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Texte und ausgewählte Fotos zur Ausstellung der ÖTV - Betriebsgruppe RVK Kinderklinik
66 Seiten
Redaktion: Enno-Etzad Bader, Rosi Blank, Lothat Demuth, Thomas Liederwald, Eckart Rösner, Bodo Fast
Charité Campus Virchow-Klinikum (CVK)
Auf Initiative von Rudolf Virchow wurde im Norden Berlins - im Bezirk Wedding - zwischen 1898 und 1906 ein viertes Städtisches Krankenhaus errichtet. Das Rudolf-Virchow-Krankenhaus war das letzte, das im so genannten Pavillonstil gebaut wurde. Die Baukosten betrugen 19,1 Millionen Reichsmark. Auf einer Fläche von 270.000 qm entstanden 57 Einzelbauten mit 2.000 Betten. 700 Angestellte, Ärzte, Pfleger und Dienstkräfte, konnten hier auch wohnen.
Hinter dem dreigeschossigen Hauptbau am Augustenburger Platz erstreckte sich in westlicher Richtung die 500 m lange grüne Hauptachse mit einer Kastanienallee. An der Allee lagen die Pavillons: auf der einen Seite für chirurgisch Kranke und auf der anderen für Patienten mit inneren Krankheiten. Bänke, Rasenflächen, Blumenbeete und ein Springbrunnen gaben der Anlage ein parkähnliches Gepräge.
Mit dem Wiederaufbau nach dem Zweiten Weltkrieg verschwand die Pavillonstruktur weitestgehend. 1986 wurde das West-Berliner Krankenhaus der Freien Universität unterstellt. Die seit 1987 "Universitätsklinikum Rudolf Virchow" genannte Einrichtung wechselte 1995 an die Humboldt-Universität.
1997 fusionierten die medizinischen Fakultäten "Rudolf-Virchow-Klinikum" und "Charité" zur "Medizinischen Fakultät Charité der Humboldt-Universität zu Berlin". Ein Jahr später wurden auch die dazugehörigen Kliniken zusammengeführt. Im Jahre 2003 kam das ehemalige Universitätsklinikum Benjamin Franklin der Freien Universität Berlin hinzu. Damit entstand die Charité - Universitätsmedizin Berlin, das größte europäische Universitätsklinikum, das dabei ist, den Ruhm der früheren Jahre erneut zu erwerben. 2010 hat die Charité ihr 300-jähriges Jubiläum gefeiert.
www.charite.de/charite/organisation/standorte/campus_virc...
protagon e.V. veranstaltet mit Unterstützung von antagon theaterAKTion die Winterwerft,
ein Festival für Theater, Tanz, Poesie und Musik.
Vom 13.-24.Februar gibt es ein abwechslungsreiches Programm auf dem protagon-Kulturgelände in Frankfurt-Fechenheim.
Am ersten Abend zeigte Jonas Demuth seine Performance „Toast“.
C2E2
© 2017 Kenneth DeMuth
This image is not be used in any advertisements, emails, commercial materials, products, or promotions without my expressed, written approval.
This image is made available by Vodafone Group for media or editorial use only.
Credit: Paul Demuth - www.demuthphoto.com/
For further information or enquiries, please contact Vodafone Group media relations: www.vodafone.com/media/contact.
On the verso is the following, in ink: Compliments of Minnie Lauer, 4 and 6 West Market Street, Tiffin, Ohio. Minnie Amelia Lauer was born in 1868 in Ohio, the daughter of John Lauer (1826-1898) and Barbara Demuth (1828-1902), both German immigrants. The couple had settled in Tiffin, Ohio by the time of the 1860 Census, and would remain there for their entire lives. They had 10 children, five of whom were alive in 1900. John was a grocer, and in the 1900 census, three of sons were grocers in Tiffin. Minnie does not seem to have married, and in the 1880 through 1910 censuses, she was living with her parents or in 1910 with her brother, who was also single. Minnie passed away in July 1945 and is buried in Tiffin, Ohio. Although it is only speculation, there were German-born Lauers in Illinois, and Minnie may have been visiting them when she had this photograph taken by Henry Ashford Beard.
Photographer Henry A. Beard was born 5 January 1852 in Bristol, England, the son of Henry (born circa 1806) and Grace (born circa 1820) Beard. Henry came America circa 1872 and settled in Illinois; he was already a photographer before he arrived. He married a Mary Ellen Porter (5 July 1958 - 29 January 1917) circa 1879. In 1874 he was listed in a Chicago directory as a portrait painter, but all later references list him as a photographer. Censuses from 1900 through 1920 have him residing in Chicago, although by 1920 he had retired. Downtown Chicago is about 40 miles from Waukegan. Henry passed away on 11 January 1923.
This image is made available by Vodafone Group for media or editorial use only.
