View allAll Photos Tagged Execution
Koloman Moser (1868-1918)
Secretaire for Berta Waerndorfer
Vienna, 1903
Execution: Wiener Werkstätte
Macassar ebony, veneered; marquetry of Madagascar ebony, box wood, and mahogany; ivory and tortoiseshell inlay; brass
Koloman Moser (1868-1918)
Schreibschrank für Berta Waerndorfer
Wien, 1903
Ausführung: Wiener Werkstätte
Makassar-Ebenholz, furniert; Marketerie aus Madagaskar-Ebenholz, Buchsbaum- und Mahagoniholz; Einlagen aus Elfenbein und Schildplatt; Messing
H 2305/1975, Ankauf von purchased from Nora Hodges-Waerndorfer; New York
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.
Poster with the names of 74 Chilean trade unionist and workers killed by the Chilean junta.
On the first anniversary of Chile’s 1973 military coup, Amnesty International publishes a report exposing political oppression, execution and torture in Pinochet’s Chile.
Cartoons by Ewert Karlsson (1918 – 2004), signature EWK, one of Sweden's most well known political cartoonist.
Text on poster:
"Names of 74 Chilean trade unionist and workers killed by the Chilean junta: Alfredo Acevedo, Onofre Aguila, Luis Almonacid, Guillermo Alvarez, Santiago Alvarez, Luis Alvear, Wladimir Araneda, Mario Arqueros, Fredy Astorga, Roberto Avila Marquez, Eduardo Barros, Anibal Burgos, Bernabe Cabrera, Nolberto Canas, Ivan Carrasco, Ramon Carrero, Isidoro Carrillo, Ramon Carveno, Sergio Castillo, Raul Castro, Hernan Chamorro, Orlando Clavijo, Arturo Coifredes, Jose Cordova Carracho, Pedro Cornejo, Gaston Elgueta, Jose Ensebio Rodriguez, Manuel Espinosa , Gebruder Farias, Jorge Fernandez, Alejandro Flores, Mario Fuenzalida, Samuel Garay, Danilo Gonzales, Enrique Gonzales, Manuel Gonzales, Ivan Gordillo, Marcelo Guzman, Julio Hadd, Manuel Hervas, Francisco Huanante Rocha, Felix Huentelaf, Armando Jimenez, Jose Gregorio Liendo, Juan Marquez, Daniel Mateluna, David Miranda, Alberto Molina, Ariel Monzalbe, Jose Morales Alvarez, Lecar Nehegman, Luis Norabuena, Samue Nunez, Manuel Jesus Orellana, Pedro Oyarzun, Guillermo Pinto Viel, Jorge Pizarro, Omar Plomino, Santiago Riquelme, Alejandro Rodriguez, Hector Rojo, Luis Rojas, Samuel Sanchez, Ceferino Santos, Mario Sepulveda, Jose Silva, Javier Sobarzo, Benito Tapia, Jose Thompson, Luis Toro, Carlos Torres, Juan Valerico Hinojosa, Alex Vidal, Ramon Vivanco."
Year: 1973
© Amnesty International
Design: Ewert Karlsson
Crucifixion is an ancient method of painful execution in which the condemned person is tied or nailed to a large wooden cross (of various shapes) and left to hang until dead. The term comes from the Latin crucifixio ("fixed to a cross", from the prefix cruci-, "cross", + verb figere, "fix or bind fast".)
Crucifixion was in use particularly among the Persians, Seleucids, Carthaginians, and Romans from about the 6th century BC to the 4th century AD. In the year 337, Emperor Constantine I abolished it in the Roman Empire, out of veneration for Jesus Christ, the most famous victim of crucifixion. It was also used as a form of execution in Japan, of both criminals and Christians.
A crucifix (an image of Christ crucified on a cross) is the main religious symbol for Catholics, Eastern Orthodox and Oriental Orthodox, but most Protestant Christians prefer to use a cross without the figure (the "corpus" - Latin for "body") of Christ. The term crucifix derives from the Latin crucifixus or cruci fixus (itself the past participle passive of crucifigere or cruci figere, "crucify", "fix to a cross."
