Готові списки джерел за темами / Prints, german – 20th century – exhibitions

Добірка наукової літератури з теми "Prints, german – 20th century – exhibitions"

Автор: Grafiati

Опубліковано: 27 липня 2024

Оновлено: 29 липня 2024

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Статті в журналах з теми "Prints, german – 20th century – exhibitions"

Ittu, Gudrun-Liane. "Siebenbürgisch-deutsche Künstlerinnen vom Ende des 19. und Anfang des 20. Jahrhunderts." Studia Universitatis Babeș-Bolyai Historia Artium 65, no. 1 (December 31, 2020): 127–55. http://dx.doi.org/10.24193/subbhistart.2020.07.

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"Transylvanian German women artists from the end of the 19th and beginning of the 20th century. The paper is aiming at analyzing the life and art of a group of six German women artists from Transylvania, the first ones who studied abroad, real forerunners for the next generation of female plastic artists. Emancipated ladies, determined to become artists and earn their own money, the gifted women studied in Budapest, Vienna, Munich or Paris. Only Molly Marlin did not come back home, while the others had a prodigious artistic and pedagogical activity, being present at the annual exhibitions, together with well-known male colleagues. Keywords: art academies, women artists, painters, graphic artists, art teachers, exhibitions, Sibiu, Betty Schuller, Hermine Hufnagel, Molly Marlin Horn, Anna Dörschlag, Lotte Goldschmidt, Mathilde Berner Roth "

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Gębołyś, Zdzisław. "Cieszyńskie bibliografie terytorialne od końca wieku XIX do początku wieku XXI." Z Badań nad Książką i Księgozbiorami Historycznymi 11 (December 29, 2017): 333–57. http://dx.doi.org/10.33077/uw.25448730.zbkh.2017.42.

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The paper will present the most important accomplishments on the field of documentation and registering of literature from Cieszyn Silesia, firstly bibliographical lists, which were prepared in 19th century to 20th century. Next I would like to describe collective (teamwork) bibliographies, Polish, Czech and German, which register literature from Cieszyn Silesia. Registration of publishing production from Cieszyn Silesia will be showed within the context of complicated and various political, economical an cultural conditions. Critical review of literature revevals the need of registering prints from Cieszyn Silesia. Polish and Czech activities in this field are will be discussed, as well as planned ones concerning a complete database of Cieszyn Silesia publishing production.

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Juhászová, Tereza. "The Troubled Pasts of Hungarian and German Minorities in Slovakia and Their Representation in Museums." Journal of Nationalism, Memory & Language Politics 12, no. 1 (July 30, 2018): 52–71. http://dx.doi.org/10.2478/jnmlp-2018-0002.

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Abstract In the 20th century, the two world wars reshaped the map of Central Europe as well as the status of Central Europe’s diverse societies. In my article, I focus on the Hungarian and German minorities in Slovakia and the representation of their problematic historical past in contemporary Slovak museums. More specifically, I zoom in on the exhibition Exchanged Homes displayed in Bratislava, which aims to commemorate the fate of Hungarians, Germans, and Slovaks, all of whom were affected by the population transfers after World War II. Based on the concept of memorial museums theorized by Paul Williams, I aim to show how the different exhibitions engage with the traumatic past of forceful resettlement. By offering multifaceted memories of a troubled past, these exhibitions avoid categorizing “victims” and “perpetrators” along national or ethnic lines. My paper thus analyzes the concepts and components of the exhibitions—the context of the postwar events, oral history interviews, and objects of everyday use that should bring the visitor closer to the experience of the people who were forced to leave. I argue that exhibitions of this sort have the ability to challenge the dominant historical narrative focusing on a national “Slovak” history and help the process of reconciliation between the Slovak majority society, and the Hungarian and German minorities.

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Makarinov, Vassil, and Theodore Karakolev. "Bulgarian Architectural Modernism, German Influences, and Industrial Architecture." Sledva : Journal for University Culture, no. 40 (April 7, 2020): 32–39. http://dx.doi.org/10.33919/sledva.20.40.7.

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Celebrating the 100th anniversary of Bauhaus school, a team of researchers from “Bulgarian Modernist Architecture” examined archives of German technical universities where Bulgarian architects studied in the first half of the 20th century. The archives in Munich, Berlin and Dresden have preserved the names and records of hundreds of Bulgarian architects from the 1910s, 1920s and 1930s. Their education, university professors, the environment in which they were formed (exhibitions, artistic trends and events) including Bauhaus connections, and how all of these informed the architecture in our country between the two world wars were among the questions explored by the researchers Vassil Makarinov and Theodore Karakolev. After the research in Germany, the team also plans to delve in the industrial architecture from the interwar period - a topic that is poorly known in our country.