Credit: Paul Demuth - www.demuthphoto.com/
For further information or enquiries, please contact Vodafone Group media relations: www.vodafone.com/media/contact.
2019 Gibraltar International Chess Festival: Masters, Round 3, 24 January 2019. Photos: John Saunders
Lenchen Demuth, Sankt Wendel, Bronze-Skulptur mit Karl-Marx-Bild in der Hand ...
...noch einmal nachdenklich; der Versuch zu ergründen ...
Union Station, Denver
© 2017 Kenneth DeMuth
This image is not be used in any advertisements, emails, commercial materials, products, or promotions without my expressed, written approval.
Lenchen Demuth, Sankt Wendel, Bronze-Skulptur mit Karl-Marx-Bild in der Hand ...
Interessant, welche Vielfalt an Ausdruck der Bildhauer je nach Blickwinkel des Betrachters dem geschätzten Lenchen Demuth mitgeben konnte; hier durchaus auch ein wenig Traurigkeit ...
v.l.n.r.: Peer Bieber, TalentFrogs GmbH, Antonia Demuth, TalentFrogs GmbH, und Stefan Schmidt, TalentFrogs GmbH
foto: eco e.v. / photoetage | henning granitza
eco Internet Award 2015
In Berlin. And remembered William Carlos Williams and Charles Demuth.
The Great Figure
Among the rain
and lights
I saw the figure 5
in gold
on a red
fire truck
moving
tense
unheeded
to gong clangs
siren howls
and wheels rumbling
through the dark city
William Carlos Williams (1883-1963)
© 2017 Kenneth DeMuth
This image is not be used in any advertisements, emails, commercial materials, products, or promotions without my expressed, written approval.
© 2017 Kenneth DeMuth
This image is not be used in any advertisements, emails, commercial materials, products, or promotions without my expressed, written approval.
© 2014 Kenneth DeMuth
This image is not be used in any advertisements, emails, commercial materials, products, or promotions without my expressed, written approval.
Tool: 3d Pen (CC Better)
Material: Polyactid Acid (PLA) and Cold Porcelain
Color: Black
Size: 70 x 70 x 23 cm.
Figures painted with a 3d Pen and formed with a burning butt.
New Wake Forest freshmen move into their residence halls on Friday, August 24, 2012. Football player Brad Demuth helps move belongings into South Residence.
32 bf_Demuth Sequenz
32 bf_Demuth Sequence, 1990-1991
Thermotransferprints, gerahmt in Holz
Termal transfer prints in wooden frame
Albertina - Schenkung/Donation, 2016
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
v.l.n.r.: Christian Schrader, feelgood@work, Peer Bieber, TalentFrogs GmbH, Antonia Demuth, TalentFrogs GmbH, Stefan Schmidt, TalentFrogs GmbH, Ursula Vranken, IPA für Personalentwicklung und Arbeitsorganisation, Matthias Albrecht
foto: eco e.v. / photoetage | henning granitza
eco Internet Award 2015
Law Enforcement bike ride to Rocky Mount in honor of Trooper Gene DeMuth who died in the line of duty in 2012.
Lenchen Demuth, Sankt Wendel, Bronze-Skulptur mit Karl-Marx-Bild in der Hand ...
... hier neben Nachdenklichkeit wohl auch Zuversicht; gar ein kleines Schmunzeln? ...
Senior Joel Demuth took two events January 19, 2014 as the men’s and women’s swimming and diving teams beat Valparaiso at home.
news.uic.edu/swimming-diving-dominate-at-home
Photo: Steve Woltmann
Taken on the 1985 Manx Rally (i think) could be Hannu Mikkola of Harold Demuth, not to sure,im sure someone will...
I picked up Ozmo's dog license at the Palm Springs Animal Shelter, then went across the street for a walk around Demuth Park.
- Lëtzebuerger Lidderchouer
- Räpzodi
- Les élèves de la formation vocale des chorales de Sylvie Serra du Conservatoire de Luxembourg
Christophe Nanquette, piano
Marc Demuth, contrebasse
Boris Dinev, percussion
Direction: Jean-Paul Majerus
Lenchen Demuth, Sankt Wendel, Hinweis- und Erläuterungsschild neben der Statue ...
"Helene ("Lenchen") Demuth (1820-1890) came from a poor family. She was a housekeeper for the Karl Marx family for decades. Above all, she was an inspirational conversation partner, muse and alleged lover of the well-known social theorist. She gave birth to a son in 1851, but did not reveal his father's name. The bronze Helene looks in the direction of her birthplace, which no longer stands today."
CONCERT ARTIKUSS 30 Mai 2017
Piano: Christophe Nanquette
Contrebasse: Marc Demuth
Percussion: Boris Dinev
Direction: Jean-Philippe Billmann
Photography: by valwagner.lu