Fotografía: Autor desconocido / Wikimedia Commons / National Archives and Records Administration.
1 de diciembre de 1945.
El general alemán Anton Dostler es atado a una estaca para su ejecución por un pelotón de fusilamiento, tras ser condenado y sentenciado a muerte por un tribunal militar estadounidense en Aversa, Italia. Fue responsable de capturar y ejecutar un comando de 15 militares estadounidenses el 26 de marzo de 1944 en Italia.
Anton Dostler (Múnich, Alemania; 10 de mayo de 1891 - Aversa, Campania, Italia; 1 de diciembre de 1945) fue un general de Infantería alemán de la Wehrmacht durante la Segunda Guerra Mundial.
December 1, 1945.
German General Anton Dostler is tied to a stake for execution by firing squad after being convicted and sentenced to death by a U.S. military tribunal in Aversa, Italy. He was responsible for the capture and execution of a command of 15 U.S. soldiers in Italy on March 26, 1944.
Anton Dostler (Munich, Germany; May 10, 1891 - Aversa, Campania, Italy; December 1, 1945) was a German infantry general in the Wehrmacht during World War II.
© Restauración y coloreado: Jaime Gea Ortigas.
201. Execution of the four persons condemned as conspirators (Mary E. Surratt, Lewis T. Powell, David E. Herold, and George A. Atzerodt), July 7,1865. Photographed by Alexander Gardner.
Mary Elizabeth Eugenia Jenkins Surratt May 1823 in Waterloo, Maryland, USA – July 7, 1865 in Washington, D.C) was convicted of taking part in the conspiracy to assassinate Abraham Lincoln. She was the first woman executed by the United States federal government, after being tried and found guilty, and was executed by hanging. She was the mother of John Surratt, also alleged to have been involved in the conspiracy.
Two clone troopers are held captive by a roaming mandelorian patrol.
"Any last words, clone trooper scum?"
Henry van de Velde (1863-1957)
Writing Desk Presented at the XIVth Secession Exhibition, 1900
Brussels, 1898
Execution: unknown
Solid ash; brass
Henry van de Velde (1863-1957)
Schreibtisch, präsentiert auf der XIV. Secessionsausstellung 1900
Brüssel, 1898
Ausführung: unbekannt
Eschenholz: massiv; Messing
H 2039/1954, Widmung zum Andenken an den Präsidenten des Vereines der Museumsfreunde
dedication in memory of the president of the Association of Friends of the Museum, Dr. Felix Freiherr von Oppenheimer
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.
hello every one , my new photo ( Execution ) i edit this photo with : adobe light room + adobe photo shop , i hope u like it .
Edouard Manet - Execution of emperor Maximilian [1868] - Lithograph - NYC MET, AN 21.48
Who wants to know more about the historical background, why archduke Maximilian of Hapsburg entered in the Mexican adventure may read the following article:
www.holocaustianity.com/hysteria/maximilian.html
More about the history of Manet's paintings:
1) en.wikipedia.org/wiki/The_Execution_of_Emperor_Maximilian
2) www.moma.org/interactives/exhibitions/2006/Manet/
or
www.moma.org/interactives/exhibitions/2006/Manet/detail_f...
On August 15th, 2004 a 16-year-old girl was hanged in a public square in Neka, Iran, a small industrial town by the Caspian Sea. Her death ... all » sentence was for crimes against chastity. Her name was Atefah Sahaaleh. The only evidence against Atefah was her own forced confession.
Atefah railed against her judge in court for its unfairness, but this was her undoing. Judge Haji Rezai, who was also the local mullah, prosecutor and head of the city administration, personally obtained permission from Iran's Supreme Court to execute her, and put the noose around her neck himself before she was hoisted on a crane jib arm to her death.
Using undercover footage, eyewitness accounts and drama recontruction, this film tells an unforgettable story of the life and tragic death of an ordinary teenage girl under Iran's mullahs.
Den of Imagination - Your Miniature Painting Service
We are a registered studio in Torun, Poland. We have been in line of work since 2008. Our still growing staff of painters and sculptors is ready to work on any project you can imagine!
