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The New Order , 1941.
Offset lithograph.
Published cover for Arthur Szyk, The New Order, New York: G.P. Putnam's Sons, 1941.
Arthur Szyk was a graphic artist, book illustrator, stage designer and caricaturist. He was born into a Jewish family in Łódź, in the part of Poland which was under Russian rule in the 19th century. He always regarded himself both as a Pole and a Jew. From 1921, he lived and created his works mainly in France and Poland, and in 1937 he moved to the United Kingdom. In 1940 he settled permanently in the United States, where he was granted American citizenship in 1948.
Arthur Szyk became a renowned graphic artist and book illustrator as early as the interwar period – his works were exhibited and published not only in Poland, but also in France, the United Kingdom, Israel, and the United States. However, he gained real popularity through his war caricatures, in which, after the outbreak of World War II, he depicted the leaders of the Axis powers – mainly Adolf Hitler, Benito Mussolini and Emperor Hirohito. After the war, he also devoted himself to political issues, this time supporting the creation of Israel.
Szyk's work is characterized in its material content by social and political commitment, and in its formal aspect by its rejection of modernism and drawing on the traditions of medieval and renaissance painting, especially illuminated manuscripts from those periods. Unlike most caricaturists, Szyk always showed great attention to the coloristic effects and details in his works.
Today, Szyk is a well-known and often exhibited artist only in his last home country – the United States. In Europe, since the late 1990s exhibitions of his art has been mounted in the Polish cities of Kraków, Warsaw, and Łódź as well as in Berlin, Germany. The recent publication of a Polish-language edition Szyk's biography and public broadcasts of the documentary film "Arthur Szyk - Illuminator" (Marta Tv & Film, Telewizja Polska (Łódź), 2005) also have improved Szyk's stature in his mother country, Poland.
Oil and mixed media on cardboard; 34.7 49.9 cm.
Italian painter and stage designer, born in Udine. Full name Afro Balsadella, but is usually known as Afro; brother of the sculptor Mirko Balsadella (Mirko). Father a leading decorator. Studied at secondary schools specialising in art subjects in Florence and Venice, and had his first one-man exhibition at the Galleria del Milione, Milan, in 1932. Began by painting still lifes, landscapes, portraits and murals. Moved in 1938 to Rome. War service and in the Resistance 1940-4. Developed a near-abstract style in 1947-8 under the influence of Klee and late Cubism. Held regular exhibitions at the Catherine Viviano Gallery, New York, from 1950-68 and made frequent visits to the USA, developing a looser, more improvisatory abstract style partly under the influence of Gorky, Kline and de Kooning. Joined the group Otto with Birolli, Corpora, Moreni, Morlotti, Santomaso, Turcato and Vedova in 1952. Painted a mural for the UNESCO headquarters in Paris 1958. Awarded the City of Venice painting prize at the 1956 Venice Biennale and Second Prize at the 1959 Pittsburgh International; also designed sets and costumes for the ballet and the opera. His late works, from c.1970, had more precise shapes. Died in Zurich.
Published in:
Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, p.2
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Picasso frieze of the Col·legi d'Arquitectes de Catalunya on Plaça Nova, Barcelona, autonomous community Catalonia, Spain.
---quotation from en.wikipedia.org about Pablo Picasso:---
Pablo Ruiz y Picasso, known as Pablo Picasso (... 25 October 1881 – 8 April 1973) was a Spanish painter, sculptor, printmaker, ceramicist, and stage designer who spent most of his adult life in France. As one of the greatest and most influential artists of the 20th century, he is widely known for co-founding the Cubist movement, the invention of constructed sculpture, the co-invention of collage, and for the wide variety of styles that he helped develop and explore. Among his most famous works are the proto-Cubist Les Demoiselles d'Avignon (1907), and Guernica (1937), a portrayal of the German bombing of Guernica during the Spanish Civil War.
---end of quotation---
---quotation from en.wikipedia.org about Barcelona:---
Barcelona (...) is the capital of Catalonia and the second largest city in Spain, after Madrid, with a population of 1,620,943 within its administrative limits on a land area of 101.4 km² (39 sq mi). The urban area of Barcelona extends beyond the administrative city limits with a population of around 4.5 million within an area of 803 km² (310 sq mi), being the sixth-most populous urban area in the European Union after Paris, London, the Ruhr, Madrid and Milan. About five million people live in the Barcelona metropolitan area. It is also the largest metropolis on the Mediterranean Sea. It is located on the Mediterranean coast between the mouths of the rivers Llobregat and Besòs and is bounded to the west by the Serra de Collserola ridge (512 metres (1,680 ft)).
Founded as a Roman city, Barcelona became the capital of the County of Barcelona. After merging with the Kingdom of Aragon, Barcelona became the most important city of the Crown of Aragon. Besieged several times during its history, Barcelona has a rich cultural heritage and is today an important cultural centre and a major tourist destination. Particularly renowned are the architectural works of Antoni Gaudí and Lluís Domènech i Montaner, which have been designated UNESCO World Heritage Sites. The headquarters of the Union for the Mediterranean is located in Barcelona. The city is known for hosting the 1992 Summer Olympics as well as world-class conferences and expositions and also many international sport tournaments.
---end of quotation---
Costa Brava holiday April 2009.
Het Steen is a medieval fortress in the old city centre of Antwerp, Belgium, one of Europe's biggest ports. The surviving structure was built between 1200 and 1225 as a gateway to a larger castle of the Dukes of Brabant which was demolished in the 19th century. As the first stone fortress of Antwerp, Het Steen is Antwerp's oldest building and used to be its oldest urban centre. The words "Het Steen", are dutch for The Rock.
The first documented mention of Antwerp Castle dates back to the 12th century. However, there was a castle here as early as the Carolingian period in the 9th century. The first castle may have been built after the Viking incursions in the early Middle Ages; in 879 the Normans invaded Flanders. The Margraviate of Antwerp came into being around 974. The Duchy of Lower Lotharingia was part of the Holy Roman Empire, while on the opposite bank of the Scheldt lay the county of Flanders, which was subordinate to the king of France. From 1076 to 1100 Godfrey of Bouillon was the Margrave of Antwerp. Godfrey I, Count of Louvain, received the duchy in 1106. His great-grandson was Henry I, Duke of Brabant who received the Duchy of Brabant in 1183.
Previously known as Antwerpen Burcht (fortress), Het Steen gained its current name in around 1520, after significant rebuilding under Charles V. The rebuilding led to its being known first as "'s Heeren Steen" (the King's stone castle), and later simply as "Het Steen" (the stone castle). The Dutch word "steen" means "stone", and used to be used for "fortress" or "palace", as in the "Gravensteen" in Ghent, Belgium.
The fortress made it possible to control the access to the Scheldt, the river on whose bank it stands. It was used as a prison between 1303 and 1827. The largest part of the fortress, including dozens of historic houses and the oldest church of the city, was demolished in the 19th century when the quays were straightened to stop the silting up of the Scheldt. The remaining building, heavily changed, contains a shipping museum, with some old canal barges displayed on the quay outside.
In 1890 Het Steen became the museum of archeology and in 1952 an annex was added to house the museum of Antwerp maritime history, which in 2011 moved to the nearby Museum Aan de Stroom. Here is also a war memorial to the Canadian soldiers in World War II.
At the entrance to Het Steen is a bas-relief of Semini, above the archway, around 2nd century. Semini is the Scandinavian God of youth and fertility (with symbolic phallus)[citation needed]. A historical plaque near Het Steen explains that women of the town appealed to Semini when they desired children; the god was reviled by later religious clergy. Inhabitants of Antwerp previously referred to themselves as "children of Semini". An organization concerned with the historic preservation of Het Steen and Semini, Antwerp Komitee Semini in Ere (AKSIE), formed in 1986, holds annual celebrations at Het Steen as cultural events.
At the entrance bridge to the castle is a statue of a giant and two humans. It depicts the giant Lange Wapper who used to terrorise the inhabitants of the city in medieval times. Coordinates: 51.2227°N 4.3974°E
Richard Wagner's opera Lohengrin, which premiered in 1850, is set in Antwerp Castle around the year 933 under the reign of Henry the Fowler, with Elsa von Brabant as the main female protagonist and the swan knight Lohengrin, who magically appears on the river on a barge pulled by a swan when the king holds court hearing on the bank. Ludwig II of Bavaria had Neuschwanstein Castle designed by stage designers in 1869; its narrow rectangular inner courtyard is designed according to Wagner's stage directions for Antwerp Castle, with Elsa's wing on the left including the covered balcony on which she stands at the beginning of the second act.
© Licenced to London News Pictures. 15/9/14 Tower of London, London, UK. Tower of London Remembers the centenary of the outbreak of The Great War of 1914-1918 with an installation entitled 'Blood Swept Lands and Seas of Red', Created by ceramic artist Paul Cummins, with setting by stage designer Tom Piper, 888,246 ceramic poppies have progressively filled the Tower's moat with the last due to be placed on Armistice Day. The number reflects the number of British military fatalities during the war. Photo credit : Ian Homer/LNP
Oil on canvas; 203 x 143 cm.
Italian painter and stage designer. His interest in art was encouraged by his father, the art historian Umberto Gnoli, and his mother, the painter and ceramicist Annie de Garon, but his only training consisted of lessons in drawing and printmaking from the Italian painter and printmaker Carlo Alberto Petrucci (b 1881). After holding his first one-man exhibition in 1950, he studied stage design briefly in 1952 at the Accademia di Belle Arti in Rome; he enjoyed immediate success in this field, for example designing a production of William Shakespeare’s As You Like It for the Old Vic Theatre in London in 1955. He then began to live part-time in New York, where he began to work as an illustrator for magazines such as Sports Illustrated. During this period he drew inspiration from earlier art, especially from master printers such as Jacques Callot and Hogarth, from whom he derived his taste for compositions enlivened by large numbers of figures stylized to the point of caricature. In other works he emphasized the patterns of textiles or walls, boldly succumbing to the seduction of manual dexterity and fantasy in a style that was completely out of step with the prevailing trends of the 1950s.
David Hockney (Bradford, 9 juli 1937) is een Engels kunstenaar en een van de bekendste vertegenwoordigers van de popart. Zijn schilderij Portret van een kunstenaar (zwembad met twee figuren) uit 1972 werd in 2018 op een veiling verkocht voor 90 miljoen dollar (79 miljoen euro), op dat moment een recordbedrag voor een werk van een levende kunstenaar.
David Hockney (born 9 July 1937) is an English painter, draftsman, printmaker, stage designer, and photographer. As an important contributor to the pop art movement of the 1960s, he is considered one of the most influential British artists of the 20th century.
Hockney has owned residences and studios in Bridlington, and London, as well as two residences in California, where he has lived intermittently since 1964: one in the Hollywood Hills, one in Malibu, and an office and archives on Santa Monica Boulevard in West Hollywood, California.
On 15 November 2018, Hockney's 1972 work Portrait of an Artist (Pool with Two Figures) sold at Christie's auction house in New York City for $90 million (£70 million), becoming the most expensive artwork by a living artist sold at auction.This broke the previous record, set by the 2013 sale of Jeff Koons' Balloon Dog (Orange) for $58.4 million. Hockney held this record until 15 May 2019 when Koons reclaimed the honour selling his Rabbit for more than $91 million at Christie's in New York.
Gouache, watercolor, and pencil on paper; 41.9 x 29.5 cm.
Jörg Immendorff was one of the best known contemporary German painters; he was also a sculptor, stage designer and art professor. He studied at the Kunstakademie Düsseldorf under Joseph Beuys. The academy expelled him because of some of his left-wing political activities and neo-dadaist actions. From 1969 to 1980 he worked as an art teacher at a public school, and then as a free artist, holding visiting professorships all over Europe. In 1989 he became professor at the Städelschule in Frankfurt am Main and in 1996 he became professor at the Art Academy in Düsseldorf -- the same school that had dismissed him as a student.
