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Theophilus Raynsford Mann is a naturalist, occultist, Buddhist and Taoist. In 1982, Mann developed a technique for abstract photography, applied “Rayonism” into photographic works. Mann staged 32 individual, extraordinary exhibitions around Taiwan, who was the first exhibitor around Formosa. Mann’s works is the beginning of modernization in the modern abstract arts in the world. At the University of Oxford, Mann’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”; also an author at the University of California, Berkeley and the University of Michigan in the United States; an alumnus from Christ Church College at the University of Oxford in England, the University of Glamorgan in Wales, and National Taiwan University in Taipei on Taiwan. Mann’s works have been quoted by the scholars many times, making Mann one of the highly cited technological, artistic, and managing public administrators in the academia. Mann was listed in “Taiwan Who’s Who In Business” © 1984, 1987, 1989 Harvard Management Service.

Early Life and Record of Genealogy

Theophilus Raynsford Mann possesses both Taiwanese and German surnames from birth. Usually, whenever anyone asks Mann about where he comes from, he would reply “Formosa” as he grew up and was educated in the Far East and lives in Taiwanese and Japanese lifestyles. Moreover, he often teaches and educates younger generations based on the methods of the Far Eastern teaching he experienced when he was young, though he does not oppose the Western ways of teaching and thinking. Mann takes great pride in his roots, which go back 150 years (since 1864); Mann’s ancestry originates and creates generations, and prepares younger generations to succeed their personality and ethical standards and integrity.

Education in Taiwan and a Brief of Latest Generation of History in Taiwan / Formosa

In 1980, Mann obtained his postgraduate certificate from the Graduate Institute of Electrical Engineering of National Taiwan University in Taipei; successfully completed another graduate studies in Information dBase III Plus and Taiwanese Traditional Chinese Mandarin Information System at National Sun Yat-Sen University in Kaohsiung in 1989.

In history, the Portuguese explorers discovered and called the island (Taiwan), “Formosa” (meaning “Beautiful Island”) in 1590. They are non-Chinese people; it was long a Chinese and Japanese pirate base. Fighting continued, between its original inhabitants of Taiwanese and the Chinese settlers, into the 19th century. In 1894-95 first Sino-Japanese War that ended in Manchus of the Qing (Ching) dynasty defeat, the late Manchu Qing Government forced to cede Formosa to Japan. This result was made by the Treaty of Shomonoseki in 1895 and remained under Japanese control until the end of the Second World War. Early on, Taiwan was conquered by the Qing in 1683 and for the first time became part of older China dynasty. However, today, the home country of Mann’s origin has around 165 institutions (93 universities) of higher education, which now has one of the best-educated populations in Asia. Among the major public (state) ones are the National Taiwan University (NTU) at Taipei, and National Sun Yat-Sen University (NSYSU) at Kaohsiung. NSYSU is also called National Chun-Shan University; according to Times Higher Education 2010-2011, NSYSU ranks as the 3rd university in Taiwan, 21st in Asia, and 163rd worldwide. National Taiwan University is ranked 51 to 60 ranks on Times Higher Education World University Rankings - Top Universities by Reputation 2013, the United Kingdom (see www.timeshighereducation.co.uk/world-university-rankings/...); King's College London (KCL) (21st in the world and 6th in Europe in the 2010, QS World University Rankings), the University of London, and University of Southern California (is one of the world's leading private research universities, located in the heart of Los Angeles), afterward.

Backing to Mann’s early school-time of Taiwan Provincial Kaohsiung Industrial Senior High School (Kaohsiung Municipal Kaohsiung Industrial High school), the professional technical education, which is equivalent to Advanced Level General Certificate of Education, commonly referred to as an A-level in the United Kingdom; China Electronic Engineering College, the distance learning programme, which is in equivalence as UK’s Diploma of Higher Education / Undergraduate Diploma (as an Associate Degree in the United States). An additional, his middle education was taught by the Kaohsiung Municipal Chihjh (Ci Sian) Junior High School; and Kaohsiung Municipal San Min Elementary School was his first school in Taiwan.

Early Career

In 1989, Mann instituted Mann’s Office of Electrical Engineer, he settled himself in electrical technology and industries as a chief engineer in his early years. He put his professional and precise knowledge to good account in business management. A formal business management with business relationship established to provide for regular services, dealings, and other commercial transactions and deed. He had many customers having a business and credit relationship with his firm then he was a successful engineer.

Study Abroad and Immigration into the United Kingdom

In 1998, Mann studied abroad when he arrived in Great Britain; he studied at School of Built Environment, the University of Glamorgan (Prifysgol Morgannwg) in Merthyr Tydfil, Pontypridd, Wales for a master of science in real estate appraisal. Until the summer of 2000, Mann completed an academic course on “Towns through the Ages” from Christ Church College at the University of Oxford (is ranked the 2nd place worldwide on The Times Higher Education, World University Rankings 2012-2013 www.timeshighereducation.co.uk/world-university-rankings/...) in England. Afterward, Mann immigrated into the United Kingdom in the early year of 2004.

PHILOSOPHICAL VIEWS

Mann is a naturalist; he trusts spiritual naturalism and naturalistic spirituality, which teaches that “the unknown” created this wonderful world. “The unknown” arranged the nature with its law so that everything in nature is kept balanced and in order. However, human beings failed to control themselves, deliberately went against the law of nature, and resulted in disasters, which we deserved. He also is an occultist, a Taoist, and a Buddhist; but in Britain, he frequently goes to Christian and Catholic churches, where he makes friends with pastors and fathers as well as churchgoers. In his mind, he recognizes “Belief is truth held in the mind; faith is a fire in the heart”. He is always a freethinker, does not accept traditional, social, and religious teaching, but based on his ideas: a thought or conception that potentially and actually exists in his mind as a product of mental activity - his opinion, conviction, and principle. If people have not come across eastern classics and philosophy, we are afraid that people would never understand Theophilus Raynsford Mann. People cannot judge an eastern philosopher based on western ways of thinking. He studies I Ching discovering eastern classics of ancient origin consisting of 64 interrelated hexagrams along with commentaries. The hexagrams embody Taoist philosophy by describing all nature and human endeavour in terms of the interaction of yin and yang, and the classics may be consulted as an oracle.