We are credible, solid and reliable. We work best with large commissions and we guarantee fast service.
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WEBSITE: denofimagination.com/
YOUTUBE: www.youtube.com/user/denofimagination
SHOP: shop.denofimagination.com/
TWITTER: Twitter.com/doiStudio
FLICKER: www.flickr.com/photos/97996892@N07/
PINTEREST: www.pinterest.com/denstudio/
INSTAGRAM: instagram.com/doiphoto/
Another 5 young Iranians executed last day in the city of Ahvaz . this is a clear message of the ruling rejim (which late grand ayatollah montazeri told about : " this rejim is not islamic nor a republic." although he died very soon after these words but his braveness told enough.)
The message that rejim is trying to send is not only prove its knowledge of the death of the rejim but it is direct message that they are battling with the god.
We will wait and see what they have got as respond from the almighty god.
Den of Imagination - Your Miniature Painting Service
We are a registered studio in Torun, Poland. We have been in line of work since 2008. Our still growing staff of painters and sculptors is ready to work on any project you can imagine!
We are credible, solid and reliable. We work best with large commissions and we guarantee fast service.
------------------------------------------------------------------------------------------
WEBSITE: denofimagination.com/
YOUTUBE: www.youtube.com/user/denofimagination
SHOP: shop.denofimagination.com/
TWITTER: Twitter.com/doiStudio
FLICKER: www.flickr.com/photos/97996892@N07/
PINTEREST: www.pinterest.com/denstudio/
INSTAGRAM: instagram.com/doiphoto/
Albert Black wished witnesses a merry Christmas and prosperous new year as he stood on the scaffold on 5 December 1955.
The 20 year old Irish immigrant had stabbed to death an acquaintance Alan Jacques. Jacques had severely beaten Black not long before and witnesses would say Black was frightened of him.
Jacques was selecting a song for the jukebox in 'Ye Old Barn Café' in Queens St in Auckland when Black stabbed him in the neck. In a climate of moral outrage over supposed youth delinquents the “jukebox murder”, as it was widely known, became a touchstone of all that all that was wrong with society. Albert Black, unskilled, poor and recently arrived from Belfast was the example the hard line moralists had been looking for and he was shown no mercy. Pro death penalty Prime Minister Jack Marshall blocked the attempts of Black’s mother Kathleen to travel from Ireland to visit her son before he was executed. She raised a petition of 12,000 signatures begging for clemency for Albert but it achieved nothing.
Black was led to the gallows where it was reported that he “died game” after delivering his message to those attending his execution. The story has gained new momentum with the publication of Fiona Kidman’s 'This Mortal Boy', a novel which draws heavily on her extensive research into the life and crime of Albert Black. Kidman is convinced he should have been convicted of manslaughter not murder and is campaigning for his sentence to be downgraded.
While this will be too late for Black it will be of comfort to his surviving family, including a daughter who was born several months after his death.
Shown here is the statement of Mount Eden Prison Superintendent Horace Haywood one of the witnesses to Albert Black’s execution.
Archives Reference: J46 1454 COR1955/1253
collections.archives.govt.nz/web/arena/search#/?q=R23847484
More information can be found here:
www.nzherald.co.nz/nz/news/article.cfm?c_id=1&objecti...
For updates on our On This Day series and news from Archives New Zealand, follow us on Twitter www.twitter.com/ArchivesNZ
Material supplied by Archives New Zealand.
Simon was dragged out to the front entrance of the Black Scar Gang's base. Many other gang members stood out there waiting.
The parish church
Design and construction
Machegg is documented have been founded in 1268 by Bohemian King Ottokar. Only ten years later, he fell in the battle against Rudolf of Habsburg in Dürnkrut. The city was therefore never fully developed. The Gothic parish church, dedicated to the Holy Margaretha, was not completed. To execution came just the choir - and as georradar measurments in 1998 resulted - the foundations of the long house. It was also determined by this deep investigations, that the portapoint (line between the portal) of the planned nave is over 7 meters outside the entrance of today's church (tower). The choir meets in the floor plan to that of the Dome of Wiener Neustadt, a mighty cathedral was Ottokar's plan!