His paintings are sometimes reminiscent of surrealism and often use irony and heavy symbolism to convey political ideas. He named one of his first acclaimed works "Hört auf zu malen!" ("Stop painting!"). He was a member of the German art movement Neue Wilde. Best known is his Cafe Deutschland series of sixteen large paintings (1977-1984) that were inspired by Renato Guttuso’s Caffè Greco; in these crowded colorful pictures, Immendorff had disco-goers symbolize the conflict between East and West Germany. Since the 1970s, he worked closely with the painter A. R. Penck from Dresden in East Germany. He created several stage designs, including two for the Salzburg Festival. In 1984 he opened the bar La Paloma in Hamburg St. Pauli and created a large bronze sculpture of Hans Albers there. He also contributed to the design of André Heller's avant-garde amusement park "Luna, Luna" in 1987. Immendorff created various sculptures; one spectacular example is a 25 m tall iron sculpture in the form of an oak tree trunk, erected in Riesa in 1999.
In 1997 he won the best endowed art prize in the world, the MARCO prize of the Museum of Contemporary Art in Monterrey, Mexico. In the following year he received the merit medal (Bundesverdienstkreuz) of the Federal Republic of Germany. He was a friend and the favorite painter of former German Chancellor Gerhard Schröder, who chose Immendorff to paint the official portrait of Schröder for the Bundeskanzlerleramt. The portrait, which was completed by Immendorff's assistants, was revealed to the public in January 2007; the massive work has ironic character, showing the former Chancellor in stern heroic pose, in the colors of the German flag, painted in the style of an icon, surrounded by little monkeys. These "painter monkeys" were a recurring theme in Immendorff's work, serving as an ironic commentary on the artist's business.
Immendorff was diagnosed with Lou Gehrig's disease in 1998. When he could not paint with his left hand any more, he switched to the right. As of 2006, he used a wheelchair full-time and did not paint anymore; instead he directed his assistants to paint following his instructions. On May 27, 2007, at age 61, he succumbed to the disease.
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Oil on canvas; 135.5 x 90.5 cm.
Eugene Berman Biography
(b St Petersburg, 4 Nov 1899; d Rome, 14 Dec 1972). Russian painter and stage designer. His family moved to Western Europe in 1908 and his basic training was in Germany, Switzerland and France (apart from a brief residence in St Petersburg in 1914–18, when he received lessons in art from the painter Pavel Naumov and the architect Sergey Gruzenberg). In 1919 he enrolled at the Académie Ranson in Paris, attending courses under Edouard Vuillard and Maurice Denis, and two years later he exhibited at the Galerie Druet, Paris. From the late 1930s Berman worked increasingly in the USA, creating designs for ballet and other musical productions, for example for the Music Festival in Hartford, CT, in 1936. In spite of his cosmopolitan background, Berman maintained close connections with Russian artists, critics and dancers, collaborating, for example, with Serge Lifar on the production of Icare in Monte Carlo in 1938.
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A view of the Grand Canal with Ca' Pesaro and the church of Sant Eustachio, Ca 1740.
Marieschi was born in Venice in 1696 as the son of an engraver, who died when he was eleven. He probably trained either with Gaspare Diziani or Canaletto, or both. According to his biography in Pellegrino Antonio Orlandi's Abecedario Pittorico, published in Venice in 1753, he spent some time in Germany, where he may have worked as a stage designer. He returned to Venice by 1731, when he is recorded as a scene-painter, and in 1735 he worked on the "effects" for the funeral in Fano of Maria Clementina Sobieska, wife of the Old Pretender. Under the influence of Marco Ricci and Luca Carlevarijs and encouraged by the success of Canaletto in the genre, he started to create capricci and vedute.
Ashmolean Museum, Oxford.
The Tower Of London remembers the First World War 1914-1918
The major art installation Blood Swept Lands and Seas of Red at the Tower of London, marked one hundred years since the first full day of Britain's involvement in the First World War. Created by ceramic artist Paul Cummins, with setting by stage designer Tom Piper, 888,246 ceramic poppies progressively filled the Tower's famous moat between 17 July and 11 November 2014. Each poppy represented a British military fatality during the war.
The poppies encircled the iconic landmark, creating not only a spectacular display visible from all around the Tower but also a location for personal reflection. The scale of the installation was intended to reflect the magnitude of such an important centenary and create a powerful visual commemoration.
All of the poppies that made up the installation were sold, raising millions of pounds which were shared equally amongst six service charities.
The Irish are blessed with poetry and with music. Many of the world’s most famous writers and poets and musicians are Irish:
Literature:
George Bernhard Shaw, born in Dublin in 1856, winner of the Nobel prize for Literature in 1925, who wrote, among others, the wonderful play “Pygmalion”, which later has been adapted by Austrian-American composer Frederick Loewe and US-American author and songwriter Alan Jay Lerner for the musical “My Fair Lady”, which has also become a famous movie in 1964 with the adorable actrice Audrey Hepburn and the brilliant actor Rex Harrison and colourful costumes by the great Cecil Beaton, English photographer, stage designer and graphic artist.
Oscar Wilde, born in Dublin in 1854, an interesting character in many aspects, a man, whom I daresay nobody has completely understood to this day, who has written such famous works as “Salomé”, which has been adapted by German composer Richard Strauss for his opera of the same name, furthermore “The Happy Prince and Other Stories”, which are wonderful fairytales he told his children, but have also been interpreted as signs of Wilde’s homosexuality in the choice of themes. Not be be forgotten: the only novel he ever wrote: “The Picture of Dorian Gray”, which is today deemed his most important work, which deals with a life in hedonism, with seeking for all possible pleasures, be they moral or immoral, and with the effects this can have on a man. A strong theme in this novel is Aestheticism.
Jonathan Swift, born in Dublin in 1667, whose novel “Gulliver’s Travels” is world famous. It is a satire on human nature, dealing with theme’s such as xenophobia, ignorance, stubbornness, stupidity and so on, with side blows for example on the court of King George I. and the war between England and France.
Others not to be forgotten: James Joyce (“Ulysses”, “Dubliners”), Bram Stoker (“Dracula”)
Music:
In general, the traditional Irish music is full of joy, but also sentimental and melancholic. It’s this mixture that makes it so alluring, so fascinating. Song and dance have been strong in the Irish since ancient times, they inherited it from their Celtic ancestors.
Riverdance: If you have ever seen the perfect choreography and coordination of the tap dancers, if you have ever heard the wonderful music, if you have ever felt the pure power lying in all this, then you will never forget all this, you will become addicted. This production full of mythical Celtic themes and dealing with the history of the Irish people is truly a masterpiece, composed by Bill Whelan. I refer in special to the performance in the Radio City Music Hall, New York, of which I own a DVD. Starring: Jean Butler, Colin Dunne, Maria Pagés, The Riverdance Irish Dance Troupe, The River Dance Orchestra, The Riverdance Singers, The Moscow Folk Ballet Co., Tarik Winston, Daniel B. Wooten, Eileen Ivers and Ivan Thomas.
Woven into the plot you can find the passion of Flamenco, perfectly displayed by dancer Maria Pagés.
Contemporary: Who hasn’t heard of Pop and Rock bands such as U2 with their lead singer Bono, The Boomtown Rats with their lead singer Bob Geldof, both of them being also socially active, trying to help create a better world for mankind, further The Corrs, The Cranberries and Boyzone. Also such famous singers as Enya and Sinéad O’Connor, the latter being very contended as to her religious and political statements in the past.
I could have written so much more about the Irish music and literature, but somewhere I had to draw the line.
Picture taken on a page of my atlas.
Oil on canvas; 300 x 400 cm.
Jörg Immendorff was one of the best known contemporary German painters; he was also a sculptor, stage designer and art professor. He studied at the Kunstakademie Düsseldorf under Joseph Beuys. The academy expelled him because of some of his left-wing political activities and neo-dadaist actions. From 1969 to 1980 he worked as an art teacher at a public school, and then as a free artist, holding visiting professorships all over Europe. In 1989 he became professor at the Städelschule in Frankfurt am Main and in 1996 he became professor at the Art Academy in Düsseldorf -- the same school that had dismissed him as a student.
His paintings are sometimes reminiscent of surrealism and often use irony and heavy symbolism to convey political ideas. He named one of his first acclaimed works "Hört auf zu malen!" ("Stop painting!"). He was a member of the German art movement Neue Wilde. Best known is his Cafe Deutschland series of sixteen large paintings (1977-1984) that were inspired by Renato Guttuso’s Caffè Greco; in these crowded colorful pictures, Immendorff had disco-goers symbolize the conflict between East and West Germany. Since the 1970s, he worked closely with the painter A. R. Penck from Dresden in East Germany. He created several stage designs, including two for the Salzburg Festival. In 1984 he opened the bar La Paloma in Hamburg St. Pauli and created a large bronze sculpture of Hans Albers there. He also contributed to the design of André Heller's avant-garde amusement park "Luna, Luna" in 1987. Immendorff created various sculptures; one spectacular example is a 25 m tall iron sculpture in the form of an oak tree trunk, erected in Riesa in 1999.
In 1997 he won the best endowed art prize in the world, the MARCO prize of the Museum of Contemporary Art in Monterrey, Mexico. In the following year he received the merit medal (Bundesverdienstkreuz) of the Federal Republic of Germany. He was a friend and the favorite painter of former German Chancellor Gerhard Schröder, who chose Immendorff to paint the official portrait of Schröder for the Bundeskanzlerleramt. The portrait, which was completed by Immendorff's assistants, was revealed to the public in January 2007; the massive work has ironic character, showing the former Chancellor in stern heroic pose, in the colors of the German flag, painted in the style of an icon, surrounded by little monkeys. These "painter monkeys" were a recurring theme in Immendorff's work, serving as an ironic commentary on the artist's business.
Immendorff was diagnosed with Lou Gehrig's disease in 1998. When he could not paint with his left hand any more, he switched to the right. As of 2006, he used a wheelchair full-time and did not paint anymore; instead he directed his assistants to paint following his instructions. On May 27, 2007, at age 61, he succumbed to the disease.
Giovanni Paolo Pannini or Panini was an Italian painter and architect, mainly known as one of the vedutisti or (veduta, or "view painters").
As a young man, Pannini trained in his native town of Piacenza as a stage designer. In 1711, he moved to Rome, where he studied drawing with Benedetto Luti and became famous as a decorator of palaces, including the Villa Patrizi (1718–1725) and the Palazzo de Carolis (1720). As a painter, Pannini is best known for his vistas of Rome, in which he took a particular interest in the city's antiquities. Among his most famous works are the interior of the Pantheon, and his vedute — paintings of picture galleries containing views of Rome. Most of his works, specially those of ruins have a substantial fanciful and unreal embellishment characteristic of capriccio themes.
In 1719, Pannini was admitted to the Congregazione dei Virtuosi al Pantheon. He taught in Rome at the Accademia di San Luca and the Académie de France, where he influenced Jean-Honoré Fragonard. His studio included Hubert Robert and his son Francesco Panini. His style would influence a number of other vedutisti, such as his pupil Antonio Joli, as well as Canaletto and Bernardo Bellotto, who sought to appease the need by visitors for painted "postcards" depicting the Italian environs.
Tempera and pastel on paper; 187 x 150 cm
Swiss painter, draughtsman, sculptor and stage designer. He took an apprenticeship as a draughtsman-architect (1924–7) and then studied at the Ecole des Arts et Métiers in Lucerne (1927–8). Between 1928 and 1929 he stayed for the first time in Paris, where he attended the Académie Julian. He continued his training at the Vereinigte Staatschulen für freie und angewandte Kunst, Berlin (1929–30). The works of this period are signed François Grècque, a pseudonym that shows his admiration for ancient Greek art, traces of which are found in his works. In the course of many visits to Paris between 1932 and 1934, he had contacts with many artists, including Brancusi, Alexander Calder, Kandinsky, Mondrian and Henry Moore, and he was strongly influenced by the works of Braque and Picasso. In October 1933 he joined the Abstraction–Création group. In 1935 he collaborated in the exhibition Thèse, antithèse, synthèse at the Kunstmuseum in Lucerne, and in the same year he won a competition organized by that city, which involved the creation of a fresco, The Three Graces of Lucerne, to decorate the railway station. Many official commissions for frescoes or mural reliefs followed.