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Gerasimova, Natalia V. "Exhibitions of Art Works from Private Collections of Kazan in the Second Half of 19th — Beginning of 20th Century." Observatory of Culture 21, no. 2 (April 19, 2024): 214–23. http://dx.doi.org/10.25281/2072-3156-2024-21-2-214-223.

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The article uses the example of Kazan to reveal the process of organizing and holding exhibitions of artworks from private collections in the Russian pre-revolutionary province. Addressing this topic, which has not been sufficiently studied in the history of Russian art, is relevant because it expands the understanding of the phenomenon of exhibition activity, which is one of the most important aspects of artistic life in Russia. The source base of the present study is the catalogues of four exhibitions of paintings from private collections held from 1873 to 1916, as well as publications in the Kazan press of this period. The peculiarities of the organizational process, selection and exposition of works, and the owners of the works are revealed. It is established that the exhibitions were of charitable nature: their proceeds were directed either in favour of the starving or poor, or in favour of Russian soldiers. The main collectors of art works in Kazan in the second half of the 19th century were predominantly landed gentry and university professors (who came from the families of personal nobles and officials). By the early 20th century, representatives of individual merchant families also had significant art collections. The exhibited works represented the whole variety of genres, but they were dominated by landscapes and portraits, primarily family portraits, suitable for decorating mansions. Catalogues allow us to conclude that local collectors of the second half of the 19th century were primarily interested in foreign art (masters of the Italian, Flemish, Dutch, Belgian, German and French schools, mainly of the 17—18 centuries), as well as (to a lesser extent) Russian academic painting (from V.L. Borovikovsky and D.G. Levitsky to D. Zakharov) and itinerant painters (I.I. Shishkin, N.A. Yaroshenko). By the end of the 19th century, the vector of collectors’ preferences shifted towards contemporary Russian art (works by Makovskys, I.E. Repin, etc. were collected), and collecting works by local artists (K.V. Bardou, L.D. Kryukov, R.A. Stupin, N.I. Zeblov, etc.) began to develop as a special direction.

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Solarz, Marcin, and Marta Raczyńska-Kruk. "Głuchoniemcy, Taubdeutsche, Walddeutsche – przyczynek do biografii pojęcia." Prace i Studia Geograficzne 68, no. 2 (November 16, 2023): 113–27. http://dx.doi.org/10.48128/pisg/2023-68.2-06.

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he concept of „Deaf/Forest Germans” developed on the basis of cultural processes taking place in the Carpathian Foothills in the period from the 14th to the 19th/20th century. The purpose of the article is to reconstruct the biography of this concept and to conduct its etymological analysis based on its oldest known records, mainly from Old Polish manuscripts and old prints. Above all, the authors focus on the source by the 18th-century encyclopedist Benedykt Chmielowski who formulated four definitions of this term. Based on it and other records, and some analogies from the territory of Poland and Slovakia as well, the authors try to answer the question about the nature of the settlement processes taking place in the Carpathian Foothills. Finally, they look at the concept through the prism of its German substitutes (Taubdeutsche and Walddeutsche).

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Squires, Catherine R. "Konrad Haebler’s Album of Incunabula in Moscow Libraries." Observatory of Culture 20, no. 4 (September 22, 2023): 396–406. http://dx.doi.org/10.25281/2072-3156-2023-20-4-396-406.

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The paper discloses the unusual treatment of duplicates and defective copies, characteristic of European libraries at the time when Haebler’s works were created and published (beginning of 20th century) and stresses the necessity of correct bibliographic treatment of the valuable printed materials in modern libraries. The paper also presents the famous album of West-European incunabula (Der westeuropäische Wiegendruck in Original-Typenbeispielen), compiled by Konrad Haebler in 1928, two copies of which are held in Moscow at the Russian State Library and the State Public Historical Library of Russia.This fundamental work in the history of typography by the prominent German expert on incunabula, one of the inventors of the Proctor-Haebler method in bibliography and founder of the world incunabula catalogue Gesamtkatalog der Wiegendrucke, is analyzed in the aspect of the specific early 20th-century bibliographic principles underlying the composition of the album and the way the original old prints are presented in it. The album consists of a collection of 15th-century original fragments enclosed in a 20th-century overall structure (text booklet, case and set of labeled passe-partouts).This unusual composition can present classification problems in some modern public libraries, when the album is recorded as a whole, whereas the separate incunabula fragments are not catalogued. Moreover, a comparative study of several copies of the album available for analysis on- and offline, carried out in the study, proved that their sample collections were composed of different authentic incunabula leaves, thus making each album unique.