This portalpoint (after DI . Dr. E. Reidinger) is als urban planning point of reference. The church is in the axle geometry of the city involved, and therefore the key to the entire system concept and founding date .
At that time, living and belief are a unit, such as state and church. The planning of the city is closely linked with that of the church. Eastern to Marchegg is the holy day, by which the town was entrusted to the divine protection and blessings.
In 1268 fell the green thursday, standding at the beginning of the passion, death and finally the resurrection of jesus christ on the 5th april. On that day, so reveals the bent axis of our parish, the long house was oriented in the direction of sunrise. 8 april 1268 (Easter Sunday ) was then the orientation of the choir as part of a sacred act.
Reidinger: "The reconstructed construction plan of the city and the orientation of the church with the bent axis give the answer to the date of the founding of the city.
What great importance does this mean to the churchbuilding! in the resurrection liturgy (long time on Easter Sunday early in the morning hours celebrated) shines the rising sun through the middle window into the dark church interior! Christ is risen!
As Rudolf I in the year 1278 achieved the mighty victory over King Ottokar, he gave in grateful remembrance of the fact that God, "not far from the church to marche field (Marchfeld)e", him rescued from the deadly danger, including the space along with bridge in front of the mill. In the donation letter issued by him he takes the church with their possessions under his special protection.
Later, the exact date and reason on which legal situation is unknown, Marchegg figures as vicariate of the parish parish of melk Weikendorf and the abbey of melk was holding the patronage.
From the year 1410 is a legal decision is available that the parish priest of Marchegg, the then called Wernherus, as mother gift to the church of Weikendorf every year for pennies pound as sign of filial dependence has to pay.
In the year 1429 was Johann Ströbein from Grossenzersdorf rector of the filial church santa Margaret of Marchegg.
In the same year figures Marchegg in a directory of the parishes and benefices of the diocese of Passau.
On 23 July 1465 asked the owner of dominion of Marchegg, earl Rüdiger von Starhemberg, the abbot of melk to give the vacant parish church of Marchegg to the Mert Putner (Martinus Pertner).
In the year 1506 came the former parish priest of Stillfried, Johannes Syndel as pastor to Marchegg.
In the Protestant Reformation protestant estate owner salm and landau monopolized the patronage and put in preacher.
The transfer of the reign earl Paul Pálffy took place on 26 May 1621 and in the course of the Counter-Reformation the condition take care of the parish and abolish the preachers in said place. Pallfy vowed further only to allow the Catholic religion in Marchegg.
Probably the parish from the end of the fifteenth century has been administrated by the former P. Paulinern of Mariathal (marianka - Order of Saint Paul the First Hermit) in Slovakia. From there came a priest all months for pastoral work to Marchegg. Because due to the floods often no priest appeared, Pálffy 1632 war looking for a world-priest. However, because of the poor pay and the many damage to the church and the parsonage, he could not get one for some time until Pater Sebastian Kempf finally in the year 1634 here was delegated by by the order of Saint Paul.
Before 1663 the erection of John Chapel next to the church.
1689 the parish was robbed during the kuruc fightings.
On 10 March 1697 received in the local parish church a turkish woman the holy sacrament of baptism. Probably she was left behind from the entourage of the turkish war.
1748 Maria-Lauretta chapel was built next to the parish church on an old tomb.
1776 In the church was erected to the holy Leonhard and Wendelin a new constructed side altar.
1784 The branch site Breiteseen was separtend from the parish of Marchegg and raised to an independent "Lokalkaplay".
1784 The parish of Marchegg was incorporated into the archdiocese of Vienna.
1786 26the march was abandoned cemetery location around the church.
Because of the danger of collapsing bell tower (roof rider) was demolished in 1787 and the roof is covered the same.
1786 - 1789 church annex
1790 worship was once again celebrated in the church and the church bells newly transferred to the new tower.
1850, as the bell tower threatened to collapse, it was removed, the main entrance of the church locked and the ship supported.