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The Tower Of London remembers the First World War 1914-1918
The major art installation Blood Swept Lands and Seas of Red at the Tower of London, marked one hundred years since the first full day of Britain's involvement in the First World War. Created by ceramic artist Paul Cummins, with setting by stage designer Tom Piper, 888,246 ceramic poppies progressively filled the Tower's famous moat between 17 July and 11 November 2014. Each poppy represented a British military fatality during the war.
The poppies encircled the iconic landmark, creating not only a spectacular display visible from all around the Tower but also a location for personal reflection. The scale of the installation was intended to reflect the magnitude of such an important centenary and create a powerful visual commemoration.
All of the poppies that made up the installation were sold, raising millions of pounds which were shared equally amongst six service charities.
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Orignal picture size 4288 x 2848.This is reduced size photo.
en.wikipedia.org/wiki/Neuschwanstein_Castle
Neuschwanstein Castle
Neuschwanstein Castle (German: Schloss Neuschwanstein, pronounced [nɔʏˈʃvaːnʃtaɪn]) is a 19th-century Romanesque Revival palace on a rugged hill above the village of Hohenschwangau near Füssen in southwest Bavaria, Germany. The palace was commissioned by Ludwig II of Bavaria as a retreat and as a homage to Richard Wagner.
The palace was intended as a personal refuge for the reclusive king, but it was opened to the paying public immediately after his death in 1886. Since then over 60 million people have visited Neuschwanstein Castle.[2] More than 1.3 million people visit annually, with up to 6,000 per day in the summer.The palace has appeared prominently in several movies and was the inspiration for Disneyland's Sleeping Beauty Castle.
The municipality of Schwangau lies at an elevation of 800 m (2,620 ft) at the south west border of the German state of Bavaria. Its surroundings are characterized by the transition between the Alpine foothills in the south (towards the nearby Austrian border) and a hilly landscape in the north that appears flat by comparison. In the Middle Ages, three castles overlooked the village.
One was called Schwanstein Castle.[nb 1] In 1832 Ludwig's father King Maximilian II of Bavaria bought its ruins to replace them by the comfortable neo-Gothic palace known as Hohenschwangau Castle. Finished in 1837, the palace became his family's summer residence, and his elder son Ludwig (born 1845) spent a large part of his childhood here.[citation needed]
Vorderhohenschwangau Castle and Hinterhohenschwangau Castle[nb 2] sat on a rugged hill overlooking Schwanstein Castle, two nearby lakes (Alpsee and Schwansee), and the village. Separated only by a moat, they jointly consisted of a hall, a keep, and a fortified tower house.[4] In the 19th century only ruins remained of the medieval twin castles, but those of Hinterhohenschwangau served as a lookout place known as Sylphenturm.
The ruins above the family palace were known to the crown prince from his excursions. He first sketched one of them in his diary in 1859.[7] When the young king came to power in 1864, the construction of a new palace in place of the two ruined castles became the first in his series of palace building projects.[8] Ludwig himself called the new palace New Hohenschwangau Castle – only after his death was it renamed Neuschwanstein.[9] The confusing result is that Hohenschwangau and Schwanstein have effectively swapped names: Hohenschwangau Castle replaced the ruins of Schwanstein Castle, and Neuschwanstein Castle replaced the ruins of the two Hohenschwangau Castles.
Concept and ethos
Neuschwanstein embodies both the contemporaneous architectural fashion known as castle romanticism (German: Burgenromantik), and Ludwig II's immoderate enthusiasm for the operas of Richard Wagner.
In the 19th century many castles were constructed or reconstructed, often with significant changes to make them more picturesque. Palace-building projects similar to Neuschwanstein had been undertaken earlier in several of the German states and included Hohenschwangau Castle, Lichtenstein Castle, Hohenzollern Castle and numerous buildings on the River Rhine such as Stolzenfels Castle.[10] The inspiration for the construction of Neuschwanstein came from two journeys in 1867: One in May to the reconstructed Wartburg near Eisenach,[11] another in July to the Château de Pierrefonds, which Eugène Viollet-le-Duc was transforming from a ruined castle into a historistic palace.
The king saw both buildings as representatives of a romantic interpretation of the Middle Ages as well as the musical mythology of his friend Richard Wagner. Wagner's operas Tannhäuser and Lohengrin had made a lasting impression on him.
In February 1868 Ludwig's grandfather Ludwig I died, freeing the considerable sums that were previously spent on the abdicated king's appanage.[8][nb 4] This allowed him to start the architectural project of building a private refuge in the familiar landscape far from the capital Munich, so that he could live his idea of the Middle Ages.
Ludwig II (c.1868)
Richard Wagner (1871)
It is my intention to rebuild the old castle ruin of Hohenschwangau near the Pöllat Gorge in the authentic style of the old German knights' castles, and I must confess to you that I am looking forward very much to living there one day [...]; you know the revered guest I would like to accommodate there; the location is one of the most beautiful to be found, holy and unapproachable, a worthy temple for the divine friend who has brought salvation and true blessing to the world. It will also remind you of "Tannhäuser" (Singers' Hall with a view of the castle in the background), "Lohengrin'" (castle courtyard, open corridor, path to the chapel) [...].
– Ludwig II, Letter to Richard Wagner, May 1868[14]
The building design was drafted by the stage designer Christian Jank and realized by the architect Eduard Riedel.[15] For technical reasons the ruined castles could not be integrated into the plan. Initial ideas for the palace drew stylistically on Nuremberg Castle and envisaged a simple building in place of the old Vorderhohenschwangau Castle, but they were rejected and replaced by increasingly extensive drafts, culminating in a bigger palace modelled on the Wartburg.[16] The king insisted on a detailed plan and on personal approval of each draft.[17] His control went so far that the palace has been regarded as his own creation rather than that of the architects involved.[18]
Whereas contemporary architecture critics flouted Neuschwanstein, one of the last big palace building projects of the 19th century, as kitsch, Neuschwanstein and Ludwig II's other buildings are now counted among the major works of European historicism.[19][20] For financial reasons a project similar to Neuschwanstein – Falkenstein Castle – never left the planning stages.[21]
The palace can be regarded as typical for 19th century architecture. The shapes of Romanesque (simple geometric figures such as cuboids and semicircular arches), Gothic (upward-pointing lines, slim towers, delicate embellishments) and Byzantine architecture and art (the Throne Hall décor) were mingled in an eclectic fashion and supplemented with 19th century technical achievements. The Patrona Bavariae and Saint George on the court face of the Palas (main building) are depicted in the local Lüftlmalerei style, a fresco technique typical for Allgäu farmers' houses, while the unimplemented drafts for the Knights' House gallery foretell elements of Art Nouveau.[22] Characteristic for Neuschwanstein's design are theater themes: Christian Jank drew on coulisse drafts from his time as a scenic painter.[23]
The basic style was originally planned to be neo-Gothic but was primarily built in Romanesque style in the end. The operatic themes moved gradually from Tannhäuser and Lohengrin to Parcival.[24]
Construction
Neuschwanstein under construction: Bower still missing, Rectangular Tower under construction (photograph c.1882–85)
Neuschwanstein under construction: upper courtyard (photograph c.1886)
In 1868 the ruins of the medieval twin castles were demolished completely; the remains of the old keep were blown up.[25] The foundation stone for the Palas was laid on September 5, 1869; in 1872 its cellar was completed and in 1876 everything up to the first floor. But the Gatehouse was finished first. At the end of the year 1873 it was completed and fully furnished, allowing Ludwig to take provisional lodgings there and observe the further construction work.[24] In 1874 direction of the civil works passed from Eduard Riedel to Georg von Dollmann.[26] The topping out ceremony for the Palas was in 1880, and in 1884 the king could move into the new building. In the same year the direction of the project passed to Julius Hofmann, after Dollmann had fallen in disgrace.
The palace was erected as a conventional brick construction and later encased with other types of rock. The white lime stone used for the fronts came from a nearby quarry.[27] The sandstone bricks for the portals and bay windows came from Schlaitdorf in Württemberg. Marble from Untersberg near Salzburg was used for the windows, the arch ribs, the columns and the capitals. The Throne Hall was a later addition to the plans and required a steel framework.
The transport of building materials was facilitated by a scaffolding and a steam crane that lifted the material to the construction site. Another crane was used at the construction site itself. The recently founded Dampfkessel-Revisionsverein (Steam Boiler Inspection Association) regularly inspected both boilers.
Ludwig II (1886)
For about two decades the construction site was the principal employer of the region.[28] In 1880 about 200 craftsmen were occupied at the site, not counting suppliers and other persons indirectly involved in the construction. At times when the king insisted on particularly close deadlines and urgent changes, reportedly up to 300 workers per day were active, sometimes at night by the light of oil lamps. Statistics from the years 1879/1880 support an immense amount of building materials: 465 t (513 short tons) of Salzburg marble, 1,550 t (1,710 short tons) of sandstone, 400,000 bricks and 2,050 m3 (2,680 cu yd) of wood for the scaffolding.
In 1870 a society was founded for insuring the workers, for a low monthly fee, augmented by the king. The heirs of construction casualties (30 cases are mentioned in the statistics) received a small pension.
In 1884 the king could move into the (still unfinished) Palas,[30], and in 1885 he invited his mother Marie to Neuschwanstein on the occasion of her 60th birthday.[nb 5] By 1886 the external structure of the Palas (hall) was mostly finished.[30] In the same year, Ludwig had the first, wooden Marienbrücke over the Pöllat Gorge replaced by a steel construction.
Despite its size, Neuschwanstein did not have space for the royal court, but contained only the king's private lodging and servants' rooms. The court buildings served decorative, rather than residential purposes:[9] The palace was intended to serve Ludwig II as a kind of inhabitable theatrical setting.[30] As a temple of friendship it was also devoted to life and work of Richard Wagner, who died in 1883 before he had set foot in the building.[31] In the end, Ludwig II only lived in the palace for a total of 172 days.
en.wikipedia.org/wiki/Linderhof_Palace
Linderhof Palace (German: Schloss Linderhof) is a palace in Germany, near Oberammergau
КАЗИМЕЖ МИКУЛЬСКИЙ - Окно в сумерках
☆
Private collection.
Agra-Art Warsaw, Aukcja Sztuki Współczesnej, June 2020.
Sources: sztuka.agraart.pl/licytacja/452/26107
pl.m.wikipedia.org/wiki/Kazimierz_Mikulski
culture.pl/pl/tworca/kazimierz-mikulski
Kazimierz Mikulski (Kraków 1918 - Kraków 1998) began painting studies before World War II at the Academy of Fine Arts in Krakow, he continued it in 1939-1940 under the supervision of prof. Friedrich Pautsch in the Kunstgewerbeschule, created during the occupation in place of the Academy. After the war, he completed two-year acting studies at the Dramatic Studio at the Old Theater in Krakow and until 1948 he worked as an actor. At the same time, in 1945 he graduated from the Youth Film Workshop. In 1948-1979 he was the artistic director and stage designer of the Groteska Theater in Krakow, for which he designed dolls, costumes, decorations, etc. At the same time, he was constantly painting and working in the circle of Tadeusz Kantor, at first as a member of the Young Artists Group, and from 1957 in the Krakow Group, of which he was a co-founder and president in the years 1965-1967. He was also a member of the Cricot 2 theater group in the performances The Water Hen, Nadobnisie and Talapoin, The Dead Class and in his own play Circus. In his paintings from the second half 1940s the artist presented light, linear forms floating in empty spaces. It was both surreal and abstract painting. But already around 1950 he began painting in a characteristic way - rejecting abstraction, he presented countless variants and arrangements of several favorite motifs (head or figure of a woman-doll, cats, butterflies)
Collage, watercolor, India ink on paper; 33.5 x 25.3 cm.
