View allAll Photos Tagged LEINWAND
Wunderwald, Gustav
1882–1945.
“An der Landsberger Straße”, 1926.
Öl auf Leinwand, 50 × 69,5 cm.
Privatsammlung.
Acryl auf Leinwand 70 X 100 cm - Großformatdruck auf Leinwand/Keilrahmen 140 X 200 cm
Infos über mich und meine Arbeit gib`s auf:
"Standing Comfortable" - 2016
XXL Leinwanddruck mit gespiegelten Rand auf Keilrahmen - 120 X 180 cm
Auf meiner Homepage www.allesandra-tiller.de könnt ihr mehr über mich und meine künstlerische Arbeit erfahren.
Canvas print on a stretcher frame - 120 X 180 cm
On my homepage www.allesandra-tiller.de you can find out more about me and my art work.
old picture from my early days - found on my hard drive
Babyschwimmen - Babyschwimmkurs - Schwimmkurs - Poster - Flyer - Wandbild - decor - wallart - underwater - Stockfoto - Acryl - Leinwand - Anmeldung - Gutscheine
nach August Macke „Mutter und Kind im Park“ 1914 -
Öl auf Leinwand
mehr "Kunst im Heimatland" finden Sie hier:
www.flickr.com/photos/150811378@N08/albums/72157679143560945
und hier:
www.flickr.com/photos/160349031@N04/albums/72157700158543322
Technik, Masse:
Öl auf Leinwand
79.00 x 68.00 cm
Das zugleich in gestischer wie subtiler Nuanciertheit gemalte Bild ist Teil von Thomas Zindels intensiver Beschäftigung mit dem Dichter Jakob Michael Reinhold Lenz, dessen Weg in den Wahnsinn, Georg Büchner in seiner Erzählung «Lenz» (1836) nachgezeichnet hat. Zindel setzte sich malerisch mit dem «Gebirg», mit der zeitenthobenen Berglandschaft auseinander. Seine Darstellungen sind nicht anschauliche Landschaftsschilderungen. Das Motiv des Berges ist vielmehr Anstoss für das Evozieren psychischer Befindlichkeiten in der schicksalhaften Beziehung des Menschen zur Bergnatur. Mit dem Einsatz der Farbe, die in vielen, sich überlagernden Schichten das Gegenständliche nur vage andeutet, geht es um reine Malerei, um unauslotbare Bildräume und um ein mysteriöses, schillerndes Licht.
1984-05, Acryl auf Leinwand, ca. 170x120cm
This topic is always up to date. Not freedom is the winner but impertinence, which precedes with all his might.
For a play, Iphigenia in Tauris, I once designed a stage set with antique motifs. After the performance I have individual scenes from the big screen cut out, framed and painted the background to this.
Ce sujet est toujours d'actualité. Pas la liberté est le gagnant mais impertinence, qui précède de toutes ses forces.
Pour une pièce, Iphigénie en Tauride, une fois j' ai conçu un décor de théâtre avec des motifs antiques. Après le spectacle, j' ai découpé des scènes du grand écran, encadré et peint le fond à ce sujet.
Dieses Thema ist immer aktuell. Nicht Freiheit ist der Sieger sondern Frechheit, die mit aller Gewalt vorangeht.
Für ein Theaterstück, Iphigenie auf Tauris, habe ich einst ein Bühnenbild mit antiken Motivern gestaltet. Nach der Aufführung habe ich einzelne Szenen aus der großen Leinwand ausgeschnitten, gerahmt und den Hintergrund dazu gemalt.
