This chapter briefly reviews the art history from 1230–1450 CE in order to better understand the cultural profile of the rabbi, and to evaluate the contribution of the wall paintings in his house as indications of the artistic horizons of German Jews of the fourteenth century. It also shows how Jews had to abandon the art that they cherished for generations, yet they found ways to keep alive their fascination with the beautiful and to nurse their aesthetic needs. The interior synagogue of Santa Maria la Blanca of Toledo and that of the recently reconstructed Sinagoga Mayor of Segovia manifest a profound attachment to Islamic public architecture. Jews showed great appreciation for the decorative value of their Hebrew alphabet. They also learned to paint inanimate or geometric images in miniature letters on the covers of their Bibles.