By the time László Moholy-Nagy turned towards painting after graduating from law school and developed his own abstract style influenced by Malewitsch and El Lissitzky, it was inevitable that he would become one of the most important artists of Constructivism. He soon exposed himself in Hungary as the founder of the artist group "Ma", but left his home country after the failure of the revolution.
He moved to Berlin In 1920 where Gropius noticed him and invited him to join the "Bauhaus" in 1923. There Moholy-Nagy ran the metal class but also worked in all other areas of design in which he was equally influential. The artist published his ideas in the series of Bauhaus books, for example "Malerei, Fotografie, Film" (1925). Moholy-Nagy wanted an "experimental, functional artist […] who considers art as a laboratory for new forms of expression which were then supposed to be employed in all areas of modern life" (Karin Thomas).
The expectations of the age of technology and his new media led Moholy-Nagy to a functional use of Abstraction, which he managed to show in all areas of design and which guided him through different phases of experimenting. His varied oeuvre ranges from painting, photography, film, design and stage design to experiments with photograms which considerably influenced the development of light art and kinetic art. László Moholy-Nagy left the "Bauhaus" in 1928 together with Gropius and worked in Berlin as a stage designer, exhibition organiser, typographer and film producer. He emigrated to the USA in 1937 and ran the "New Bauhaus" in Chicago. Moholy-Nagy opened his own art institute, the "School of Design", in Chicago in 1938 and enlarged it in the following years by adding the faculties economics, psychology and information theory.
László Moholy-Nagy became severely ill and died one year later, in 1946.
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Blood Swept Lands and Seas of Red created by ceramic artist Paul Cummings , with setting by stage designer Tom Piper . 888,246 ceramic poppies surrounding the Tower of London , marking the centenary of the First World War
Arthur Szyk was a graphic artist, book illustrator, stage designer and caricaturist. He was born into a Jewish family in Łódź, in the part of Poland which was under Russian rule in the 19th century. He always regarded himself both as a Pole and a Jew. From 1921, he lived and created his works mainly in France and Poland, and in 1937 he moved to the United Kingdom. In 1940 he settled permanently in the United States, where he was granted American citizenship in 1948.
Arthur Szyk became a renowned graphic artist and book illustrator as early as the interwar period – his works were exhibited and published not only in Poland, but also in France, the United Kingdom, Israel, and the United States. However, he gained real popularity through his war caricatures, in which, after the outbreak of World War II, he depicted the leaders of the Axis powers – mainly Adolf Hitler, Benito Mussolini and Emperor Hirohito. After the war, he also devoted himself to political issues, this time supporting the creation of Israel.
Szyk's work is characterized in its material content by social and political commitment, and in its formal aspect by its rejection of modernism and drawing on the traditions of medieval and renaissance painting, especially illuminated manuscripts from those periods. Unlike most caricaturists, Szyk always showed great attention to the coloristic effects and details in his works.
Today, Szyk is a well-known and often exhibited artist only in his last home country – the United States. In Europe, since the late 1990s exhibitions of his art has been mounted in the Polish cities of Kraków, Warsaw, and Łódź as well as in Berlin, Germany. The recent publication of a Polish-language edition Szyk's biography and public broadcasts of the documentary film "Arthur Szyk - Illuminator" (Marta Tv & Film, Telewizja Polska (Łódź), 2005) also have improved Szyk's stature in his mother country, Poland.
"LONDON: KIBOSH ON THE OPTIC" by Anthony Cox
in "Art and Artists" November, 1966
-- Page 62
LONDON
KIBOSH ON THE OPTIC?
AS A NEW YORKER, and over-stepped in the
ripe vegetarian of which the art world
there is composed, there seemed an
attraction in the recent host-house events
taking place on the London art scene.
No doubt there is a current in the air;
what has been described to me by one
young artist as an effort to 'put the
Ki bosh on the optic.' But it hasn't been
measured yet, and, as one knows,
measurement is the elusive but necessary
first step in making discoveries.
I trust that the London scene, as
looked at through the world of gal-
leries is only off to a show start and that
lurking about somewhere there must be at
least a couple of dark horses who are
now exercising their mental muscles in
secret. If there is so, will the gallery world
discover them? If not, will it simply be
left with the unusual bill of fare? And, if it
is, what is wrong with that?
Nothing really. At least one will have
a greater dissemination of ideas that come
from another source, whether it's your
own past or someone else's. Why the need
for a damper? On the other hand, there
could be a situation developing, like a
good compost heap, which might become
fertile ground for new plants.
Could this be the year that McLuhan
will be put to use? If the artist's position,
according to McLuhan, is to prepare us
for the future then one must be ready to
be confronted with the unknown. This
doesn't mean the only good art is un-
known, but it doesn't mean that the future
couldn't take place in London as well as
anywhere else either. McLuhan does,
after all, have certain roots in this country.
Just as there is a danger in only looking
for that which is unheard of, so there is a
danger in only looking for minute refine-
ments that indicate the slight differences
from one style to another, or even from
one painter to another in the same style.
In this refinement-sense, one paradox
that I have seen in London is the attitude
expressed towards two artists who appear
in the Group H show at the Drian
Galleries: John Latham, whose work has
been referred to as 'codswallop', and who
hasn't had a major showing here since
1962 and Jeff Nuthall who hasn't been
shown before. apparently their works are
considered offensive, but why the stir?
Latham hangs quite serenely in New York's
Museum of Modern Art with several
of the gods is considered a very refined
example of British art there. Nuthall
(England's answer to Bruce Conner), had
a big box stuffed with bloody bedding
that was a polished steal at £1,500. The
show was exciting for at least there was
some energy expressed in it, as in David
Warren's grotesque emulation of Bacon.
With the recent foray into the world of
the mind, most of Scottie Wilson's early
works and some of his recent, express
that quiet but bizzare state that takes
place in an illusion. He is at the Brook
Street Gallery.
Antony Donaldson's imprisoned fig-
ures at the Rowan Gallery reflect a gently
mysterious kind of Op-Pop; they leave
the viewer to decide where they are on
the canvas, as if the rest of the scene is
enveloped in a fog. in Sundry Alliance
this is brought out in the 'op' effect, lost
in the 'pop' (symbolic triple version); is it
the night before, or the morning after?
the least successful works here are those
where the structure takes over.
If there is a mystique to be found in Op
aer where would it be? In Jeffery Steele's
Sub Rosa one can see something in the
painting that looks like an underlying
structure - what might be described as a
kind of muse; it can be examined, it
remains the same, it acts like a bridge,
rather than a baseball bat. Segments of
a greater whole here are building up to
something, as if you blew up the shadow
of the birthmark on a certain venus. He
may be seen at McRoberts and Tunnard,
opening on the 8th of the month.
Gallery dealers take a lot of abuse.
Here is a job with all the strain of Wall
Street and none of the kicks. To find out
what made a great, as well as articulate
- described as a litterateur - dealer tick,
one might read Diary of an Art Dealer by
René Gimpel. Some of the works anec-
doted in this volume will be exhibited in
'Homage to René Gimpel' at the Gimpel
Fils Gallery. Not Rembrandt's Aristotle
however ('a painter must never indulge
in the theatrical' advised Gimpel père),
that's in the Metropolitan Museum, New
York, but there will be Degas, Fragonard,
Cassatt, Renoir, as well as Soutine and a
controversial self-portrait by Poussin,
along with lots of original and rarely
published manuscripts.
Critic and stage designer, as well as a
remarkable colourist with an incisive
sense of vision, Robin Ironside was self-
taught and a continual threat to his time
with his radical ideas, such as: 'formal
relations have absolutely no value in a
picture, and colour is about as important
as your carpet or wallpaper.' A memorial
to a man who was convinced that formal
training was a drawback to the imagina-
tion, the show is opening to November
30 at the New Art Centre.
Sculptures by Max Bill, shown for the
first time in this country, are on view at
the Hanover Gallery. Most of them are
smooth exercises in stone and metal, in
odd contrast to his painting which is more
stimulating in use of colour.
The Leicester Galleries, a grand old
standby, is showing prints of 19th and
20th century masters, including: three
generations of Pissaro (Caille, Lucien
and Orovida - who is still living); early
etchings by Augustus John, one of which
is a self-portrait; two rare prints by
C. R. W. Nevinson, one of the official
First World War artists, and a self-portrait
by Paul Nash. Many others are included
among some 300-odd prints in the show.
The work of Calliyannis, the Greek Ex-
pressionist painter now living in Paris, is
also being exhibited at the same time.
In the group show at the Grabowski
Gallery are Abrahams, Chilton and
Sandle. The graphic assemblages by
Sandle are an interesting metamorphosis
from machines to machine-clouds that
seem to cry.
The Hamilton Galleries has, among
other things, a very interesting people-hole
in the wall, a good eye cleaner when one
is taking in several transitions a day,
which should not be missed. Further
explanation would ruin the point, but I
strongly advise a visit there to get the
experience first-hand.
ANTHONY COX
Calliyannis The Massacre of Chios (after
Delacroix) Oil on canvas 63 1/4" x 51 1/4"
The Leicester Galleries
Augustus John Self-portrait in an oval
Etching
The Leicester Galleries
-- Page 63
Jeffrey Steele Sub Rosa 1966 Oil on canvas 48" x 36" McRoberts and Tunnard Gallery
Art and Artists
Volume One, Number Eight
November 1966
Edited by Mario Amaya
London: Hansom Books, 1966
Private collection of Mikihiko Hori
This playbill of Merrill Denison's 'Marsh Hay' is from the Playwright's Workshop Theatre in Montreal c1973. It is a nationally mandated Canadian play development organization and a professional theatre centre dedicated to the development of contemporary Canadian work and new writers for the stage. It was founded in 1963 and incorporated in 1966.
Playwright of realistic dramas and satire born in Detroit, Michigan, 1893, died in San Diego, California, 1975. Merrill Denison is considered to be one of Canada's first important 20th century playwrights.
He graduated from the University of Toronto, and then studied architecture in the US. In 1921, Roy Mitchell invited him to Hart House Theatre as a stage designer and art director.
His one-act play, Brothers in Arms was produced at Hart House Theatre in 1921, and went on to become one of the most often produced English-Canadian dramas. Set in the Ontario bush, it comprises a satiric debate between a pompous Major and an uneducated backwoodsman on war, industry and responsibility. It was published in the anthology The Unheroic North (Toronto: McClelland & Stewart, 1923), which also included one of his most important works, Marsh Hay . The latter was produced in 1974 and professionally at the Shaw Festival in 1996.
In 1932, Denison returned to the US to work for CBS and NBC in radio drama , and wrote stage and radio plays with an historical focus. His works for "The Romance of Canada" series, commissioned in 1929 by Canadian National Railways, were directed by Tyrone Guthrie . Six of these plays were published in the anthology, Henry Hudson and Other Plays (1931). For US networks, he wrote a forty-week series called "Great Moments in History" (1932-33), "America's Hour" (1936) and other programs which examined freedom and democracy.
After the death of his first wife, he returned to Canada in 1954, living in Montreal and on his estate with his second wife in eastern Ontario.
Source: Sister Geraldine Anthony . "Denison, Merrill," The Oxford Companion to Canadian Theatre. Toronto: Oxford UP, 1989.
Part of the Bon Echo Provincial Park Album
Note: Commercial use of this image is prohibited without CDHS permission. All CDHS Flickr content is available for personal use providing our Rights Statement is followed:
Watercolor; 720 x 520 mm
German architect, painter, and designer, active mainly in Berlin. Schinkel was the greatest German architect of the 19th century, but until 1815, when he gained a senior appointment in the Public Works Department of Prussia (from which position he effectively redesigned Berlin), he worked mainly as a painter and stage designer. His paintings are highly Romantic landscapes somewhat in the spirit of Friedrich, although more anecdotal in detail (Gothic Cathedral by a River, Staatliche Museen, Berlin, 1813-14). He continued working as a stage designer until the 1830s, and in this field ranks among the greatest artists of his period. His most famous designs were for Mozart's The Magic Flute (1815), in which he combined the clarity and logic of his architectural style with a feeling of mystery and fantasy.
Wednesday 10 July at 6pm and 8pm, Thursday 11 July at 7pm, £15.