"Sommer" - Öl auf Leinwand
bis jetzt:
www.flickriver.com/photos/150811378@N08/
more flickr projects you can find in my profile:
Baby Girl Boy Mädchen Junge Babywindel Gummihöschen Gummihose Windel Windeln Pampers Fixies Moltex Huggies Septa Mölny Hartmann Suprima Fotos Canon EOS 7D Photo Antik Museum Alte 1950 1960 1970 1980 1990 2000 2010 50iger 60iger 70iger 80iger 90iger Baby Art Clipart Einladung Einladungskarte Taufe Taufkarte Danksagung Babymotiv Wallpaper Hintergrund Poster Leinwand Zeichnung Malen Baby Born Kinder Kind Kunst Moderne Vergangenheit Geschichte Märchen Malen Zeischen Zeinen Zeichnung Portrait Pics Funny Pictures Babies cute free Download HD Qualität Images Newborn NUK Schnuller Sammeln Schnullersammeln Schnullersammlung schnullersammlung Schnullersammlungen Baby Nuckel Nucki Gerber smoczki soothers Sucette succhietti Sauger dummy soother Pacifier sut sucette tétine ciuccio succhiotto fopspeen smoczek chupeta napp Nuggi chupete pacificador dudlik emzik Pauli aus der Sendung mit der Maus Biene Maja Hello Kitty Winni Pooh Baby Blue Rose Donald Daisy Classic alt Classic New Trendline Freetyle Genius Color Happy Day Happy Kids Fashion Antik Alt Medic Pro Bibi Avent Baby Dream Babylove Nip MAM Neo Chicco Frank Nuby Tommee Tippee Babycare Baby one Real Edeka Rewe Kaufen DHL Hermes DPD GLS Amazon Deutsche Post Fußball Weltmeisterschaft Brasilien 2014 Deutschland Belgien Niederlande Frankreich England Italien Spanien Portugal USA Geers Schnullerfee Nuckelfee Nuckifee Fee Schnuller baum Schnuller Bäume
photodesign by allesandra TILLER
"Thoughtful Girl" - 2018
Acryl auf Leinwand - 70 X 100 cm
Großformatdrucke auf Leinwand - 140 X 200 cm
Mehr Infos über mich und meine künstlerische Arbeit gibt`s auf:
Acrylic on canvas - 70 X 100 cm
Largeformatprints on canvas 140 X 200 cm
More about me and my artwork you can find on:
Acryl auf Leinwand. 21" x 18" 2016 - 2019 www.saatchiart.com/art/Painting-Immer-neue-Sterne-immer-n...
Interrogation, um 1950
Öl auf Leinwand,
50,5 × 61 cm
Courtesy Ostrich Arts Ltd and Victoria Miro
Rego war 15, als sie Interrogation malte. In
diesem Werk ist die gesichtslose Bedrohung
durch einen Polizeistaat spürbar, der jede
Art von Opposition und individueller Freiheit
unterdrückt. Die Körperhaltung der Frau
sowie der gewählte Ausschnitt richten das
Augenmerk vor allem auf die psychologische
Komponente von Gewalt.
Egon Schiele, “Die kleine Stadt” III, 1913, Öl, weicher Bleistift auf Leinwand, Leopold Museum, Wien
Altro titolo - Another title: Tomasdorf III, 2024, Holz, Draht und Acryl
sites.google.com/view/fabioomero/artists
onlinecollection.leopoldmuseum.org/objekt/1-die-kleine-st...
1984-05, Acryl auf Leinwand, ca. 170x120cm
This topic is always up to date. Not freedom is the winner but impertinence, which precedes with all his might.
For a play, Iphigenia in Tauris, I once designed a stage set with antique motifs. After the performance I have individual scenes from the big screen cut out, framed and painted the background to this.
Ce sujet est toujours d'actualité. Pas la liberté est le gagnant mais impertinence, qui précède de toutes ses forces.
Pour une pièce, Iphigénie en Tauride, une fois j' ai conçu un décor de théâtre avec des motifs antiques. Après le spectacle, j' ai découpé des scènes du grand écran, encadré et peint le fond à ce sujet.
Dieses Thema ist immer aktuell. Nicht Freiheit ist der Sieger sondern Frechheit, die mit aller Gewalt vorangeht.