Back in the 1990s when Mann just arrived at England, he had been offered places to do Ph.D. and LL.M. degrees (degree in Law and Politics of the European Union) by several western professors in the Great Britain. He has met all the requirements for postgraduate admissions to study at UK’s universities.

During his time at Oxford, he learnt a lot of British culture and folk-custom while carrying out research with many British and Western professors, experts, and archaeologists. This proves that Mann understands various aspects in British society, culture, and lifestyles. Of course, he does not fully understand about the perspectives of thinking of a typical British. For example, what would be the most valuable in life for a British person? What would a British want to gain from life? What is the goal in life for a British? Is it fortune or a lover? Alternatively, perhaps honour? On the other hand, maybe being able to travel around the world and see the world?

FAIRNESS and JUSTICE

As Theophilus Raynsford Mann’s saying are:

“Touching Fairness and Justice”

Feel good about themselves, but do not know the sufferings of the people...

Who can get easy life like them?

What is profile of modern society?

What type and style is truly solemn for this society identify?

Where “the characterization” is? Who can see? Did you see it?

《感動的公平與正義》

自我感覺良好, 不知民間疾苦...

誰能得到安逸的生活如同他們一樣？

這是個什麼樣子的社會？

這個社會認定什麼樣的類型和風格是真正莊重的?

「特徵」在那裡？誰可以看到？你看到了嗎？

Jurisprudence and Political Philosophy and Perspectives

Mann ever studied judicial review and governmental action, the impact of law and legal techniques, constitutional mechanisms for the protection of basic rights, and ensuring the integrity of commercial activity, the impact of law and legal techniques on government, policymaking, and administration, as well as the creation of markets. He tries to understand these critical trends in the political development of modern state. Mann will combine both theoretical and empirical approaches, and the conditions for democratic transition and the nature of state development in the ‘post-industrial’ era of globalisation and economic integration.

According as Mann’s legal experiences, he comprehend that “the knowledge of the law is like a deep well, out of which each man draught according to the strength of his understanding”, and, law and arbitrary power are in eternal enmity. He is also sure law and institutions are constantly tending to gravitate like clocks; they must be occasionally cleansed, and wound up, and set to true time.

The government issues a decree - an authoritative order having the force of law, which charged with putting into effect a country's laws and the administering of its functions. Any of the officials promulgate a law or put into practice relating to the government charged with the execution and administration of the nation's laws then they announce and carry out the creation of any order or new policy that will be responsible for the people.

Mann had knowledge in connexion with construction law; he also understands architectural arts, and as well learnt the forms by combining materials and parts include as an integral part concerning modern construct. I ever built urban buildings and rural architecture in different styles under new housing and building projects by the governmental administration and construction corporations.

Right now, Mann studies the problems caused by ethnic disputes and human armed conflicts in the modern society resulted code of mixed civil and criminal procedure. He wishes an agreement or a treaty to end human hostilities - the absence of war and other hostilities around the world. The interrelation and arrangement of freedom from quarrels and disagreement become harmonious relations living in peace with each other. Actually, erect peace in more friendly ways of making friendships for modern human society is comfortable in my ideal. It is like building monolithic architecture: houses and buildings for the people. Mann would like to do “something beautiful for `the unknown`”.

In the ethnic disagreement and armed conflicts as concerning the poor people and children notwithstanding they live through a bad environment on any of poor or crowded village or town in a particular manner - lived frugally. However, after years of industrialisation as a more educated population, becomes more aware of global plenum, continuing to be alive. Environmental groups are increasing and lobbing government will legislate to stop bad environmental and social practices. The establishments of human rights’ wide and untiring efforts will be alleviated people’s suffering. And as well the poor people shall meet and debate sustainable development and for a concerted government led action towards sustainability is an example that the younger generation are concerned for the future. It shall be making the younger easier for their life and make better on their lives, and help them to build a better future.

In present world, Mann really knows the full meanings of “Fundamental Human Rights and Equal Opportunities for the People”. He thinks ethics is the moral code governing the daily conduct of the individual toward those about him / her. It represents those rules or principles by which men and women live and work in a spirit of mutual confidence and service. Without going into the question of how an ethical code was formulated or why anybody should obey it, we can look at the matter in a common-sense fashion with reference to its influence upon our legal affairs. In brief, from the law point of view, a reputable ethical code embodies the qualities of accuracy, dependability, fair play, sound judgement, and service. It is based upon honesty.

No person can have an ethical code that concerns him / her alone. Living in society, as he / she must, a person encounters others whose rights must be respected as well as his / her own. An honest regard for the rights of others is an essential element of any decent code of ethics, and one that anyone must observe if anybody intends to follow that code. After all, ethics is not something apart from human beings. Indeed, there is no such thing apart from our actions and us. It is the duty, therefore, of every man and woman in legal affairs to see that his daily associations with others are truly in conformity with the plain meaning of the Ten Commandments: “Thou shalt not barratry, thou shalt not bear false witness, thou shalt not receive illegal fee and the rest”.

The knowledge Mann has, in connection with legal affairs, was usually come from his precious experiences of his past over ten year’s law and political careers. In an interval regarded as a distinct period of 1980s, he studied mixed civil and crime, and the code of mixed civil and criminal procedure for the problems caused by ethnic disputes and human armed conflicts in the modern society. He was especially one who maintains the language and customs of the group, and social security in Taiwan.

Since 30 July of 1988, Mann settled himself in law as a chief executive and scrivener at Central Legal, Real Estate, and Accounting Services Office; it is in the equivalent to a solicitor of the United Kingdom. The Office provided full legal, accounting, real estate, and commercial services to the public. He did his job as a person legally appointed by another to act as his or her agent in the transaction of business, specifically one qualified and licensed to act for plaintiffs and defendants in legal proceedings and affairs. Over and above Mann was a chairman and executive consultant at Taiwan Credit Information Company®, founded in 1994. The company offered services to the public in response to need and demand in the area of credit information.