Garrick, Bank Street, Whitefield, M45 7JF.
A tower of lyrical excellence, cover such universal themes as procreation and conception, passage of time and mortality, jealousy and love, beauty and erotica. The first section is addressed to a young man; the second focuses on the 'dark lady'; other sonnets express the speaker's view regarding loneliness, old age, force of nature etc. These themes - like their dramatic equivalents - are relevant for all places, times, societies and cultures. "Shakespeare's Sonnets: Poetry-Theatre on Love and Creation" – is a unique theatrical work of Shakespeare's lyrical creation of the sonnets adapted for stage. It is not an ordinary poetry reading event! The songs are transformed into dramatic pieces; the stage interpretation of main themes creates a new sort of theatrical language.
By: William Shakespeare; Translator: Shimon Zandbank; Director: Meir Ben Simon; Stage Designer: Zohar Elmaliah; Costume Designer: Rona Mishol; Music: Nadav Vikinski; Choreography: Omer Shemer; Lighting Designer: Michael Eliezer; Artistic Consultant: Roi Shulberg; Cast: Yoav Amir, Reut Berda-Levy, Odelya Dadoun, Debbie Levin, Gal Shamai.
This show is performed in Hebrew with an English introduction.
Trailer: youtu.be/4q-PQLjTyhY
Interview: youtu.be/AfRhoRH0FuE
Antique Center of Red Bank
226 West Front Street, Red Bank, NJ 07701
Phone: (732) 842-4336
We pride ourselves as a family of dealers dedicated to providing those hard to find treasures, collectibles, jewelry and furnishings. The Red Bank Antique Center has been the destination for designers, collectors, movie & stage designers and dealers for over 40 years. The center was started in 1964 by the Johnson family as a permanent antique show with 12 dealers. Today it has grown to over 100 dealers in two building in the heart of the Red Bank Historical District located 1/2 mile from the shoreline of the Navesink River. Operated by Guy Johnson, we have grown to be the largest antique district in New Jersey.
Ferdynand Ruszczyc h. Lis (1870–1936) was a famous painter, printmaker, and stage designer from Polish and Danish family
GERMANY PHOTO STORIES TRAVEL STORES PLACES STORIES
NEUSCHWANTEIN CASTLE & LINDERHOF PALACE PARK & LANDSCAPES
All rights reserved copyright 2009 © sundeep.com.co.in
phototube.co sundeepkullu.weebly.com
Affiliation himachalculturalvillage.com hcv.weebly.com
Orignal picture size 4288 x 2848.This is reduced size photo.
en.wikipedia.org/wiki/Neuschwanstein_Castle
Neuschwanstein Castle
Neuschwanstein Castle (German: Schloss Neuschwanstein, pronounced [nɔʏˈʃvaːnʃtaɪn]) is a 19th-century Romanesque Revival palace on a rugged hill above the village of Hohenschwangau near Füssen in southwest Bavaria, Germany. The palace was commissioned by Ludwig II of Bavaria as a retreat and as a homage to Richard Wagner.
The palace was intended as a personal refuge for the reclusive king, but it was opened to the paying public immediately after his death in 1886. Since then over 60 million people have visited Neuschwanstein Castle.[2] More than 1.3 million people visit annually, with up to 6,000 per day in the summer.The palace has appeared prominently in several movies and was the inspiration for Disneyland's Sleeping Beauty Castle.
The municipality of Schwangau lies at an elevation of 800 m (2,620 ft) at the south west border of the German state of Bavaria. Its surroundings are characterized by the transition between the Alpine foothills in the south (towards the nearby Austrian border) and a hilly landscape in the north that appears flat by comparison. In the Middle Ages, three castles overlooked the village.
One was called Schwanstein Castle.[nb 1] In 1832 Ludwig's father King Maximilian II of Bavaria bought its ruins to replace them by the comfortable neo-Gothic palace known as Hohenschwangau Castle. Finished in 1837, the palace became his family's summer residence, and his elder son Ludwig (born 1845) spent a large part of his childhood here.[citation needed]
Vorderhohenschwangau Castle and Hinterhohenschwangau Castle[nb 2] sat on a rugged hill overlooking Schwanstein Castle, two nearby lakes (Alpsee and Schwansee), and the village. Separated only by a moat, they jointly consisted of a hall, a keep, and a fortified tower house.[4] In the 19th century only ruins remained of the medieval twin castles, but those of Hinterhohenschwangau served as a lookout place known as Sylphenturm.
The ruins above the family palace were known to the crown prince from his excursions. He first sketched one of them in his diary in 1859.[7] When the young king came to power in 1864, the construction of a new palace in place of the two ruined castles became the first in his series of palace building projects.[8] Ludwig himself called the new palace New Hohenschwangau Castle – only after his death was it renamed Neuschwanstein.[9] The confusing result is that Hohenschwangau and Schwanstein have effectively swapped names: Hohenschwangau Castle replaced the ruins of Schwanstein Castle, and Neuschwanstein Castle replaced the ruins of the two Hohenschwangau Castles.
Concept and ethos
Neuschwanstein embodies both the contemporaneous architectural fashion known as castle romanticism (German: Burgenromantik), and Ludwig II's immoderate enthusiasm for the operas of Richard Wagner.
In the 19th century many castles were constructed or reconstructed, often with significant changes to make them more picturesque. Palace-building projects similar to Neuschwanstein had been undertaken earlier in several of the German states and included Hohenschwangau Castle, Lichtenstein Castle, Hohenzollern Castle and numerous buildings on the River Rhine such as Stolzenfels Castle.[10] The inspiration for the construction of Neuschwanstein came from two journeys in 1867: One in May to the reconstructed Wartburg near Eisenach,[11] another in July to the Château de Pierrefonds, which Eugène Viollet-le-Duc was transforming from a ruined castle into a historistic palace.
The king saw both buildings as representatives of a romantic interpretation of the Middle Ages as well as the musical mythology of his friend Richard Wagner. Wagner's operas Tannhäuser and Lohengrin had made a lasting impression on him.
In February 1868 Ludwig's grandfather Ludwig I died, freeing the considerable sums that were previously spent on the abdicated king's appanage.[8][nb 4] This allowed him to start the architectural project of building a private refuge in the familiar landscape far from the capital Munich, so that he could live his idea of the Middle Ages.
Ludwig II (c.1868)
Richard Wagner (1871)
It is my intention to rebuild the old castle ruin of Hohenschwangau near the Pöllat Gorge in the authentic style of the old German knights' castles, and I must confess to you that I am looking forward very much to living there one day [...]; you know the revered guest I would like to accommodate there; the location is one of the most beautiful to be found, holy and unapproachable, a worthy temple for the divine friend who has brought salvation and true blessing to the world. It will also remind you of "Tannhäuser" (Singers' Hall with a view of the castle in the background), "Lohengrin'" (castle courtyard, open corridor, path to the chapel) [...].
– Ludwig II, Letter to Richard Wagner, May 1868[14]
The building design was drafted by the stage designer Christian Jank and realized by the architect Eduard Riedel.[15] For technical reasons the ruined castles could not be integrated into the plan. Initial ideas for the palace drew stylistically on Nuremberg Castle and envisaged a simple building in place of the old Vorderhohenschwangau Castle, but they were rejected and replaced by increasingly extensive drafts, culminating in a bigger palace modelled on the Wartburg.[16] The king insisted on a detailed plan and on personal approval of each draft.[17] His control went so far that the palace has been regarded as his own creation rather than that of the architects involved.[18]
Whereas contemporary architecture critics flouted Neuschwanstein, one of the last big palace building projects of the 19th century, as kitsch, Neuschwanstein and Ludwig II's other buildings are now counted among the major works of European historicism.[19][20] For financial reasons a project similar to Neuschwanstein – Falkenstein Castle – never left the planning stages.[21]
The palace can be regarded as typical for 19th century architecture. The shapes of Romanesque (simple geometric figures such as cuboids and semicircular arches), Gothic (upward-pointing lines, slim towers, delicate embellishments) and Byzantine architecture and art (the Throne Hall décor) were mingled in an eclectic fashion and supplemented with 19th century technical achievements. The Patrona Bavariae and Saint George on the court face of the Palas (main building) are depicted in the local Lüftlmalerei style, a fresco technique typical for Allgäu farmers' houses, while the unimplemented drafts for the Knights' House gallery foretell elements of Art Nouveau.[22] Characteristic for Neuschwanstein's design are theater themes: Christian Jank drew on coulisse drafts from his time as a scenic painter.[23]
The basic style was originally planned to be neo-Gothic but was primarily built in Romanesque style in the end. The operatic themes moved gradually from Tannhäuser and Lohengrin to Parcival.[24]
Construction
Neuschwanstein under construction: Bower still missing, Rectangular Tower under construction (photograph c.1882–85)
Neuschwanstein under construction: upper courtyard (photograph c.1886)
In 1868 the ruins of the medieval twin castles were demolished completely; the remains of the old keep were blown up.[25] The foundation stone for the Palas was laid on September 5, 1869; in 1872 its cellar was completed and in 1876 everything up to the first floor. But the Gatehouse was finished first. At the end of the year 1873 it was completed and fully furnished, allowing Ludwig to take provisional lodgings there and observe the further construction work.[24] In 1874 direction of the civil works passed from Eduard Riedel to Georg von Dollmann.[26] The topping out ceremony for the Palas was in 1880, and in 1884 the king could move into the new building. In the same year the direction of the project passed to Julius Hofmann, after Dollmann had fallen in disgrace.
The palace was erected as a conventional brick construction and later encased with other types of rock. The white lime stone used for the fronts came from a nearby quarry.[27] The sandstone bricks for the portals and bay windows came from Schlaitdorf in Württemberg. Marble from Untersberg near Salzburg was used for the windows, the arch ribs, the columns and the capitals. The Throne Hall was a later addition to the plans and required a steel framework.
The transport of building materials was facilitated by a scaffolding and a steam crane that lifted the material to the construction site. Another crane was used at the construction site itself. The recently founded Dampfkessel-Revisionsverein (Steam Boiler Inspection Association) regularly inspected both boilers.
Ludwig II (1886)
For about two decades the construction site was the principal employer of the region.[28] In 1880 about 200 craftsmen were occupied at the site, not counting suppliers and other persons indirectly involved in the construction. At times when the king insisted on particularly close deadlines and urgent changes, reportedly up to 300 workers per day were active, sometimes at night by the light of oil lamps. Statistics from the years 1879/1880 support an immense amount of building materials: 465 t (513 short tons) of Salzburg marble, 1,550 t (1,710 short tons) of sandstone, 400,000 bricks and 2,050 m3 (2,680 cu yd) of wood for the scaffolding.
In 1870 a society was founded for insuring the workers, for a low monthly fee, augmented by the king. The heirs of construction casualties (30 cases are mentioned in the statistics) received a small pension.
In 1884 the king could move into the (still unfinished) Palas,[30], and in 1885 he invited his mother Marie to Neuschwanstein on the occasion of her 60th birthday.[nb 5] By 1886 the external structure of the Palas (hall) was mostly finished.[30] In the same year, Ludwig had the first, wooden Marienbrücke over the Pöllat Gorge replaced by a steel construction.
Despite its size, Neuschwanstein did not have space for the royal court, but contained only the king's private lodging and servants' rooms. The court buildings served decorative, rather than residential purposes:[9] The palace was intended to serve Ludwig II as a kind of inhabitable theatrical setting.[30] As a temple of friendship it was also devoted to life and work of Richard Wagner, who died in 1883 before he had set foot in the building.[31] In the end, Ludwig II only lived in the palace for a total of 172 days.
en.wikipedia.org/wiki/Linderhof_Palace
Linderhof Palace (German: Schloss Linderhof) is a palace in Germany, near Oberammergau
GERMANY PHOTO STORIES TRAVEL STORES PLACES STORIES
NEUSCHWANTEIN CASTLE & LINDERHOF PALACE PARK & LANDSCAPES
All rights reserved copyright 2009 © sundeep.com.co.in
phototube.co sundeepkullu.weebly.com
Affiliation himachalculturalvillage.com hcv.weebly.com
Orignal picture size 4288 x 2848.This is reduced size photo.
en.wikipedia.org/wiki/Neuschwanstein_Castle
Neuschwanstein Castle
Neuschwanstein Castle (German: Schloss Neuschwanstein, pronounced [nɔʏˈʃvaːnʃtaɪn]) is a 19th-century Romanesque Revival palace on a rugged hill above the village of Hohenschwangau near Füssen in southwest Bavaria, Germany. The palace was commissioned by Ludwig II of Bavaria as a retreat and as a homage to Richard Wagner.