Für ein Theaterstück, Iphigenie auf Tauris, habe ich einst ein Bühnenbild mit antiken Motivern gestaltet. Nach der Aufführung habe ich einzelne Szenen aus der großen Leinwand ausgeschnitten, gerahmt und den Hintergrund dazu gemalt.
Martin van Meytens (1695 Stockholm - 1770 Vienna) - portrait of Maria Theresia as Queen of Hungary. 1759 datable, oil on canvas. Commission of the Academy 1759. GG-103
Martin von Meytens (1695 Stockholm - 1770 Wien). Bildnis Maria Theresias als Königin von Ungarn. 1759 datierbar, Öl auf Leinwand. Auftrag der Akademie 1759. GG-103
On the history of women's studies at the Academy of Fine Arts Vienna
1897
Conservative journalist A.F. Seligmann founded the art school for women and girls and taught there as a single teacher 16 students in the "Curs for head and act". 1898 expands the school: Tina Blau, a former teacher of the Munich artists association conducts 1.1.1898 a "Curs for landscape and still-life", which she held until 1915. Richard Kauffungen was nominated for sculpture, Ludwig Michalek led the "Curs for head and act" as well as an Radierkurs (etching course), Adolf Böhm the course for decorative and applied arts, Fabiani teaches ornamentation and style of teaching as well as "Modern home furnishings", Georg Klimt taught metalwork, Friedrich King wood cutting art and Hans Tichy from 1900 the drawing and painting from the living model. In all these teachers are moderate modern artists from the area of the Secession. The theoretical lectures are held in the company founded by Emil Zuckerkandl and Julius Tandler 1900 "Association of Austrian university lecturers Athenaeum", which had the task to be "an educational institution for members of the female sex". The first school year was completed with 64 students, the school is rapidly expanding, so that it forms 200-300 students annually within a few years. The steady growth is due to the restrictive attitude of the public schools of art (especially the academy) towards women, but also from the indiscriminate admission of which have been blamed all the private schools also on the part of women harshly, and just by women.
1904
The Academy of Fine Arts Vienna is one of the many requests for opening the Academy for students once again putting the old arguments against that women are rarely equipped with creative spirit in the field of great art and the other a "proliferation of dilettantism and a pushing back of male members" is to be feared. Just the idea of a joint education had "abhorred" the College. The Academy therefore advocates for the financial support of the art school for women and girls, and rejects the application for opening the academy for women unanimously. The main argument for the impossibility of the joint Aktzeichnens (nude drawing) and the need for a second Aktsaales (nude hall) is increasingly mentioned, which cannot be realized because lack of space and lack of money. Henni Lehmann (Artistic studies of women, Darmstadt 1913) countered the same argument in Germany: "The common nude studies of women and men can not be described as impossible as it is done in many places, without having shown any grievances". The objection of the Quorum of the Berlin University professors that no teacher could be forced to teach women at all in such delicate subjects is countered that the problem was easily solved by entrusting a lady the Aktunterricht (nude drawing) in ladies. Suitable artists were plentiful present. That the life drawing for a long time (until 1937) remained problematic, shows the application of the renowned sculptor Teresa F. Ries of 1931, in which she was offering the Academy her services for the purpose of the management of a yet to be affiliated department, where young girls separated from the young men could work under the direction of a woman. The application was not even put to a vote.
1912
The rector of the Munich Academy also does not believe in the inclusion of students (female ones): "... it is impossible, even with regard to the space conditions, apart from that that the aspirations of the artists who devote themselves to the arts especially are usually others than that of women..."
1913
No significant change in attitude can be found between the opinions of the Academies from 1904 and those of 1913.
1919
In the report from the College's meeting of the Academy of Fine Arts Vienna to the State Office of Internal Affairs and Teaching is communicated that against the requested admission there were no fundamental objections, but that the Academy is so limited in spatial relationship, that after the experiences of the last entrance exams not even the majority of gifted young artists, capable of studying, could be included, and therefore, in case of the admission of women to the study initially had to be made a considerable expansion. The State Office counters that a further delay in the admission of women to the academic study could not be justified and that approval is to allow at least temporarily in a narrow frame.