Mann had excellent experiences in political and law work was pertaining to mixed civil and crime, the code of mixed civil and criminal procedure, construction, and commercial law abroad. The experiences of legal services related to the rights of private individuals and legal proceedings concerning these rights as distinguished. In the criminal proceedings, he did many cases for the defendants. Although an act committed or omitted in violation of a law forbidding or commanding it and for which punishment is imposed upon conviction; but he also laid legal claim, required as useful, just, proper, or necessary to the defendants under the human rights in the meantime. This provision ensures to the defendant a real voice in the subject.

The men whose judgement we respect are those who do not allow prejudices, preferences, or personalities to influence their decisions. Profit and self-aggrandisement are likewise ignored in their determination to reach an equitable and fair settlement. What are the basic principles upon which good judgement is founded? A keen intellect, a normal emotionally, a through understanding of human nature, experience of law work, sincerity, and integrity.

Developed a Technique for Abstract Photography and Abstractionist

In 1982, Mann developed a technique for abstractive photography, which applied “rayonism” to the photographic works. In November of 1984, Mann was 26-year-old, he instructed many professors and students of National Taiwan Normal University in photography of abstract impressionism and rayonnisme in Taipei, Taiwan. The word “rayonnisme” is French for rayonism - a style of abstract painting developed in 1911 in Russia.

Photographic Exhibitions

Theophilus Raynsford Mann Photographic Exhibition of “Rayonnisme / Rayonism” Tour - Invitational Exhibition of Taiwan 1983-84.

一九八三〜八四年中華民國臺灣馬天亮攝影巡迴邀請展

Theophilus Raynsford Mann Photographic Exhibition of Rayonism (32 individual exhibitions) 1983~1985.

馬天亮『光影』攝影特展（個人展32場）1983〜1985年.

Mann staged 32 individual, extraordinary exhibitions and annual special exhibitions on photography of abstractive image and Rayonnisme around Taiwan / Formosa. Mann was the first exhibitor around the country. All of the invited displays were by the Taiwan’s Government, cultural and artistic organisations, and sponsors. Mann’s earliest exhibition took place in the National Taiwan Arts Education Center (Museum) on 19 December 1983 when Mann was 25 years old; Mann was the youngest exhibitor in the history of the Center in any solo exhibitions. The Center that was opened in March 1957, kept a collection of Mann’s work. It is currently updating the Center’s internal organisation and strengthening co-operation with leading centers and museums around the world. Meanwhile, it widened the center’s scope to increase its emphasis on Taiwan’ regional culture and folk arts.

Modernization in the Modern Abstract Arts of Taiwan

Mann’s works is the beginning of modernization in the modern abstract arts of Taiwan, China and greater Chinese society in the world. The use of “modernisation” as a concept that is opposed to “Traditional” of “Conservative” ideas began with the approach of the 20th century. It spreads rapidly through academic circles, and was broadly accepted as a means to reform society. Chinese Manchu Qing (Ching) dynasty’s first steps toward modernisation began in the Tung-chih era (1862-1874) with the “Self-Empowerment Movement”. During the late 19th century, as late Manchu dynasty was confronted on all sides by foreign aggression, voices throughout society debated the most effective means to reform and strengthen the country. Some advocated “combining the best of East and West”, while others went so far as to call for “complete Westernisation”. Taiwan was at the centre of these waves of reform. Faced with direct threats against the island by foreign enemies, the Chinese Ching dynasty court took special steps to push Taiwan’s modernisation.

In a role just like that of a gardener wanting to create a rich and fertile environment for the seeds of culture, one in which Mann may sprout, grow and bloom. Mann aims to provide an educational stimulus for society by introducing his works - Mann can express the neo-romantic spirit deftly from various creations and supporting international artistic exchanges. Mann believes that the first step in creating such a new and independent state is the real emergence of culture and arts, for which the art and science of designing and erecting buildings, and fine arts (including photography and motion picture) of the civilization is a good measurement of success. For the foreseeable future, Mann should be continuing to forge ahead, working diligently and unceasingly towards its mission of raising China and Formosa / Taiwan’s culture in his spare time.

Became an Author and a Scholar

In 1980, Theophilus Raynsford Mann completed his first book - scenario original “The Soul's Sentimentalizing”, also named: “Hun Yun : Jin Qi Tu Rui” 電影原著《魂韻》(衿契吐蕊) then Mann was at the age of 22. In 1983, The General Library of the University of California, Berkeley in the United States of America, collected and kept Mann’s writings - scenario original 「魂韻 : 衿契吐蕊」“Hun Yun : jin qi tu rui”, included a musical composition of his own – “Sonate Nr. 1 C-dur op. 3 für Klavier (piano)”, composed on 3rd April 1977 then Mann was 18 years old. The works were published in 1980; the theme was based on “The Soul's Sentimentalizing”. Another masterpiece was an Album of Academic Work for News Publication “Theophilus Raynsford Mann Photographic Exhibition of Rayonnisme / Rayonism”, published in 1985. The Hathi Trust Digital Library, the University of Michigan also collected and kept Mann’s writings.

Authorship

Mann’s articles and writings were published in more than 200 different kinds of domestic and foreign magazines, newspapers, and periodicals, in the period between May of 1972 and 1990s. It was all started when Mann was just 13-year-old. Many of which have been very influential. These have been quoted by Western and Eastern scholars many times in the last few years, making Mann one of the highly cited technological, artistic, and managing public administrators in the world in the late 20th and early 21st century. The Ministry of the Interior in Taiwan had registered Mann’s professional writings and given him two certificates of copyright. The numbers are 33080 and 33081 on 4th July of 1985; and Taiwan’s Gazette of The Presidential Office issue No. 4499, featured his writings on 4th September 1985.

Became an Academic and Film Director

Today, Mann is a professor at Space Time Life Research Academy, a photographer (portrait, fashion, commercial, digital, architectural, abstract photography), film director, and computer engineer now live and work in London; and most currently engage in his vocational professions of ‘Consultant of Immigration and Translations’. Mann is an author at the University of California, Berkeley, and the University of Michigan; an alumnus from Christ Church College at the University of Oxford, the University of Glamorgan, and National Taiwan University in Taipei on Taiwan.