The palace was intended as a personal refuge for the reclusive king, but it was opened to the paying public immediately after his death in 1886. Since then over 60 million people have visited Neuschwanstein Castle.[2] More than 1.3 million people visit annually, with up to 6,000 per day in the summer.The palace has appeared prominently in several movies and was the inspiration for Disneyland's Sleeping Beauty Castle.
The municipality of Schwangau lies at an elevation of 800 m (2,620 ft) at the south west border of the German state of Bavaria. Its surroundings are characterized by the transition between the Alpine foothills in the south (towards the nearby Austrian border) and a hilly landscape in the north that appears flat by comparison. In the Middle Ages, three castles overlooked the village.
One was called Schwanstein Castle.[nb 1] In 1832 Ludwig's father King Maximilian II of Bavaria bought its ruins to replace them by the comfortable neo-Gothic palace known as Hohenschwangau Castle. Finished in 1837, the palace became his family's summer residence, and his elder son Ludwig (born 1845) spent a large part of his childhood here.[citation needed]
Vorderhohenschwangau Castle and Hinterhohenschwangau Castle[nb 2] sat on a rugged hill overlooking Schwanstein Castle, two nearby lakes (Alpsee and Schwansee), and the village. Separated only by a moat, they jointly consisted of a hall, a keep, and a fortified tower house.[4] In the 19th century only ruins remained of the medieval twin castles, but those of Hinterhohenschwangau served as a lookout place known as Sylphenturm.
The ruins above the family palace were known to the crown prince from his excursions. He first sketched one of them in his diary in 1859.[7] When the young king came to power in 1864, the construction of a new palace in place of the two ruined castles became the first in his series of palace building projects.[8] Ludwig himself called the new palace New Hohenschwangau Castle – only after his death was it renamed Neuschwanstein.[9] The confusing result is that Hohenschwangau and Schwanstein have effectively swapped names: Hohenschwangau Castle replaced the ruins of Schwanstein Castle, and Neuschwanstein Castle replaced the ruins of the two Hohenschwangau Castles.
Concept and ethos
Neuschwanstein embodies both the contemporaneous architectural fashion known as castle romanticism (German: Burgenromantik), and Ludwig II's immoderate enthusiasm for the operas of Richard Wagner.
In the 19th century many castles were constructed or reconstructed, often with significant changes to make them more picturesque. Palace-building projects similar to Neuschwanstein had been undertaken earlier in several of the German states and included Hohenschwangau Castle, Lichtenstein Castle, Hohenzollern Castle and numerous buildings on the River Rhine such as Stolzenfels Castle.[10] The inspiration for the construction of Neuschwanstein came from two journeys in 1867: One in May to the reconstructed Wartburg near Eisenach,[11] another in July to the Château de Pierrefonds, which Eugène Viollet-le-Duc was transforming from a ruined castle into a historistic palace.
The king saw both buildings as representatives of a romantic interpretation of the Middle Ages as well as the musical mythology of his friend Richard Wagner. Wagner's operas Tannhäuser and Lohengrin had made a lasting impression on him.
In February 1868 Ludwig's grandfather Ludwig I died, freeing the considerable sums that were previously spent on the abdicated king's appanage.[8][nb 4] This allowed him to start the architectural project of building a private refuge in the familiar landscape far from the capital Munich, so that he could live his idea of the Middle Ages.
Ludwig II (c.1868)
Richard Wagner (1871)
It is my intention to rebuild the old castle ruin of Hohenschwangau near the Pöllat Gorge in the authentic style of the old German knights' castles, and I must confess to you that I am looking forward very much to living there one day [...]; you know the revered guest I would like to accommodate there; the location is one of the most beautiful to be found, holy and unapproachable, a worthy temple for the divine friend who has brought salvation and true blessing to the world. It will also remind you of "Tannhäuser" (Singers' Hall with a view of the castle in the background), "Lohengrin'" (castle courtyard, open corridor, path to the chapel) [...].
– Ludwig II, Letter to Richard Wagner, May 1868[14]
The building design was drafted by the stage designer Christian Jank and realized by the architect Eduard Riedel.[15] For technical reasons the ruined castles could not be integrated into the plan. Initial ideas for the palace drew stylistically on Nuremberg Castle and envisaged a simple building in place of the old Vorderhohenschwangau Castle, but they were rejected and replaced by increasingly extensive drafts, culminating in a bigger palace modelled on the Wartburg.[16] The king insisted on a detailed plan and on personal approval of each draft.[17] His control went so far that the palace has been regarded as his own creation rather than that of the architects involved.[18]
Whereas contemporary architecture critics flouted Neuschwanstein, one of the last big palace building projects of the 19th century, as kitsch, Neuschwanstein and Ludwig II's other buildings are now counted among the major works of European historicism.[19][20] For financial reasons a project similar to Neuschwanstein – Falkenstein Castle – never left the planning stages.[21]
The palace can be regarded as typical for 19th century architecture. The shapes of Romanesque (simple geometric figures such as cuboids and semicircular arches), Gothic (upward-pointing lines, slim towers, delicate embellishments) and Byzantine architecture and art (the Throne Hall décor) were mingled in an eclectic fashion and supplemented with 19th century technical achievements. The Patrona Bavariae and Saint George on the court face of the Palas (main building) are depicted in the local Lüftlmalerei style, a fresco technique typical for Allgäu farmers' houses, while the unimplemented drafts for the Knights' House gallery foretell elements of Art Nouveau.[22] Characteristic for Neuschwanstein's design are theater themes: Christian Jank drew on coulisse drafts from his time as a scenic painter.[23]
The basic style was originally planned to be neo-Gothic but was primarily built in Romanesque style in the end. The operatic themes moved gradually from Tannhäuser and Lohengrin to Parcival.[24]
Construction
Neuschwanstein under construction: Bower still missing, Rectangular Tower under construction (photograph c.1882–85)
Neuschwanstein under construction: upper courtyard (photograph c.1886)
In 1868 the ruins of the medieval twin castles were demolished completely; the remains of the old keep were blown up.[25] The foundation stone for the Palas was laid on September 5, 1869; in 1872 its cellar was completed and in 1876 everything up to the first floor. But the Gatehouse was finished first. At the end of the year 1873 it was completed and fully furnished, allowing Ludwig to take provisional lodgings there and observe the further construction work.[24] In 1874 direction of the civil works passed from Eduard Riedel to Georg von Dollmann.[26] The topping out ceremony for the Palas was in 1880, and in 1884 the king could move into the new building. In the same year the direction of the project passed to Julius Hofmann, after Dollmann had fallen in disgrace.
The palace was erected as a conventional brick construction and later encased with other types of rock. The white lime stone used for the fronts came from a nearby quarry.[27] The sandstone bricks for the portals and bay windows came from Schlaitdorf in Württemberg. Marble from Untersberg near Salzburg was used for the windows, the arch ribs, the columns and the capitals. The Throne Hall was a later addition to the plans and required a steel framework.
The transport of building materials was facilitated by a scaffolding and a steam crane that lifted the material to the construction site. Another crane was used at the construction site itself. The recently founded Dampfkessel-Revisionsverein (Steam Boiler Inspection Association) regularly inspected both boilers.
Ludwig II (1886)
For about two decades the construction site was the principal employer of the region.[28] In 1880 about 200 craftsmen were occupied at the site, not counting suppliers and other persons indirectly involved in the construction. At times when the king insisted on particularly close deadlines and urgent changes, reportedly up to 300 workers per day were active, sometimes at night by the light of oil lamps. Statistics from the years 1879/1880 support an immense amount of building materials: 465 t (513 short tons) of Salzburg marble, 1,550 t (1,710 short tons) of sandstone, 400,000 bricks and 2,050 m3 (2,680 cu yd) of wood for the scaffolding.
In 1870 a society was founded for insuring the workers, for a low monthly fee, augmented by the king. The heirs of construction casualties (30 cases are mentioned in the statistics) received a small pension.
In 1884 the king could move into the (still unfinished) Palas,[30], and in 1885 he invited his mother Marie to Neuschwanstein on the occasion of her 60th birthday.[nb 5] By 1886 the external structure of the Palas (hall) was mostly finished.[30] In the same year, Ludwig had the first, wooden Marienbrücke over the Pöllat Gorge replaced by a steel construction.
Despite its size, Neuschwanstein did not have space for the royal court, but contained only the king's private lodging and servants' rooms. The court buildings served decorative, rather than residential purposes:[9] The palace was intended to serve Ludwig II as a kind of inhabitable theatrical setting.[30] As a temple of friendship it was also devoted to life and work of Richard Wagner, who died in 1883 before he had set foot in the building.[31] In the end, Ludwig II only lived in the palace for a total of 172 days.
en.wikipedia.org/wiki/Linderhof_Palace
Linderhof Palace (German: Schloss Linderhof) is a palace in Germany, near Oberammergau
The Postcard
A postcard bearing no publisher's name that was posted in Wimbledon on Wednesday the 8th. June 1904 to:
Mrs. Bullen,
1, City Road,
Winchester.
The pencilled message on the divided back of the card was as follows:
"Just received your P.C..
Will meet you at Waterloo
tomorrow at 10-35.
A.G.R."
Bushey Park
At over 1000 acres, Bushy (not Bushey) Park is the second-largest of London’s eight Royal Parks. Lying just north of Hampton Court Palace in Richmond upon Thames, Bushy is famed for its mix of waterways, gardens, and roaming herds of red and fallow deer.
Bushy Park’s landscape is a patchwork quilt of English history spanning a millennium: you can see the remains of medieval farming systems, the legacy of a Tudor deer park, 17th. century water gardens and decorative features representing the height of neoclassical taste. There are also traces of military camps that played remarkable roles in the World Wars.
This great expanse of low-lying land became a royal park in 1529 when it was given to King Henry VIII by his close adviser Cardinal Wolsey, along with Wolsey’s home – Hampton Court Palace.
One of the park’s defining features is the Longford River, a twelve-mile canal created entirely by hand in the 1630's to ensure a steady water supply to Hampton Court. The river now looks like an organic part of the landscape and supports a wide variety of plants and animals. But it also enabled several stunning water features to be built, which give Bushy its distinctive character.
A notable feature is the Diana Fountain, a centrepiece of the mile-long Chestnut (not Chesnut) Avenue designed by Sir Christopher Wren. There are also the newly-restored Upper Lodge Water Gardens, a historic gem hidden away in the north of the park. You may spot some of the arresting birdlife, from kingfishers to kestrels. Also enjoy a walk in the peaceful Woodland Gardens after fuelling up at the Pheasantry Café.
Camp Griffiss
During the Second World War, part of Bushy Park became a US air base known as Camp Griffiss. It was from Bushy that the Supreme Headquarters of the Allied Expeditionary Force led by General Eisenhower planned the D-Day Landings.
The Photographer Angus McBean
So what else happened on the day that the card was posted?
Well, the 8th. June 1904 marked the birth of Angus McBean. Angus was a Welsh photographer, set designer and cult figure associated with surrealism.
Angus McBean - The Early Years
Angus McBean was born in Newbridge, Monmouthshire, Wales. Despite the surname and the family's claim to be head of the sub-clan MacBean, they had been Welsh for generations. His father, Clement Philip James McBean, was a surveyor in the mines, and the family moved frequently around Wales with his job.