1920
The State Office for the Interior and Education officially approved the admission of women to study at the Academy of Fine Arts Vienna (since 1919 women were admitted to all faculties of the University of Vienna, with the exception of the Catholic and Protestant Theological Faculty).
A committee consisting of the professors Bacher, Delug, Schmutzer, and Jettmar Muellner claims that the Academy has never pronounced in principle against women's studies but have always only expressed reservations because of the cramped space and financial situation. As a complete novelty proves that no more concerns are raised with regard to coeducation. Men and women should compete in the entrance examination. In the winter semester 1920/21 will be included 14 women, of course, representing only a small minority in relation to the 250 male students.
1926/1927
In the new study regulations are for the first time mentioned Schüler (M) and Schülerinnen (F).
March 1927
Report of the Academy of Fine and Applied Arts about the experiences regarding the access of women to universities: ..."in past years it was thought for the education of women and girls by the Academy of Women for Liberal and Applied Art, which is also equipped with academic classes and by the State subsidized, sufficiently having taken precautions: during a period of almost seven years of study, it was probably possible to get a clear picture about the access applications of women, and about the degree course ... Of course, the number of female candidates in the painting is strongest, weaker in sculpture, and very low in the architecture. As much already now can be said, that in no way in terms of education in the new admissions the women are left behind the male candidates. During the study period, the female students are not in diligence and seriousness of studying behind their male colleagues. Particularly gratifying can be emphasized that because of the co-education of both sexes in common rooms in the individual schools a win-win situation for everybody was. In the master schools the College was repeatedly able also honouring women with academic prices. Subsuming, it should be emphasized that our experiences with the study of women in the Academy of Fine Arts were quite favorable."
The number of students (Studentinnen) increased from 5 % in the winter semester 1920/1921 till 1939/1940 to about 25 %. After the annexation of Austria to Nazi Germany, the number of students (Studentinnen) decreased. The proportion of female students rose after 1940 naturally, reached during the war years up to 70 % and amounted 1945/1946 to 65%. From 1946/1947 the number of students (Studentinnen) fell sharply again, so 1952/1953 only 20% of the students at the Academy were women. 1963/1964 there were, however, already 41% (278).
2002
Students (Studentinnen): 570 of 936 students
University professors (Universitätsprofessorinnen): 9 out of 29
Ao Univ. (extraordinary female professors) 2 of 12
Univ.Ass. (female university assistant) 18 of 41
Contract teachers (Vertragslehrerinnen): 3 of 7
Lecturer (Lehrbeautragte): 32 of 46
Almut Krapf
www.akbild.ac.at/Portal/organisation/uber-uns/Organisatio...
Acryl auf Leinwand 21" x 18" 24. Dezember 2021. www.saatchiart.com/art/Painting-K-nigsfeld-im-Schwarzwald...
Technik, Masse:
Öl auf Leinwand
150.00 x 190.00 cm
Das Gemälde gibt keine konkrete Berglandschaft wieder, es illustriert nicht eine topografisch zu lokalisierende alpine Gegend. Trotzdem stellt sich unweigerlich die Assoziation zu einer schroffen Berglandschaft ein – das Bild steht schlicht für die Vorstellung einer archaischen Gebirgslandschaft. Die subtile, strahlende Farbgebung der Felsformation mit fast transparent schillernden Rot-, Blau-, Grün- und Gelbtönen vor hell leuchtendem Grund steht in heftigem Kontrast zur opaken Dunkelheit, zum Schwarz des Himmels: Eine kraftvolle, spontane und intuitive Malerei voll innerer Bewegung und Dramatik, der man sich nicht zuletzt auf Grund des grossen Formates kaum entziehen kann.