Director Works:

FILMS:

“The Soul's Sentimentalizing” of the feature film is based on the scenario original “The Soul's Sentimentalizing” (preparation)

FASHION SHOWS:

ART EXHIBITIONS:

Musician Work:

MUSIC COMPOSITION:

PHOTOGRAPHIC ALBUMS:

BOOKS:

Scenario Original 「魂韻」(衿契吐蕊) “Hun yun: jin qi tu rui” © December 1980, © 1981, © 1983 (Date of First Publication: 31 December 1980, Second Edition on 29 July 1981, Date of Revision: Revised Edition on 8 May 1983), Languages: Chinese (traditional), and English language.

Album of Academic Work for News Publication: “Theophilus Raynsford Mann Photographic Exhibitions of Rayonnisme” © May 1985

New version of scenario original “The Soul's Sentimentalizing” (to be published)

「曾經輝煌到頂天立地」 “The Indomitable Spirit Was Brilliant to Successful” (The indomitable spirit was brilliant to towering a great height from earth reaching the sky!

Individual biography, to be published)

“My Life, My History, and My Love” (based on a legend, to be published, a film scenario will be developed later)

「感動的公平與正義」“Touching Fairness and Justice” (political science and social studies, to be published)

Research Interests:

University of Oxford

Research Studies in Archaeology:

Mann’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”.

National Taiwan University

Graduate Certificate,

Graduate Institute of Electrical Engineering:

Mann’s monograph of seminar was “Applied the sequence control in the electric power distribution engineering”.

University of Glamorgan

M.Sc. Course,

Master of Science in Real Estate Appraisal:

Mann’s thesis - major subject, with relevant construction law was “The Assignment is under Economics of Construction Management in Architecture”.

National Sun Yat-Sen University

Postgraduate Certificate,

Postgraduate Studies in Computing:

Mann’s required subject was Information dBase III Plus and Taiwanese Traditional Mandarin Chinese Information System. He combined academic course work and practical laboratory sessions in “Applied Mandarin Phonetic Symbols into Traditional Taiwanese Personal Computer and Its Information System”.

Associations:

Member of The Kaohsiung Life Line Association since 11 January 1979, an association established in the USA.

Member of The Society of Youth Writers, Tien (Catholic) Educational Center, Taipei since 1980.

Since 1980, a member of Chinese Taipei Film Archive (CTFA, National Film Archive, Taiwan; founded in 1978), The Motion Picture Foundation, R.O.C. (member of Fédération Internationale des Archives du Film, FIAF; The International Federation of Film Archives was founded in Paris in 1938 by the British Film Institute, the Museum of Modern Art in New York City, the Cinémathèque Française and the Reichsfilmarchiv in Berlin.)

Commissioner of the cinema, photography, radio, and television committee of The Culture and Arts Association (Chinese Writers and Artists Association) of Taiwan ever since September 1983.

Classic member, the membership is equivalent to a doctorate membership of the Chinese Institute of Electrical Engineering since 23 March 1984.

On 15 March 1989, Mann promoted and founded the Consortium Juridical Person Mr. Theophilus Raynsford Mann Social Benefit Foundation 財團法人馬天亮先生社會公益基金會籌備處 (Social Charity 社會慈善事業) in Taiwan.

near.archives.gov.tw/cgi-bin/near2/nph-redirect?rname=tre...

Classic member, the membership is equal to a professor or associate professor of The Chinese Institute of Engineers since 30 September 1991.

Honours:

中華民國企業名人錄編纂委員會, 哈佛企業管理顧問公司.

On 26 August 1985, Mann was awarded a professional certificate of the Outdoor Artistry Activities issued by Education Bureau, Kaohsiung City Government, Taiwan. He acquired awards and certificates of honour about twenty times from National Taiwan Arts Education Center (Museum) on 24 December 1983; Kaohsiung Municipal Social Education Center on 17 March 1984, Kaohsiung Cultural Center, Taipei Cultural Center (Taipei Municipal Social Education Hall); and Taiwan Province Government, Taipei City Government, Kaohsiung City Government, and many cultural centres and art galleries, and so on.

Careers:

Honorary Professor at Space Time Life Research Academy, 7 June 2012 to present; Professor at Space Time Life Research Academy, 1 September 2011 to 1 June 2012 in London, United Kingdom:

Academia,

Teaching and Research:

business management and consultant, political philosophy, Chinese classics, Chinese humanities, modern Chinese language and literature, photography (portrait, fashion, commercial, digital, architectural, abstract photography), visual arts and filmmaking.

www.facebook.com/stlra/info

教學與研究：

企業管理及顧問、政治哲學、中華經典 (古典漢學、文學、藝術、語言) 、中華人文、中華現代語言與文學、攝影 (人像、時裝、商業、數位/數碼、建築、抽象攝影) ，視覺藝術和製作影片。

Consultant and Translator at Eternal Life Consultants of Immigration and Translations Services, 10 March 2004 to present in London, United Kingdom:

consultants of immigration, translations, and legal services.

www.facebook.com/elcits/info

永生移民顧問翻譯服務社的移民諮詢顧問和翻譯：

移民事務，翻譯和法律服務。

Computer Hardware & Networking Engineer at Mann Office of Electrical Engineer, 8 March 2004 to present in London, United Kingdom:

Computer Engineering and Network Services. Repairing of Motherboards, Monitors, Power Supplies, CD-ROM Drives; UPS, Hard Disk Drives, H.D.D Data Recovery; BIOS Programming, and all types of Computer Hardware and Software Solutions.

www.facebook.com/maaelec/info

計算機工程和網絡服務。維修主機板，顯示器，電源供應器，光碟機/光盘驱动器，不斷電系統，硬碟/硬盘，硬盤數據恢復，基本輸入輸出系統編程，以及所有類型的電腦/計算機硬體/硬件和軟體/軟件解決方案。

Film Director and Photographer at Shapely Studio of Creative and Cultural Industries, 2 April 2007 to present in London, United Kingdom:

1) Photo, Video and Film Production; 2) Graphic Design, Web Design, Social Networking, Social Media and Advertising; 3) Architectural Design and Interior Design.

www.facebook.com/sscci/info

Reformer and Philosopher at Taiwanese Social Reformer and Philosopher, 7 April 2012 (location: Los Angeles, California) to present in London, United Kingdom:

Social Reform in Taiwan

www.facebook.com/twreform/info

Website

mtltwp.pixnet.net/album/set/1265174

album.blog.yam.com/mtltwp

photo.roodo.com/photos/mtltwp/albums/small/100469.html

www.facebook.com/hy22tss/info

www.facebook.com/tsstrm/info

Sonate Nr. 1 C-dur op. 3 für Klavier (piano) by Theophilus Raynsford Mann (TianLiang Maa 馬天亮) © 1977, © 1980, © 1981, © 1983. The Sonate composed on 3rd April 1977 then Mann was 18-year-old. The work was published in 1980; the theme was based on “The Soul's Sentimentalizing”.