McBean attended Monmouth School and Newport Technical College, at which time he developed an interest in photography. Fascinated by the apparently magical properties of this process, Angus wanted to be able to take pictures of people, and he sold a gold watch left to him by his grandfather to raise the five pounds necessary for the equipment.
At the age of fifteen McBean took part in the amateur dramatics productions at the Lyceum Theatre in Monmouth, where he was mostly involved in the creation of sets, props and costumes. Later in life he credited this experience as being the start of his lifelong interest in dressing up and performing.
Angus McBean's Early Work
In 1925, after his father's early death, McBean moved with his mother and younger sister Rowena to a three bedroomed cottage at 21 Lowfield Road, West Acton.
For the next seven years he worked for Liberty's department store in the antiques department learning restoration, while his personal life was spent in photography, mask-making and watching plays in the West End theatre.
In 1932 he left Liberty's and grew his distinctive beard to symbolise the fact that he would never be a wage-slave again. Meeting the stage designers Motley Theatre Design Group, he helped in creating theatrical props, including a commission of medieval scenery and shoes for John Gielgud's 1933 production of Richard of Bordeaux.
Hugh Cecil
McBean's masks became a talking point in social columns, and were much admired by the leading London West End photographer Hugh Cecil.
Cecil offered him an assistant's post at his New Grafton Street studio, where McBean learnt how to retouch large glass negatives and other useful techniques, whilst working on his own photographs in the evenings.
Having learnt the secrets of Cecil's softer style, McBean set up his own studio 18 months later in a basement in Belgrave Road, Victoria, London.
Angus McBean's Pre-War Photography
In 1936 McBean was still best known as a mask maker, and so he gained a commission from Ivor Novello for masks for his play "The Happy Hypocrite."
Novello was so impressed with McBean's romantic photographs that he commissioned him to take a set of production photographs as well, including young actress Vivien Leigh.
The results, taken on stage with McBean's idiosyncratic lighting, instantly replaced the work of the long-established but stolid Stage Photo Company.
McBean suddenly had a new career, and a photographic leading lady: he was to photograph Vivien Leigh on stage and in the studio for almost every performance she gave until her death thirty years later.
McBean resultantly became one of the most significant portrait photographers of the 20th. century, and was known as a photographer of celebrities.
In the spring of 1942 his career was temporarily ruined when he was arrested in Bath for criminal acts of homosexuality. He was sentenced to four years in prison, and was released in the autumn of 1944. After the Second World War, McBean was able to successfully resume his career.
Angus McBean's Post WWII Work
There were two periods to McBean's career, his pre- and post-war phases. Pre-war he was a lot more confident in himself, and he experimented successfully with surrealism, indeed his work with the likes of Vivien Leigh are some of the most accessible surrealist photographic images known.
Post war he reverted to a more regular style of portraiture photography, nearly always working with the entertainment and theatre profession.
In 1945, not sure whether he would find work again, McBean set up a new studio in a bomb-damaged building in Endell Street, Covent Garden. He sold his Soho camera for £35, and bought a new half-plate Kodak View monorail camera to which he attached his trusted Zeiss lenses.
McBean was commissioned first by the Stratford Memorial Theatre to photograph a production of Anthony and Cleopatra, and all his former clients quickly returned. Through the late 1940's and 50's he was the official photographer at Stratford, the Royal Opera House, Sadler's Wells, Glyndebourne, the Old Vic and at all the productions of H. M. Tennent, servicing the theatrical, musical and ballet star system.
An example of Angus's work in this genre from 1951 can be seen in his photographs of Anne Sharp,taken when she was performing in one of Benjamin Britten's operas.
Magazines such as The Sketch and Tatler and Bystander vied to commission McBean's new series of surreal portraits. In 1952 he photographed Pamela Green as Botticelli's Venus, with David Ball his boyfriend as Zephyrus.
Despite the decline in demand for theatre and production art during the 1950's, McBean's creative and striking ideas provided him with work in the emergent record cover business with companies such as EMI, when he was commissioned to create Cliff Richard's first four album sleeves.
McBean's later works included being the photographer for the cover of The Beatles' first album Please Please Me, as well as commissions by a number of other performers. In 1969 he returned with the Beatles to the same location to shoot the cover for their album Get Back.
This later came out as Let It Be with a different cover, but McBean's photo was used (together with an outtake from the Please Please Me cover shoot) for the cover of the Beatles' 1962–1966 and 1967–1970 compilations in 1973.
In his later years Angus became more selective of the work he undertook, and he continued to explore surrealism whilst taking portrait photographs of individuals such as Agatha Christie, Audrey Hepburn, Laurence Olivier and Noël Coward.
Both periods of his work (pre and post war) are now eagerly sought by collectors, and his work sits in many major collections around the world.
Angus McBean's Christmas Cards
Evidence of Angus's innovative photographic techniques and surrealist themes can be found in the many Christmas cards he created. For these images he constructed elaborate sets along with detailed props and miniatures, often taking weeks to produce the desired effect.
Angus McBean's Later Years
Angus was an influence on the young John Shand Kydd. In the 1960's, he bought Flemings Hall in Bedingfield, Suffolk and undertook a major restoration. He lived there until his death.
Despite reducing the number of commissions he undertook in his later years, McBean continued to work selectively on projects such as French magazine L'Officiel and French Vogue (1983).
In 1984 McBean appeared, credited as "special guest", in the music video for "Red Guitar", the debut solo single by British musician-composer David Sylvian. According to his website, Sylvian had developed a strong interest in McBean's work, and he and director Anton Corbijn invited McBean to appear in the video, which was a homage to McBean, and was directly inspired by his famous 1938 photographic work "Flora Robson Surrealised".
The Death of Angus McBean
In 1990, McBean fell ill whilst on holiday in Morocco, and after returning to England, he died on the 9th. June at Ipswich Heath Road Hospital at the age of eighty-six.
Conclusion
Two figures have prevented McBean from gaining more fame: Cecil Beaton (thanks to his lavish lifestyle and work for Vogue and the British Royal Family); and David Bailey, who much later (1960's) was close to Cecil Beaton both personally and in terms of style.
McBean did not enjoy this level of fame, either during his life or after his death, even though he was arguably better technically and artistically.
Additionally McBean's focus on the world of theatre (particularly London's West End) did not give him international recognition.
In 2007, seven original colour transparencies (slides) of his photographs for the Beatles album cover Please Please Me were accidentally thrown in the bin at the headquarters of EMI.
Altman was born in Vinnytsia, Imperial Russia. From 1902 to 1907 he studied painting and sculpture at the Art College in Odessa. In 1906 he had his first exhibition in Odessa. In 1910 he went to Paris, where he studied at the Free Russian Academy, working in the studio of Wladimir Baranoff-Rossine, and had contact with Marc Chagall, Alexander Archipenko, and David Shterenberg. In 1910 he became a member of the group Union of Youth. His famous Portrait of Anna Akhmatova, conceived in Cubist style, was painted in 1914. After 1916 he started to work as a stage designer.
In 1918 he was the member of the Board for Artistic Matters within the Department of Fine Arts of the People's Commissariat of Enlightenment together with Malevich, Baranoff-Rossine and Shevchenko. In the same year he had an exhibition with the group Jewish Society for the Furthering of the Arts in Moscow, together with Wladimir Baranoff-Rossine, El Lissitzky and the others. In 1920 he became a member of the Institute for Artistic Culture, together with Kasimir Malevich, Vladimir Tatlin and others. In the same year, he participated in the exhibition From Impressionism to Cubism in the Museum of Painterly Culture in Petrograd. From 1920 to 1928 he worked on stage designs for the Habimah Theatre and the Jewish State Theatre in Moscow. In 1923 a volume of his Jewish graphic art was published in Berlin. In 1925 he participated in Exposition Internationale des Arts Decoratifs et Industriels Moderns (Art Deco) in Paris. His first solo exhibition in Leningrad was in 1926.
Brodsky Museum, St. Petersburg, Russia: Chernobaeva Nina Sergeevna (1889-1959) was an artist at The Bolshoi Theater in Moscow (1908-1926). Nina participated in S. Diaghilev's first Russian season in PAris in 1909. Among the stage designers were Russian artists A. Benya, L. Bakst, A. Golovin, and N. Rerih. In 1909, Sergei Diaghilev came to his next step in his efforts to promote Russian art abroad by presenting Russian ballets. In the ballet new dance skills were used which liberated dance. The decorations and costumes were splendid. These ballets satisfied the requirements of the ideas and motifs of the "Silver Age" of Russian culture. The first performances played an importanty role in forming popular opinions of the Russian ballet in foreign minds.
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en.wikipedia.org/wiki/Neuschwanstein_Castle
Neuschwanstein Castle
Neuschwanstein Castle (German: Schloss Neuschwanstein, pronounced [nɔʏˈʃvaːnʃtaɪn]) is a 19th-century Romanesque Revival palace on a rugged hill above the village of Hohenschwangau near Füssen in southwest Bavaria, Germany. The palace was commissioned by Ludwig II of Bavaria as a retreat and as a homage to Richard Wagner.
The palace was intended as a personal refuge for the reclusive king, but it was opened to the paying public immediately after his death in 1886. Since then over 60 million people have visited Neuschwanstein Castle.[2] More than 1.3 million people visit annually, with up to 6,000 per day in the summer.The palace has appeared prominently in several movies and was the inspiration for Disneyland's Sleeping Beauty Castle.
The municipality of Schwangau lies at an elevation of 800 m (2,620 ft) at the south west border of the German state of Bavaria. Its surroundings are characterized by the transition between the Alpine foothills in the south (towards the nearby Austrian border) and a hilly landscape in the north that appears flat by comparison. In the Middle Ages, three castles overlooked the village.
One was called Schwanstein Castle.[nb 1] In 1832 Ludwig's father King Maximilian II of Bavaria bought its ruins to replace them by the comfortable neo-Gothic palace known as Hohenschwangau Castle. Finished in 1837, the palace became his family's summer residence, and his elder son Ludwig (born 1845) spent a large part of his childhood here.[citation needed]
Vorderhohenschwangau Castle and Hinterhohenschwangau Castle[nb 2] sat on a rugged hill overlooking Schwanstein Castle, two nearby lakes (Alpsee and Schwansee), and the village. Separated only by a moat, they jointly consisted of a hall, a keep, and a fortified tower house.[4] In the 19th century only ruins remained of the medieval twin castles, but those of Hinterhohenschwangau served as a lookout place known as Sylphenturm.
The ruins above the family palace were known to the crown prince from his excursions. He first sketched one of them in his diary in 1859.[7] When the young king came to power in 1864, the construction of a new palace in place of the two ruined castles became the first in his series of palace building projects.[8] Ludwig himself called the new palace New Hohenschwangau Castle – only after his death was it renamed Neuschwanstein.[9] The confusing result is that Hohenschwangau and Schwanstein have effectively swapped names: Hohenschwangau Castle replaced the ruins of Schwanstein Castle, and Neuschwanstein Castle replaced the ruins of the two Hohenschwangau Castles.
Concept and ethos
Neuschwanstein embodies both the contemporaneous architectural fashion known as castle romanticism (German: Burgenromantik), and Ludwig II's immoderate enthusiasm for the operas of Richard Wagner.
In the 19th century many castles were constructed or reconstructed, often with significant changes to make them more picturesque. Palace-building projects similar to Neuschwanstein had been undertaken earlier in several of the German states and included Hohenschwangau Castle, Lichtenstein Castle, Hohenzollern Castle and numerous buildings on the River Rhine such as Stolzenfels Castle.[10] The inspiration for the construction of Neuschwanstein came from two journeys in 1867: One in May to the reconstructed Wartburg near Eisenach,[11] another in July to the Château de Pierrefonds, which Eugène Viollet-le-Duc was transforming from a ruined castle into a historistic palace.
The king saw both buildings as representatives of a romantic interpretation of the Middle Ages as well as the musical mythology of his friend Richard Wagner. Wagner's operas Tannhäuser and Lohengrin had made a lasting impression on him.
In February 1868 Ludwig's grandfather Ludwig I died, freeing the considerable sums that were previously spent on the abdicated king's appanage.[8][nb 4] This allowed him to start the architectural project of building a private refuge in the familiar landscape far from the capital Munich, so that he could live his idea of the Middle Ages.