1853 Prince Pálffy let begin the construction of the church tower. The tower rests on 170 oak trunks.
In 1855 the cross was placed on the newly constructed tower. The cross made of of iron has been galvanically gildened, was picked up in a solemn procession from the castle and consecrated by Dechant Simon Schwarz.
Renovation of the church interior: a woman from Vienna, Magdalena Schineder, a marcheggerin (born to Marchegg), gave 350 fl, mister notary dionys Klemer 40 fl, for acquisition of new altarpiece for the high altar, which dates from the school of the famous painter Kupelwieser. The remaining contributions came from the community, from Vienna, Prague, Brno, Malacka and Baumgarten.
Termination of the church renovation in 1856.
1878 600 year anniversary of the church.
1890 New stained glass windows. Donors. Prince Palffy, Earl Apponyi, Vicar Rohrwasser (born Marchegger):
1895 Prince Liechtenstein donated two stained glass windows
1897 Flood. Parsonage and church were under water. In the church, the water reached up to the kneeling benches.
1899 17th september round 5:15 early in the morning reached the high water church and main square. Church services took place till 23nd september in the castle chapel.
1899 Princess Palffy donated a white alb, which she had embroidered herself.
1910 12th november inserting of the figural windows was completed. In the night were broken parts and robbed the offertory. The pastor prompted to remove all offertories.
1911 King Ferdinand of Bulgaria visited the parish on the journey through.
1917 The copper and the skirts of the windows of the church tower were removed and replaced by zinc sheet.
In january 1918 the organ pipes were requisitioned for war purposes.
1930 18.9. Laying of the foundation stone of a makeshift church at the railway station.
1931 7.10. Construction of the temporary church and nursery was completed. Financing by pastor Kowanda and the club "Catholic action in Marchegg".
1938 On 15th march came SA-men from Marchegg and took money, cash book and passbook of Catholic young folk. Amount of 45 shillings. Catholic young folk was dissolved.
Since 7th april on the steeple blew the swastika flag.
In 1940 cardinal Innitzer came for visitation to Marchegg. Teenagers rampaged and scolded the cardinal.
1945 Shelling of Marchegg - city church received 7 strikes. Above the presbyterium in the stone window frames, front under the base of the church. 4 shots hit the tower and the roof of the new part of the church. Between church and kindergarten 2 strikes, 5 strikes in the parish garden.
In 1953, the statue of Holy Elisabeth was erected.
In 1954, the statue of Saints Michael, Barbara and Katharina that were destroyed in the bomb hit came back restored. 9th may blessing of the bells.
1958 Completion of the extention of the church Christ the King at Marchegg station.
1960 At the renovation of the ceiling several frescoes were found, two of which were saved.
Consecration the statue of St. Elizabeth, gift of the Federal Monuments Office.
1967 Lightning struck during a funeral in the church tower. Thanks to the lightning protection system, no damage has been produced.
In 1970 the albhon organ was blessed by archbishop Dr. Josef Schoiswohl. Donation of Kommerzialrat Josef Durry.
1989 Consecration of altar and organ of the church of Christ the King by auxiliary bishop DDr. Helmut Krätzl.
1992 Consecration ot the new altar of the city church by Bishop Florian Kuntner.
www.pfarremarchegg.at/wp-content/uploads/2011/03/Geschich...
An image dating to the mid nineteenth century entitled 'Anne Boleyn's last farewell of her ladies'. Part of my collection of nineteenth century depictions of Anne Boleyn.