Website

mtltwp.pixnet.net/album/set/1265208

www.facebook.com/sonate1c/info

www.facebook.com/piano1c/info

LINKS:

University of California, Berkeley

berkeley.worldcat.org/search?q=Ma%2C+Tianliang&dblist...

berkeley.worldcat.org/title/hun-yun/oclc/813684284?refere...

oskicat.berkeley.edu/record=b11283690~S1

University of Michigan

mirlyn.lib.umich.edu/Record/006237256

catalog.hathitrust.org/Record/006237256

WorldCat® Identities

www.worldcat.org/search?q=au%3AMa%2C+Tianliang%2C&dbl...

www.worldcat.org/wcidentities/np-ma,%20tianliang$1958

Google Books

books.google.co.uk/books?id=PkyaAAAAIAAJ&redir_esc=y

books.google.co.uk/books?id=JfxnMwEACAAJ&dq=editions:...

scholar.google.com/scholar?cluster=3569983911138966023&am...

National Bibliographic Information Network (NBINet)

nbinet3.ncl.edu.tw/search~S10?/a%7bu99AC%7d%7bu5929%7d%7b...

192.83.186.170/search*cht/a%E9%A6%AC%E5%A4%A9%E4%BA%AE

National Yang Ming University 國立陽明大學

library.ym.edu.tw/search~S7*cht?/tThe+Soul%27s+and+sentim...

National Taiwan University of Science and Technology 國立臺灣科技大學

millennium.lib.ntust.edu.tw/record=b1016706~S1

Wikimedia Commons 維基共享資源

commons.wikimedia.org/w/index.php?search=TianLiang+Maa+%E...

commons.wikimedia.org/wiki/File:TianLiang_Maa_馬天亮.jpg

commons.wikimedia.org/wiki/File:馬天亮_TianLiang_Maa.jpg

國家圖書館期刊文獻資訊網, 臺灣期刊論文索引

readopac3.ncl.edu.tw/nclJournal/search/search_result.jsp?...

聲音藝術的審美角度, 大學雜誌, 天然

readopac3.ncl.edu.tw/nclJournal/search/detail.jsp?sysId=0...,

readopac3.ncl.edu.tw/nclJournal/search/detail.jsp?sysId=0...

為文化中心把脈, 幼獅文藝

readopac3.ncl.edu.tw/nclJournal/search/detail.jsp?sysId=0...,

科學家與守財奴, 中國地方自治

weblib.exam.gov.tw/ccdb2/Result_List.asp?idx_id=CCVOL&...

Yahoo, Bing, Google Search

www.google.com/search?q=Theophilus+Raynsford+Mann

www.google.com/search?q=馬天亮

www.google.com/search?q=TianLiang+Maa

theophilus mann oxford

www.bing.com/images/search?q=Theophilus+Raynsford+Mann&am...

images.search.yahoo.com/search/images;_ylt=A0LEV1ov9pRTK0...

lurvely.com www.lurvely.com/photographer/77438197_N03/

portfotolio.net/mtltwp

portfotolio.net/mtltwpprof

www.flickriver.com/photos/mtltwp/

www.flickriver.com/photos/mtltwpprof/

www.flickriver.com/search/Theophilus+Raynsford+Mann/

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Nature - National Library Board Singapore

snap.nl.sg/searchflickr.aspx?q=Theophilus+Raynsford+Mann&...

画像検索

flickr.akitomo.net/Theophilus+Raynsford+Mann/1

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Wien, 1. Bezirk (the art of very historical buildings of Vienna), Museum für Angewandte Kunst (Musée d'art appliqué, Museo de arte aplicado, Museo di arte applicata, Museum of applied art) - Stubenring/Weißkirchnerstraße (MAK DESIGN LAB) by Alfred Lex

2

The history of the Austrian Museum of Applied Art/Contemporary Art

1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.

1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.

1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .

1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.

1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.

1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.

1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.

1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.

1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.

1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.

1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.

1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.

1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.

1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.

1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.

1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.

1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.

1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.

1900 / The administration of Museum and Arts and Crafts School is disconnected.

1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.

1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .

1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.

1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.

1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.

1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.

1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.

1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.

1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.

1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.

1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.

1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.

1927 / August Schestag succeeds Hermann Trenkwald as director.

1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.

1931 / August Schestag concludes his directorate.

1932 / Richard Ernst is new director.

1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.

1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.

1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".

1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.

1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.

1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.

1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".

1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.

1949 / The Museum is reopened after repair of the war damages.

1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).

1951 / Ignaz Schlosser is appointed manager.

1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.

1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.

1955-1985 / The Museum publishes the periodical ancient and modern art .

1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.

1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.

1958 / End of the directorate of Ignaz Schlosser

1959 / Viktor Griesmaier is appointed as new director.

1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.

1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.

1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.

1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.

1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.

1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.

1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.

1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.

1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.

1979 / Gerhart Egger is appointed director.

1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.

1981 / Herbert Fux follows Gerhart Egger as director.

1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria

1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.

1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.

1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.

1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.

1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.

1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.

1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).

1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.

1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).

1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.

1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.

1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.

1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.

2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.

2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.

2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.

2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.

2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.

2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.

2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.

2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.

2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.

2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.

2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.

2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /

Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.

2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.

2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein

2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.