Leinwand / canvas
Ausstellung "Rembrandt. Hoogstraten. Farbe und Illusion" / Exhibition "Rembrandt. Hoogstraten. Colour and Illusion". Kunsthistorisches Museum, Wien
Farbzauberer, 2008-01, 54x74cm,
Acryl auf Leinwand.
Color Wizard, 2008-01, 54x74cm,
Acrylic on canvas.
Painting from the palette -
the painting is from the remaining in the picture
palette emerged.
White, Black and in the middle
mixtures of the colors blue, yellow and red.
Malerei aus der Palette -
Das Gemälde ist aus der im Bild verbliebenen
Mal-Palette entstanden.
Weiß links und Schwarz rechts, in der Mitte
Mischungen der Farben Blau, Gelb und Rot.
Acryl auf Leinwand - Acrylic on Canvas
Ein neues Gemälde von mir. Inspiriert von einem Foto, dass ich hier gepostet habe: www.flickr.com/photos/olaf_weichert/2367142948/
A new painting by me, inspired by a photo, I have posted on flickr: www.flickr.com/photos/olaf_weichert/2367142948/
"Veranda mit vier Mädchen" L.A. 2005 - Original Öl auf Leinwand
Erinnerungen an August Macke 1887 - 1914
bis jetzt:
www.flickriver.com/photos/150811378@N08/
more flickr projects you can find in my profile:
Heinrich Friedrich Füger (1751 Heilbronn - 1818 Vienna)
Portrait of the son of the artist at the age of four years
1795 datatable
Oil on canvas
Donation Heinrich Füger 1878 GG-1022
Heinrich Friedrich Füger (1751 Heilbronn - 1818 Wien)
Bildnis des Sohnes des Künstlers im Alter von vier Jahren
1795 datierbar
Öl auf Leinwand
Schenkung Heinrich Füger 1878 GG-1022
On the history of women's studies at the Academy of Fine Arts Vienna
1897
Conservative journalist A.F. Seligmann founded the art school for women and girls and taught there as a single teacher 16 students in the "Curs for head and act". 1898 expands the school: Tina Blau, a former teacher of the Munich artists association conducts 1.1.1898 a "Curs for landscape and still-life", which she held until 1915. Richard Kauffungen was nominated for sculpture, Ludwig Michalek led the "Curs for head and act" as well as an Radierkurs (etching course), Adolf Böhm the course for decorative and applied arts, Fabiani teaches ornamentation and style of teaching as well as "Modern home furnishings", Georg Klimt taught metalwork, Friedrich King wood cutting art and Hans Tichy from 1900 the drawing and painting from the living model. In all these teachers are moderate modern artists from the area of the Secession. The theoretical lectures are held in the company founded by Emil Zuckerkandl and Julius Tandler 1900 "Association of Austrian university lecturers Athenaeum", which had the task to be "an educational institution for members of the female sex". The first school year was completed with 64 students, the school is rapidly expanding, so that it forms 200-300 students annually within a few years. The steady growth is due to the restrictive attitude of the public schools of art (especially the academy) towards women, but also from the indiscriminate admission of which have been blamed all the private schools also on the part of women harshly, and just by women.
1904
The Academy of Fine Arts Vienna is one of the many requests for opening the Academy for students once again putting the old arguments against that women are rarely equipped with creative spirit in the field of great art and the other a "proliferation of dilettantism and a pushing back of male members" is to be feared. Just the idea of a joint education had "abhorred" the College. The Academy therefore advocates for the financial support of the art school for women and girls, and rejects the application for opening the academy for women unanimously. The main argument for the impossibility of the joint Aktzeichnens (nude drawing) and the need for a second Aktsaales (nude hall) is increasingly mentioned, which cannot be realized because lack of space and lack of money. Henni Lehmann (Artistic studies of women, Darmstadt 1913) countered the same argument in Germany: "The common nude studies of women and men can not be described as impossible as it is done in many places, without having shown any grievances". The objection of the Quorum of the Berlin University professors that no teacher could be forced to teach women at all in such delicate subjects is countered that the problem was easily solved by entrusting a lady the Aktunterricht (nude drawing) in ladies. Suitable artists were plentiful present. That the life drawing for a long time (until 1937) remained problematic, shows the application of the renowned sculptor Teresa F. Ries of 1931, in which she was offering the Academy her services for the purpose of the management of a yet to be affiliated department, where young girls separated from the young men could work under the direction of a woman. The application was not even put to a vote.