Palais Coburg
At the site of today's Palais Coburg were in the 18th Century several buildings, which like almost all buildings that were built on the city walls or leaning on these, were of a military nature. So here was situated the Stadt-Schultheissen Office (Wikipedia: In medieval Germany, the Schultheiß (Middle High German schultheize, from Old High German sculdheizo; Latinised as scultetus or sculteus; in Switzerland: Schultheiss, also: Schultheis, Schulte or Schulze; in Italian the two offices Scoltetto and Sculdascio, Medieval Latin sculdasius and Polish Sołtys) was the head of a municipality (akin to today's office of mayor), a Vogt or an executive official of the ruler), which was the seat of the respective city commander. Here lived and died in 1766 Field Marshal Leopold Josef Graf Daun. His successor as resident, Field Marshal Franz Moritz Graf Lacy, succeeded to acquire the building of the Imperial Court Chamber. He changed the city commandant's house into the Palais Lacy and inhabited this until his death in 1801. His nephew and heir sold the building in the same year to the Hungarian Count Franz Joseph Koháry. This one could in 1812 also acquire a neighboring house. The Kohárys were among the wealthiest landowners in Hungary. Franz Joseph's daughter Gabriele Maria Antonia married in 1816 Prince Ferdinand of Saxe-Coburg-Saalfeld. Since the marriage between a prince and a countess was not befitting one's social status, much trouble and especially money had to be expended in order to raise the family Koháry, 1817, but retroactive to 1815 in the rank of prince. To document this rise in rank, they began with measures to develop the still modest palace. Prince Franz Joseph Koháry inhabited it hardly, however, since he lived mainly in Oroszvár south of Bratislava. When he died in 1826, his Viennese palace was still not very representative .
His daughter inherited it and rented it for the moment to Countess Cordelia Potocki. Through the Kohárysche heritage, to which belonged ore mines and steel plants and large agricultural estates in Hungary and the Slovakia of today, the family Coburg, which called itself since 1825 Dukes of Saxe-Coburg and Gotha, could finally think of the construction of a befitting palace. She lived then in later Palais Archduke Karl Ludwig in the Favoritenstraße. The appreciation of the family through Victoria's accession to the throne in England made a representative place to stay of the Viennese branch of the family appear urgent. Duke Ferdinand had in the years 1843 to 1847 instead of the existing buildings, that ist, at the access of the side facing the city to Braunbastei, built a great palace. His son August Ludwig had 1843 married Princess Clementine of Orleans Bourbon, daughter of the French citizen king Louis-Philippe, and determined the building to his Viennese home. The architect was Karl Schleps. For the execution of his plans responsible was Adolf Korompay. Karl Schleps had the plans yet submitted in 1839, but he passed away as early as next year. He was succeeded by his former assistant Franz Neumann. With Philip Menning another architect was hired, so it is not clear today which architect what share of the palace has. To extend the construction site, some adjacent properties, as the Croats Dörfl (Kroatendörfl) were purchased. The architecture is a blend of classicism and historicism and clearly reflects those change in the architecture, which took place at this time. But for the moment followed no interior expansion, because Louis-Philippe demanded that his grandson in France should enter this world and the ducal couple moved to Paris. In 1849 that part of the palace, which is on the Seilerstaette, was largely transformed into an apartment building, designed by Franz Neumann. Yet three years earlier, Baron Sina wanted it to acquire and here housing the stock exchange and the Wechselgericht (competend in exchange disputes), but those plans had dashed.
Resided in 1851 the English ambassador to Austria, Lieutenant General John Fane, as a tenant here. Johann Strauss served him for its festivals as music director. 1852 the Palais was also inside ready to move in and Herzog August Ludwig was able to return to Vienna. After the Braunbastei 1863 was demolished, arose the classicist garden facade. Just before the turn of the century resided Prince Ferdinand of Bulgaria, who stemmed from the family of Coburg, in his Vienna stays in the palace. During World War II, the right part of the portico was hit by a bomb. Thereby also two figures of the Attica went lost. During occupation time Russian soldiers were intitially quartered in the palace. Plans to demolish the palace and build in its place a hotel, were fortunately not realized. After this for a long the Directorate General of Austrian Federal Railways was occupying the building as tenant. 1978 sold Princess Sarah Aurelia of Saxe-Coburg the Palais to a real estate broker. Restoration plans came to a nothing for the moment again and again for financial reasons. Currently, the building belongs to a private foundation under German investor Peter Pühringer. Since 2000 it was subjected to a comprehensive refurbishment. Here two years ago one of the finest luxury hotels in the city with excellent restaurants was put into operation. In addition, there are a number of homes and offices in the vast complex of buildings. The originally planned shopping mall was not realized.