2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.

www.mak.at/das_mak/geschichte

Wien, 1. Bezirk, Museum für Angewandte Kunst, (Musée d'art appliqué, Museo de arte aplicado, Museo di arte applicata, Museum of applied art) - Stubenring/Weißkirchnerstraße by Josef Lex (El buen soldado Švejk)

4 2

The history of the Austrian Museum of Applied Arts/Contemporary Art

1863 / After many years of efforts by Rudolf Eitelberger decides Emperor Franz Joseph I on 7 March on the initiative of his uncle Archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London), the establishment of the "k. k. Austrian Museum for Art and Industry" and apponted Rudolf von Eitelberger, the first professor of art history at the University of Vienna, to director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.

1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the kk polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.

1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k. k.) Austrian Museum for Art and Industry .

1866 / Due to the lack of space in the ballroom setting up of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park on the still being under development Rind Road.

1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger Straße 11-13/Schwarzspanierstrasse 17, Vienna 9.

1868 / With the construction of the building at Stubenring is started as soon as it is approved by Emperor Franz Joseph I. the second draft of Heinrich Ferstel.

1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building on the ring. Objects from now on could be placed permanently and arranged according to main materials. / / The Arts School moves into the house on Stubenring. / / Opening of Austrian art and crafts exhibition.

1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum of funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.

1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Applied Arts, adjoining the museum, Stubenring 3 , also designed by Heinrich von Ferstel, is opened.

1878 / participation of the Museum of Art and Industry and the School of Art at the Paris World Exhibition.

1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the arts and crafts school join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and crafts since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.

1885 / After the death of Rudolf von Eitelberger is Jacob von Falke, his longtime deputy, appointed manager. Falke plans all collection areas als well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.

1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high baroque in the history of art and in applied arts in particular.

1895 / end of the Directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.

1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism .

1897 / end of the Directorate of Bruno Bucher. Arthur von Scala, Director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and school of applied arts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagated the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.

1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, Archduke Rainer puts down his function as protector. / / New statutes are written.

1898-1921 / The Museum magazine art and crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.

1900 / The administration of Museum and Arts and Crafts School is disconnected.

1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the " k. k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.

1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .

1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.

1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum receives thereby rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.

1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and crafts.

1914 / Exhibition of works by the Austrian art industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum of arts and crafts in the fifty years of its existence.

1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide .

1920 / As part of the reform of museums of the First Republic, the collection areas are delineated. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.

1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as Josef Hoffmann.

1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.

1925 / After the end of the Directorate of Eduard Leisching Hermann Trenkwald is appointed director.

1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.

1927 / August Schestag succeeds Hermann Trenkwald as director .

1930 / The Werkbund (artists' organization) Exhibition Vienna, A first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.

1931 / August Schestag finishes his Directorate .

1932 / Richard Ernst is the new director .

1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over craft inventories of the collection Albert Figdor and the Kunsthistorisches Museum.

1937 / The Collection of the Museum of Art and Industry is re-established by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.

1938 / After the "Anschluss" of Austria by Nazi Germany, the museum was renamed "National Museum of Decorative Arts in Vienna".

1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Applied Arts in Vienna" is also enlarged in this way.

1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.

1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.

1947 / The "State Museum of Applied Arts in Vienna" is renamed "Austrian Museum of Applied Arts".

1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.

1949 / The Museum is reopened after repair of the war damages.

1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).

1951 / Ignaz Schlosser is appointed manager.

1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.

1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.

1955-1985 / The Museum publishes the periodical ancient and modern art .

1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.

1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.

1958 / End of the Directorate Ignaz Schlosser

1959 / Viktor Griesmaier is appointed as the new director.

1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.

1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.

1964 / The exhibition Vienna 1900 presents Crafts of Art Nouveau for the first time after the Second World War. / / It is started with the systematic processing of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary grantes the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.

1965 / The Geymüllerschlössel is as a branch of the Museum angegliedert (annexed). Gleichzeitig (at the same time) with the building came the important collection of Franz Sobek - old Viennese clocks, emerged between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.

1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are merged.

1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues to today of Austria's most important design project in the 20th Century.

1968 / On Viktor Griesmaier follows Wilhelm Mrazek as director.

1969 / The exhibition Sitting 69 shows on the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.

1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.

1979 / Gerhart Egger is appointed director .

1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the art space in Vienna during the interwar period.

1981 / Herbert Fux follows Gerhart Egger as Director.

1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: Designer. First exhibition of the Italian designer in Austria

1986 / Peter NOEVER is appointed as Director and started building up the collection of contemporary art.

1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.

1989-1993 / General renovation of thee old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for collection and additional exhibit spaces arise.

1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.

1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.

1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.

1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).

1993 / The permanent collection is re-established, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchnerstraße is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.

1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on the MAK terrace plateau).

1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa : Krimania.

1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.

1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive Personale of the work of the designer of Wiener Werkstätte after the Second World War.

1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned .

2000 / Outsourcing the federal museums, transforming the museum into a "scientific institution under public law". / / The exhibition of art and industry. The beginnings of the Austrian Museum of Applied Arts in Vienna are dealing with the founding history of the house and the collection.

2001 / As part of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work the "Four lemurs heads " are placed at the Stubenbrücke located next to the MAK. / / Dennis Hopper: A System of Moments.

2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin in Vienna is presented.

2002 / Exhibition Nodes. symmetrical-asymmetrical. The historic Oriental Carpets of the MAK presents the extensive rug collection.

2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, the exhibition The Price of Beauty. 100 years Wiener Werkstätte takes place. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.

2004 / James Turrell MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.

2005 / Atelier Van Lieshout: The Disziplinatornbsp / / The exhibition Ukiyo-e Reloaded for the first time presents the collection of Japanese woodblock prints of the MAK in large scale.

2006 / Since the beginning of the year the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents special exhibitions annually. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.

2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects .

2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes using a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, the center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property of museums in Vienna.

2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.

2011 / After Peter Noevers resignation Martina Kandeler-Fritsch takes over temporarily the management. / / Since 1 September Christoph Thun-Hohenstein is director of the MAK.

www.mak.at/das_mak/geschichte

37111 by spannerman37025

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37111 at Eastfield with its newly applied 'White Stripe'.