1912
The rector of the Munich Academy also does not believe in the inclusion of students (female ones): "... it is impossible, even with regard to the space conditions, apart from that that the aspirations of the artists who devote themselves to the arts especially are usually others than that of women..."
1913
No significant change in attitude can be found between the opinions of the Academies from 1904 and those of 1913.
1919
In the report from the College's meeting of the Academy of Fine Arts Vienna to the State Office of Internal Affairs and Teaching is communicated that against the requested admission there were no fundamental objections, but that the Academy is so limited in spatial relationship, that after the experiences of the last entrance exams not even the majority of gifted young artists, capable of studying, could be included, and therefore, in case of the admission of women to the study initially had to be made a considerable expansion. The State Office counters that a further delay in the admission of women to the academic study could not be justified and that approval is to allow at least temporarily in a narrow frame.
1920
The State Office for the Interior and Education officially approved the admission of women to study at the Academy of Fine Arts Vienna (since 1919 women were admitted to all faculties of the University of Vienna, with the exception of the Catholic and Protestant Theological Faculty).
A committee consisting of the professors Bacher, Delug, Schmutzer, and Jettmar Muellner claims that the Academy has never pronounced in principle against women's studies but have always only expressed reservations because of the cramped space and financial situation. As a complete novelty proves that no more concerns are raised with regard to coeducation. Men and women should compete in the entrance examination. In the winter semester 1920/21 will be included 14 women, of course, representing only a small minority in relation to the 250 male students.
1926/1927
In the new study regulations are for the first time mentioned Schüler (M) and Schülerinnen (F).
March 1927
Report of the Academy of Fine and Applied Arts about the experiences regarding the access of women to universities: ..."in past years it was thought for the education of women and girls by the Academy of Women for Liberal and Applied Art, which is also equipped with academic classes and by the State subsidized, sufficiently having taken precautions: during a period of almost seven years of study, it was probably possible to get a clear picture about the access applications of women, and about the degree course ... Of course, the number of female candidates in the painting is strongest, weaker in sculpture, and very low in the architecture. As much already now can be said, that in no way in terms of education in the new admissions the women are left behind the male candidates. During the study period, the female students are not in diligence and seriousness of studying behind their male colleagues. Particularly gratifying can be emphasized that because of the co-education of both sexes in common rooms in the individual schools a win-win situation for everybody was. In the master schools the College was repeatedly able also honouring women with academic prices. Subsuming, it should be emphasized that our experiences with the study of women in the Academy of Fine Arts were quite favorable."
The number of students (Studentinnen) increased from 5 % in the winter semester 1920/1921 till 1939/1940 to about 25 %. After the annexation of Austria to Nazi Germany, the number of students (Studentinnen) decreased. The proportion of female students rose after 1940 naturally, reached during the war years up to 70 % and amounted 1945/1946 to 65%. From 1946/1947 the number of students (Studentinnen) fell sharply again, so 1952/1953 only 20% of the students at the Academy were women. 1963/1964 there were, however, already 41% (278).
2002
Students (Studentinnen): 570 of 936 students
University professors (Universitätsprofessorinnen): 9 out of 29
Ao Univ. (extraordinary female professors) 2 of 12
Univ.Ass. (female university assistant) 18 of 41
Contract teachers (Vertragslehrerinnen): 3 of 7
Lecturer (Lehrbeautragte): 32 of 46
Almut Krapf
www.akbild.ac.at/Portal/organisation/uber-uns/Organisatio...