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Kharitonova, Natalya Stepanovna. "Silver Age. Interference of the Russian and German Cultures." Journal of Flm Arts and Film Studies 6, no. 4 (December 15, 2014): 86–95. http://dx.doi.org/10.17816/vgik6486-95.

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The author explores the specific interaction of Russian and German art, their differences, forces of attraction and direct contact. Only conscious and meaningful differences could have reveal the strength and true value of each culture and, most importantly, become a pretext for new and creative quest for ones own way in art. Two-sided interest of Russian and German cultures implies a two-way process mutually contributed and enriched on both parts. The fact that Russian and German art at the turn of the 19th-20th centuries was developing under different conditions does not mean that the exchange of spiritual values was proceeding in only one direction. The facts indicate to intensive relationships and mutual enrichment between the two cultures. Despite restrained relation towards Russian fine art until the mid-1890s, the preconditions for closer attention to it were gradually evolving in Germany. A very important role was played in this province by Russian literature, which since the mid-80s had started to agitate the minds both in Germany and Europe in general. Tolstoy and Dostoevsky became well-known in Germany in 1880s, when the first translations of their works appeared. The next two decades showed an uninterrupted flow of reprints. But the point is not merely in the fact, that the achievements of Russian literature suggested the existence of fine arts of the same quality. Rather, as many critics state, Russian literature became a special key to the 19th century arts. The exhibitions of the Russian artists, including solo exhibitions of Ivan K. Aivazovsky and Vasily Vereshchagin, used to be arranged more and more often in German cities. Relations between Russian and German culture in the late 19th - early 20th were fairly stable and fruitful, enriching and inspiring art in both countries. By late 1910s the European public had accepted Russian art as an equal and very significant phenomenon in world culture, with much spiritual and creative potential deserving an elaborate study.

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Matějová, Judita. "Muzejní časopis Mittheilugen des Mährischen Gewerbe-Museums in Brünn (1883–1918) v kontextu časopisů uměleckoprůmyslových muzeí v českých zemích." Acta Musei Nationalis Pragae – Historia litterarum 67, no. 3-4 (2023): 131–37. http://dx.doi.org/10.37520/amnpsc.2022.031.

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The article focuses on the museum journal Mittheilungen des Mährischen Gewerbe-Museums in Brünn, one of the important source materials for research on the arts and crafts of the last third of the 19th century and the early 20th century not only in Moravia but also in the cultural areas of the Austrian monarchy. The journal was published in the Moravian Industrial Museum in Brno in 1883–1918, when the museum was headed by two important directors – August Prokop (1883–1893) and Julius Leisching (1893–1922). Under the influence of the latter, the museum became the press authority of the Association of Austrian Museums of Applied Arts, the Association of Austro-Moravian Local Museums and the German-Moravian Association of Heritage Preservation. The journal contained articles on art history and information on current exhibitions, museum collections and activities as well as on the museum library.

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Vie, Inger-Kristin Larsen. "Sámi on Display: Sámi Representations in an Early Nonfiction Book for Children." Literature 4, no. 3 (June 27, 2024): 147–59. http://dx.doi.org/10.3390/literature4030011.

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Lisbeth Bergh’s nonfiction picturebook En lappefamilie: tekst og bilder fra Nordland (A Lappish family: text and pictures from Nordland) from 1905 is one of the first Norwegian nonfiction picturebooks for children about the life of Sámi. It contains Bergh’s own illustrations and text passages in Norwegian, English, and German, which signals that the book addresses a national and international audience. Simultaneously, the book is published in an era characterized by an increasing interest in indigenous tourism, demonstrated through the popularity of world exhibitions and «human zoos». In this article, I explore Bergh’s nonfiction picturebook in the light of “human zoos” and “living exhibitions” at the beginning of the 1900s and how her book alludes to the depiction of the Sámi for entertainment and information purposes. My close reading shows how the book reflects the categorization and systematization of the world and of exotic ethnic groups at the time. Furthermore, the reading confirms the book’s very distinctive position in Norwegian children’s literature history, and how it may have acquired a particular role in the promotion of Norwegian tourism at the beginning of the 20th century.