Casemates. But although the palace does not just lie at the ring road, the owner has for himself the free outlook in the city park by a servitude secured, that has been preserved until today. While the Bastion side remembers aristocratic country houses such as Castle Liechtenstein at Maria Enzersdorf or the former Weilburg in Baden, the Seilerstaette-front is more as a bourgeois apartment building designed. Attractive visual appearance is the to the ring turned 21-axis garden facade. It is characterized by the two-storey columns order which has the Palais soon led in common parlance to the name "asparagus Castle" after its establishment. The facades of the palace namely does not show the with Viennese palais common colossal order in which multiple floors are aggregated by giant pilasters or giant pillars. Here the walls are structured by Ionic columns. On whose entablature have been put Corinthian columns. Behind the pillars of the seven-axis central risalit lie open loggias in the two upper floors. They were originally connected by staircases on both sides of the garden. As this had to be re-created in 1864 due to the razing of the bastions, the Attica area has been redesigned. Franz Neumann and Leopold Mayer placed here figures, representing the personifications of music, hunting, strength, history, science, agriculture and flower care. It's due to the construction of the palace on the Braunbastei that parts of the Renaissance fortifications of Vienna have been preserved, most of all, the of brick masonry consisting casemates. They are located directly below the palace and were made available again in the last renovation in 2003. In this case , however, the ramp leading to the bastion was destroyed.
Ball room. The late classicist road tract at the Seilerstaette is the a little older part of the building. Since we have got to deal was a narrow downtown alley, the facade at the Seilerstaette is relatively flat structured. Due to the level difference to the bastion it has a considerable height. In the two-story base zone three large banded arched portals are inserted. The windows of the upper floors are designed differently (round arch pediment, not crowns). The central projection is superimposed a shallow three-storey loggia. Franz Neumann Younger created about 1880 the strict historical front building at the Coburggasse. It is organized by risalits and presents an attic parapet. The here located portal is provided with seashell decor. From the Seilerstaette one enters the palace through a two-story vestibule that leads to the magnificent staircase. It is supported by Ionic columns. Large decorative vases stand on pedestals. The piano nobile is a remarkable space ensemble of late Classicism and early-Baroque. Of its equipment only the to the wall fixed parts remained preserved because after the Second World War much of the furniture was sold. The inlaid parquet floors have been replaced for the most part in 2001. The in the center located ballroom is a with stucco marble overlayed room decorated with stuccoed volutes. Gilded mirror frames and wall lights complete the equipment. It is lit by a glass ceiling. Interesting is the family room or Green Salon. Here hang numerous portraits of members of the Coburg family, including those in the 19th Century as kings or dukes reigning different European countries (Belgium, Portugal, Bulgaria, England). The Blue Salon is decorated with full-length pictures of the inner family circle of the palace residents. They stem from Franz Xaver Winterhalter and from those workshop. Neo-Baroque is also the Yellow Salon Over the three doors hold stucco figures the coat of arms of Coburg and Orleans.
Used by the Trujillo regime as one of many tools to torture, terrorize, and control his opposition.. This was one of the many tactis used by the regime, along with improsnment, brutal beatings, and killing of the accused family. Trujillo known for his ruthless tactics in his later years as dictator, used the electrical chair as an object to terrify the public and anyone who goes on his opposition. Trujillo was known for sitting in many of the electrecuations and invited press so that the country would know he is serious buissiness. Trujillo also at time gave punishment similar to this to his own men and his own regime so that any person in the regime would know not to go against him. The dictator showed no mercy. In his early years as ruler of the small Island Trujillo was known as a person who would take the country away from poverty and restore it to economical greatness. His ruthless acts began as soon as the country saw no need for him to be in power and his approval ratings soon went to a downward spiral. His fear of loosing his power sparked murders, rapes, beatings, and various unreasobable inprisonments.
Espaillat, Arturo R.. Trujillo: The Last Caesar. Chicago. IL: H. Regnery Co, 1963.
Picture taken by Otto Piron
for more Information visit en.wikipedia.org/wiki/Rafael_Le%c3%b3nidas_Trujillo