This loco was one of the first class 37s to be overhauled at Crewe Works as opposed to Doncaster, strangely it had its numbers quite high up.

No Doctoring Applied by Teresa's Place

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Fast Forward

1985 - 1989 Toyota Celica T16 (01) by Georg Sander

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The Toyota Celica name has been applied to a series of coupes made by the Japanese company Toyota. The name is ultimately derived from the Latin word coelica meaning "heavenly" or "celestial".

Throughout its life span the Celica has been powered by various four-cylinder engines. The most significant change occurred in August 1985, when the car's drive layout was changed from rear wheel drive to front wheel drive. During the first three generations, American market Celicas were powered by various versions of Toyota's R series engines. The four-wheel drive turbocharged model (designated All-trac in the United States or GT-Four elsewhere) was produced from 1986 to 1999. Variable Valve Timing came in late 1997 Japanese models, and became standard in all models from 2000 on. Through seven generations, the model has gone through many revisions and design forks, including the Toyota Celica Supra (later known as the Toyota Supra). The Celica was available as notchback and liftback coupes, as well as a convertible.

(Wikipedia)

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Toyota Celica hieß eine Coupéreihe des japanischen Automobilherstellers Toyota, die von 1970 bis 2005 in sieben Generationen produziert wurde und die auch die Basis der ab 1986 eigenständigen Modellreihe Toyota Supra bildete.

Das von Toyota im Jahr 1971 in Deutschland eingeführte Modell Celica basierte, insbesondere in Bezug auf den Fahrzeugrahmen, die Motorisierung und die Technik, auf der damals bereits bestehenden Limousinen-Baureihe Toyota Carina. Durch alle Generationen wurde das Konzept eines zweitürigen, viersitzigen Sportcoupés mit einem Reihenvierzylindermotor beibehalten. Die größte signifikante Veränderung am Fahrzeugkonzept erfolgte 1986, als der Antrieb von Heckantrieb auf Frontantrieb umgestellt und 1988 um eine Version mit Allradantrieb ergänzt wurde.

Sämtliche Baureihen wurden im japanischen Toyota-Werk in Tahara, Aichi produziert. Der Name Celica leitet sich von dem spanischen Wort für „himmlisch“ (celestial) ab.

(Wikipedia)

ca. 1450-1475 - 'St. Michael's altarpiece' (School of Valencia or Granada), De Backker Medieval Art (Hoogstraten), BRAFA, Brussels, Belgium by Roel Renmans

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Based on the architecture and the armour depicted in this altarpiece, I'd say the 'official' date by De Backker Medieval Art of the second quarter of the 15th century is too early.

The combination of the overall silhouette of the armour, shape of the pauldrons and tassets, and the pointed 'double'-placard can hardly be seen before 1450. So in my humble opinion I bet we're looking at an altarpiece from ca. 1450 to 1475, or maye even later.

Information from the website of De Backker Medieval Art:

Altarpiece of Saint Michael

3 panels from an altarpiece of Saint Michael

tempera and gold ground on gesso

Spain/ School of Valencia or Granada under Mozarabic influence

2nd quarter of the 15th century

Measures without frame:

2 panels 53 x 100 cm - 1 panel 53 x 106 cm

Measures with complete frame:

w: 70 cm - h: 146 cm

It is most likely that these three panels were once part of a larger retable or altarpiece dedicated to Saint Michael.

The Last Judgment

The first panel represent the Last Judgment. This scene is divided into two registers. Christ sits on a throne in the centre of the upper register, within a shell-shaped nimbus or ‘mandorla’. This is not the traditional representation of the Supreme Judge with one open and one closed hand. Christ shows his stigmata, which refers to the Ecce Homo. He wears an orange robe with exotic-looking motifs. This robe is entirely different from the traditional red of the passion and is unusual in Christian iconography. His posture resembles the Sanskrit ‘Padmasana’ or lotus position. This is a cross-legged position used by Hindus when meditating. The whole scene makes one think of a Hindu painting.

On the left we see the Virgin Mary. She is wrapped in a blue mantle, symbol of the celestial and divine. She wears a white veil around her neck, a symbol of innocence, purity and chastity. As the ‘Salvatrix Mundi’ or advocate for mankind, she raises her hand in a pleading gesture to her son. Her cloak has a red lining, the symbol of her passion.

On the other side is a picture of St John the Baptist. He is not only an advocate, but also the most significant saint from the Old Testament. In contrast to the traditional stance where he points his hands towards Christ, he is holding his arms in front of his lap. He is wearing a red passion cloak. He is not depicted with his traditional camel-hair shirt but with a green tunic. This could possibly refer to the colour of the liturgical green garment worn by priests on the day of remembrance of the Lord’s baptism. What is different from traditional iconography is that this saint is depicted without a beard, an iconography which is more usual with St John the Evangelist.

Six angels are hovering behind Christ. The two above are blowing their trumpets. They are waking the dead and calling both the dead and the living to appear before the Supreme Judge. The other four angels are displaying the instruments of the Passion: the cross, the spear which pierced Christ’s heart, the sponge on the reed with vinegar and the nails of the crucifixion.

The divine dispensation appears in the lower register. The Archangel Michael in armour is standing in the centre. He wields the sword of justice. In his left hand he holds the scales that will weigh the souls of the people who are to be judged. On his shoulder he wears a chlamys or travelling cloak.

On the right hand of Saint Michael – his divine side – an angel receives a soul, depicted as a praying man. On his left side a devilish figure is waiting to receive the soul of a frightened, weeping man. Both mortals are wearing a white gown. Below and above these mortals the dead are crawling out of their graves. They are naked or wrapped in shrouds.

The devils on the right are anthropomorphic or zoomorphic, meaning they look like people or animals or a mixture of both.

Salvator Mundi

The central panel depicts Christ as Salvator Mundi or Saviour of the World. He is represented as a Roman emperor seated on a throne. In Christian iconography this refers to the death by crucifixion of Christ through which He saved the world from original sin.