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Дисертації з теми "Prints, german – 20th century – exhibitions"

Mathews, Heather Elizabeth. "Making histories: the exhibition of postwar art and the interpretation of the past in divided Germany, 1950-1959." Thesis, 2006. http://hdl.handle.net/2152/3457.

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Книги з теми "Prints, german – 20th century – exhibitions"

Walter, Kurz, Kunsthalle Erfurt, Herzog August Bibliothek, and Gutenberg-Museum Mainz, eds. Printing into thinking: Felix Martin Furtwängler : Folgen, Suiten, Zyklen. Wiesbaden: Harrassowitz, in Kommission, 2009.

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Museum, Busch-Reisinger. German marks: Postwar drawings and prints donated to the Busch-Reisinger Museum through the German Art Dealers Association. Cambridge, Mass: Harvard University Art Museums, 1998.

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Kunsthandel, Jörg Maass, ed. Karl Schmidt-Rottluff: Ausgewäahlte Druckgraphik aus der Sammlung Niemeyer. Berlin: Kunsthandel Jorg Maass, 2008.

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editor, Gundel Marc, Moeller Magdalena M. editor, Dahlmanns Janina contributor, Remm Christiane contributor, Schlösser Magdalene contributor, Seeberg Vanessa contributor, Kunsthalle Vogelmann, and Werner Berg Museum, eds. Karl Schmidt-Rottluff: Reiner Ausdruck. München: Hirmer Verlag GmbH, 2015.

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editor, Moeller Magdalena M., Zieglgänsberger Roman 1972 editor, Dahlmanns Janina contributor, Forster, Peter (Art historian), contributor, Remm Christiane contributor, Museum Wiesbaden, and Brücke-Museum, eds. Karl Schmidt-Rottluff: Bild und Selbstbild. München: Hirmer, 2015.

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M, Moeller Magdalena, Gercken Günther, Remm Christiane, Schlösser Magdalene, and Brücke-Museum, eds. Karl Schmidt-Rottluff: Die Holzstöcke. München: Hirmer, 2011.

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Priester, Mary. Inner visions: German prints from the age of expressionism. Portland, Or: Portland Art Museum, 1991.

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editor, Moeller Magdalena M., Bielefeld, Marlene, writer of added commentary, and Stadthalle Balingen, eds. Erich Heckel: Der grosse Expressionist : Werke aus dem Brücke-Museum Berlin. München: Hirmer, 2013.

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Ralph, Melcher, and Saarland-Museum Saarbrücken, eds. Erich Heckel: Grafische Werke aus dem Saarlandmuseum. Saarbrücken: Stiftung Saarländischer Kulturbesitz, Saarlandmuseum, 2009.

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M, Moeller Magdalena, Opelvillen Rüsselsheim, and Brücke-Museum, eds. "Unmittelbar und unverfälscht": Aquarelle, Zeichnungen und Druckgraphik der "Brücke" aus dem Brücke-Museum Berlin : Opelvillen Rüsselsheim, [28. September 2003 bis 4. Januar 2004]. München: Hirmer, 2003.

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Частини книг з теми "Prints, german – 20th century – exhibitions"

Gigante, Lorenzo. "Incontri, scontri, confronti Appunti sulla ricezione della xilografia nordica in Italia tra XV e XX secolo." In Taking and Denying Challenging Canons in Arts and Philosophy. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-462-2/007.

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Germany, France, Italy: the attribution of the first woodcut images has long been debated between several countries, to gain the technological primacy of the invention of reproductive printmaking, before Gutenberg’s movable type printing. Today we know how difficult it is, if not impossible, to establish a place and a date of origin of image printing in Europe. Impossible and probably unimportant. Printing was a European phenomenon in the 15th century, and we may ask ourselves whether a northern woodcut beyond the Italian borders was intended as something different than an Italian one. The contrast between northern and southern prints, which has been claimed by art historians from Vasari until the half of the 20th century, seems to be denied by early modern Italian sources. For example, a German woodcut from the first decades of the 15th century and a Florentine painting from the end of the 14th century can coexist as models for the illumination of the same manuscript. This unpublished case study of two Florentine 15th-century illuminations shows how a European cultural horizon was more common than we think today, and how much woodcut has been a fundamental tool for this broadening of horizons, since its very beginning.

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