As tradition has it, Christ is shown holding an orb but, contrary to the conventional representation where Christ makes a blessing gesture with his right hand, here he is holding his hand above the Archangel Michael.

Because of its restrained form, this figure again gives a strong sense of the East. It is striking that he is again robed in an orange gown over a white undergarment. Both of these are decorated with Eastern motifs. The Messiah is placed within a mandorla decorated with stylised clouds between blue angels, the seraphim. They are seen as the angels of light, love and divine fire. From the four attendant angels, Christ chooses Michael. The name Michael means ‘Who is like God?’ He is most often depicted as a knight and bearer of the sword of justice.

The banishment to hell

The final panel shows the Archangel Michael banishing the fallen angels to hell. Again he is depicted as a knight in armour with a travel cloak and a sword in hand. An angel with a sword and an angel with a spear help him. The firmament is again represented above the stylised clouds with brilliant gold stars. The archangel is standing on earth and banishes the fallen angels into the cracked earth down to the burning inferno. Some of these anthropomorphic or zoomorphic demons have a dog’s head. The lance with Michael’s crossed staff drive them to hell.

Conclusion

We can conclude that the altarpiece is devoted to the holy Michael. Although the image corresponds to Christian iconography, the work nevertheless exhibits a few peculiarities. To begin with we have Christ in oriental dress. Furthermore, the various saints are adorned with green garments in addition to white (purity) and red (passion) clothing, a colour which does not have immediate significance in Christian iconography. In the world of Islam the colour green was reserved for the clothing of Muslims. Foreigners who stayed in the Islamic world and who had not adopted the Muslim faith were not allowed to wear green. It is possible that the artist wanted to tell us that this colour could also be worn by Christians.

This work has been executed in tempera paint on a soft, thickly applied gesso ground, which has been reinforced with cloth. The flat rendering of the clothing, the grey colouring, the aureoles applied layer upon layer in relief and especially the onion-shaped arches of the Gothic fretwork enable us to assign this work to the Spanish school.

Subdivision into bands and a background decorated with relief fretwork are found all over Spain until the 16th century. An example of this is the St Michael retable from Corrales de Duero (at present: Valladolid, Museo Diocesano y Catedralicio).

Southern Spain

The iconography clearly shows that we are dealing with a work of art that shows influences from South-Central Spain, the region above Andalusia. Andalusia was occupied by the Moors until the middle of the 15th century. We can already see in the 8th century that because of the Muslim conquest of territories in the Far East, there was a connection between Andalusia and India. The road from Andalusia to the Far East was opened up. Musicians, performers, artists and architects learned about each other’s culture on the road there and back through the Islamic world. Not only do we see the Indian influence on the Iberian peninsula in the visual arts, this influence is also evident in other branches of the arts. A clear example of this is Spanish dance and music, such as Flamenco, which was strongly influenced by Hindu music. This work of art too has an Indian influence including the lotus posture and the clothing of the Christ figure.

Muzarabic influences

Over the centuries a relationship of trust grew between the Christian north of Spain and the Muslim south, to such an extent even that Granada more or less became a vassal state of Castile in the 14th century. Islamic Granada fought on the Castilian side against rebellious Muslims. The Muzarabs made up the indigenous Christian population in the Islamic kingdom and were predominantly Catholics practising the Visigothic or Muzarabic-Latin rites. They were in a small majority and were on the whole farmers, masons and translators, as well as artists. In addition to their own Spanish dialect, they also spoke Arabic. Although it would have been relatively easy to take Granada, the Christian rulers probably refrained from conquering it for a long time because of the lucrative trade they enjoyed with the Islamic world via Granada.

It is evident that the creator of this work of art was familiar with Muzarabic artists. The Gothic style of this work shows that he had mastered the Christian arts and iconography and that he worked in the tradition of the International Style.

The International Style

On further examination the St Michael retable shows the influence of the 14th century Gothic style, among other things passages in the decorative clouds which we encounter not only in High Gothic miniatures and painting, but even in the art of tapestry (for example the Angers Apocalypse). The balanced shapes and the Mannerist style also recall the 14th century. We also notice an interest in the representation of naturalistic environments and the potential of livelier rhythmic patterns where awareness of the real model is crucial. These elements are of paramount importance in the Spanish International Gothic style.

We can see a quest for profundity in this work. In spite of the limitations of the empirical and conventional perspective, we sense an impression of depth and space which brings every element of the composition to life. The painter also displays an exacting attention to detail. These characteristics are typical for the style of Bernat Martorell (died 1452), as a result of which we may assume that the art of this St Michael retable follows a tradition from the second quarter of the 15th century. In his scene of St Michael as the weighing master, we can see that this artist goes somewhat further and shows the influence of the nascent realism of Flanders.

On the basis of the technique, we can say that the triptych with the scenes from the legend of St Michael was painted in Spain. Its Hindu elements as well as the elements which refer to Islamic art (onion-shaped arches) lead us to locate the artist in the Iberian Peninsula. This art still follows the International Style but the landscape already betrays the emergence of realism, which enables us to date this altarpiece in the half of the 15th century.

Further examination will show which Spanish master created these panels. Further research will certainly reveal us his name.

Dunstanburgh stones by Kevin Hancock

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Crescent Nebula by Dean White

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Picture saved with settings applied.

London Transport GHV504N November 2024 by Chris Stanley

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Signage applied to #BS4 o/s. Had a comment or two that the Fleet Number should be located by the radiator filler cap but we think that in the first six of the batch of seventeen the #BS4 decal was placed by the Emergency Door.

1902-1905-1912. The three volumes of Book of Applied Arts by Nori (Nóra Mészöly)

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Az Iparművészet könyve.

I. kötet: 1902

II. kötet: 1905

III. kötet: 1912

Szerkesztette Ráth György

Athenaeum Kiadó

Applied modern art by Johan_Leiden

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City hall bar, Leiden

Wien, 1. Bezirk (the art of very historic buildings of Vienna), Museum für Angewandte Kunst (Musée d'art appliqué, Museo de arte aplicado, Museo di arte applicata, Museum of applied art) - Stubenring/Weißkirchnerstraße (MAK DESIGN LAB) by Alfred Lex

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