Ludwig II (c.1868)
Richard Wagner (1871)
It is my intention to rebuild the old castle ruin of Hohenschwangau near the Pöllat Gorge in the authentic style of the old German knights' castles, and I must confess to you that I am looking forward very much to living there one day [...]; you know the revered guest I would like to accommodate there; the location is one of the most beautiful to be found, holy and unapproachable, a worthy temple for the divine friend who has brought salvation and true blessing to the world. It will also remind you of "Tannhäuser" (Singers' Hall with a view of the castle in the background), "Lohengrin'" (castle courtyard, open corridor, path to the chapel) [...].
– Ludwig II, Letter to Richard Wagner, May 1868[14]
The building design was drafted by the stage designer Christian Jank and realized by the architect Eduard Riedel.[15] For technical reasons the ruined castles could not be integrated into the plan. Initial ideas for the palace drew stylistically on Nuremberg Castle and envisaged a simple building in place of the old Vorderhohenschwangau Castle, but they were rejected and replaced by increasingly extensive drafts, culminating in a bigger palace modelled on the Wartburg.[16] The king insisted on a detailed plan and on personal approval of each draft.[17] His control went so far that the palace has been regarded as his own creation rather than that of the architects involved.[18]
Whereas contemporary architecture critics flouted Neuschwanstein, one of the last big palace building projects of the 19th century, as kitsch, Neuschwanstein and Ludwig II's other buildings are now counted among the major works of European historicism.[19][20] For financial reasons a project similar to Neuschwanstein – Falkenstein Castle – never left the planning stages.[21]
The palace can be regarded as typical for 19th century architecture. The shapes of Romanesque (simple geometric figures such as cuboids and semicircular arches), Gothic (upward-pointing lines, slim towers, delicate embellishments) and Byzantine architecture and art (the Throne Hall décor) were mingled in an eclectic fashion and supplemented with 19th century technical achievements. The Patrona Bavariae and Saint George on the court face of the Palas (main building) are depicted in the local Lüftlmalerei style, a fresco technique typical for Allgäu farmers' houses, while the unimplemented drafts for the Knights' House gallery foretell elements of Art Nouveau.[22] Characteristic for Neuschwanstein's design are theater themes: Christian Jank drew on coulisse drafts from his time as a scenic painter.[23]
The basic style was originally planned to be neo-Gothic but was primarily built in Romanesque style in the end. The operatic themes moved gradually from Tannhäuser and Lohengrin to Parcival.[24]
Construction
Neuschwanstein under construction: Bower still missing, Rectangular Tower under construction (photograph c.1882–85)
Neuschwanstein under construction: upper courtyard (photograph c.1886)
In 1868 the ruins of the medieval twin castles were demolished completely; the remains of the old keep were blown up.[25] The foundation stone for the Palas was laid on September 5, 1869; in 1872 its cellar was completed and in 1876 everything up to the first floor. But the Gatehouse was finished first. At the end of the year 1873 it was completed and fully furnished, allowing Ludwig to take provisional lodgings there and observe the further construction work.[24] In 1874 direction of the civil works passed from Eduard Riedel to Georg von Dollmann.[26] The topping out ceremony for the Palas was in 1880, and in 1884 the king could move into the new building. In the same year the direction of the project passed to Julius Hofmann, after Dollmann had fallen in disgrace.
The palace was erected as a conventional brick construction and later encased with other types of rock. The white lime stone used for the fronts came from a nearby quarry.[27] The sandstone bricks for the portals and bay windows came from Schlaitdorf in Württemberg. Marble from Untersberg near Salzburg was used for the windows, the arch ribs, the columns and the capitals. The Throne Hall was a later addition to the plans and required a steel framework.
The transport of building materials was facilitated by a scaffolding and a steam crane that lifted the material to the construction site. Another crane was used at the construction site itself. The recently founded Dampfkessel-Revisionsverein (Steam Boiler Inspection Association) regularly inspected both boilers.
Ludwig II (1886)
For about two decades the construction site was the principal employer of the region.[28] In 1880 about 200 craftsmen were occupied at the site, not counting suppliers and other persons indirectly involved in the construction. At times when the king insisted on particularly close deadlines and urgent changes, reportedly up to 300 workers per day were active, sometimes at night by the light of oil lamps. Statistics from the years 1879/1880 support an immense amount of building materials: 465 t (513 short tons) of Salzburg marble, 1,550 t (1,710 short tons) of sandstone, 400,000 bricks and 2,050 m3 (2,680 cu yd) of wood for the scaffolding.
In 1870 a society was founded for insuring the workers, for a low monthly fee, augmented by the king. The heirs of construction casualties (30 cases are mentioned in the statistics) received a small pension.
In 1884 the king could move into the (still unfinished) Palas,[30], and in 1885 he invited his mother Marie to Neuschwanstein on the occasion of her 60th birthday.[nb 5] By 1886 the external structure of the Palas (hall) was mostly finished.[30] In the same year, Ludwig had the first, wooden Marienbrücke over the Pöllat Gorge replaced by a steel construction.
Despite its size, Neuschwanstein did not have space for the royal court, but contained only the king's private lodging and servants' rooms. The court buildings served decorative, rather than residential purposes:[9] The palace was intended to serve Ludwig II as a kind of inhabitable theatrical setting.[30] As a temple of friendship it was also devoted to life and work of Richard Wagner, who died in 1883 before he had set foot in the building.[31] In the end, Ludwig II only lived in the palace for a total of 172 days.
en.wikipedia.org/wiki/Linderhof_Palace
Linderhof Palace (German: Schloss Linderhof) is a palace in Germany, near Oberammergau
Biografía
En julio de 1777, Clemens Wenzel de Sajonia, príncipe elector y arzobispo de Tréveris, visitó Viena. Era un pariente del duque Alberto de Sajonia-Teschen, yerno de María Teresa y marido de su hija favorita, Marie Christine. En honor de la visita de Tréveris Sajonia, el teatro de Marionetas del príncipe Esterházy dío un espectáculo que fue premiado de muchísimo aplauso. "Por está razón, en Schönbrunn fue construido un teatro y las marionetas y decoraciones llevados a Viena". Fue interpretado "Alceste", una parodia respecto de la ópera del mismo nombre de Christoph Willibald Gluck.
Basandose en está tradición, Christine Hierzer-Riedler y Werner Hierzer fundaron
EL TEATRO DE TÍTERES PALACIO DE SCHÖNBRUNN
Después de una generosa renovación del "tracto del consejo de la Corte" por el Palacio de Schönbrunn Empresa de cultura y de explotación, el teatro en 1994 pudo ser abierto. De está manera, en el tracto del consejo de la Corte por las reprecentaciones mágicas fue creado un ambiente perfecto.
El teatro de marionetas en Schönbrunn se administro como un teatro privado. Los dos fundadores y directores artísticos
Christine Hierzer-Riedler & Werner Hierzer
cuentan con más de 40 años de experiencia internacional en el arte del espectáculo de las marionetas. Entre los lugares destacados se incluyen ciudades como Atenas, Berlín, Boston, Bruselas, Florencia, Hong Kong, Londres, Los Ángeles, Madrid, Ciudad de México, Miami, Montreal, Nueva York, París, Pekín, Roma, Seúl, Teherán y muchos más.
Dos equipos bien entrenados permiten actuaciones de la más alta calidad, tanto en el teatro en Schönbrunn, así como en cualquier momento en sus giras internacionales.
Los títeres, los trajes, el decorado y la maquinaria escénica se producen en colaboración con destacados directores, escenógrafos y diseñadores de vestuario de teatro en los talleres internos.
Premios internacionales recompensan los esfuerzos para satisfacer los estándares más altos:
1er Premio, Festival Internacional de Teatro de Títeres, Teherán
1er Premio, Festival Mundial de la Marioneta Arte, Praga
1er Premio, Festival Internacional de Teatro PIF, Zagreb
Biography
It was July 1777 when Clemens Wenzel of Sachsen, Elector and Archbishop of Trier visited Vienna. He was a relative of Duke Albert of Sachsen-Teschen, Empress Maria Theresia’s son in law and husband of her favourite daughter Maria Christine. To honour this visit from Trier, the Marionette-Theatre of Prince Esterházy offered a spectacle which was much acclaimed by the visitors.
For this reason a theatre was built and the puppets and decoration were brought to Vienna. "Alceste" a parody of the original opera, written and composed by Christoph Willibald Gluck, was performed.
Following this tradition the
MARIONETTENTHEATER SCHLOSS SCHÖNBRUNN
was founded by Christine Hierzer-Riedler and Werner Hierzer.
After a generous renovation of the "Hofratstrakt" (court wing) by the Schönbrunner Kultur- und Betriebsges.m.b.H. the theatre was reopened in 1994 and forms now the perfect ambience of these enchanting shows.
The MARIONETTENTHEATER SCHLOSS SCHÖNBRUNN is a private theatre, the two founders and art directors Christine Hierzer-Riedler and Werner Hierzer are looking back on more than 40 years of international experience in performing with marionettes. They acted as puppeteers in New York, Hong Kong, Mexico City, Paris, London, Madrid, Rome, Berlin, Los Angeles, Miami, Brussels, Montreal, Boston, Peking and Seoul. In 1995 they set up a training centre for talented marionette-players in Schönbrunn to continue this tradition. There are shows of high quality throughout the year performed by two artistically skilled companies on stage at home in Schönbrunn and on tour in several countries.
With the support of famous directors and costume and stage designers the puppets, costumes, stage setting and stage techniques are all created at the theatre’s own workshops.
International awards honour the efforts to live up to the highest expectations:
1st prize, International Puppet Theatre Festival , Tehran,
1st prize, World Festival of Puppet Art, Prague,
1st prize, International Theatre Festival PIF, Zagreb
Tower of London Remembers.
To mark the centenary anniversary of the First World War the Tower of London is creating an evolving art installation "Blood Swept Lands and Seas of Red". Formed of 888,246 ceramic poppies by artist Paul Cummins, with setting by stage designer Tom Piper, each poppy represents a British military fatality during the war. The installation was officially unveiled on 5 August 2014, one hundred years since the first full day of Britain's involvement in the First World War and will be in place until 11 November 2014.
On 24 August I helped to build a just a little more of the installation by constructing and planting a batch of poppies. I believe it is now (as in these photos) about a quarter completed. Each poppy is a life lost - when it is completed maybe it will help to demonstrate the scale of those numbers which we really cannot imagine.
Oil on canvas; 150 x 100 cm.
(b Faenza, 4 Aug 1909; d Rome, 5 April 1981). Italian painter, illustrator and stage designer. He began his training in Faenza in the workshop of the Italian painter and ceramicist Mario Ortolani (1901-55). After living briefly in Bologna (1927) and Paris (1928) he settled in Rome in 1929, first exhibiting his work at the Venice Biennale in the following year. His paintings at this time, such as Nude (Susanna after her Bath) (1929; Faenza, Pin. Com.), were characterized by an emphasis on tonal relationships and on the influence of the Scuola Romana. In 1934 he began to work with growing success as an illustrator for the journals Quadrivio and Italia letteraria. The contacts he established with Paris were intensified with his move there in 1947, resulting in three one-man shows at the Galerie Rive Gauche (in 1950, 1953 and 1957), and in his paintings he evolved a cautious balance between the representation and the disassembling of the image. Some of his best-known series of paintings date from this time, including his Cathedrals (e.g. Cathedral with Still-life and Dog, 1960; Rome, Vatican, Col. A. Relig. Mod.), pictures of town squares populated by acrobats and musicians, and later female nudes and a series entitled Mermaids.
This playbill of Merrill Denison's 'Marsh Hay' is from the Playwright's Workshop Theatre in Montreal c1973. It is a nationally mandated Canadian play development organization and a professional theatre centre dedicated to the development of contemporary Canadian work and new writers for the stage. It was founded in 1963 and incorporated in 1966.
Playwright of realistic dramas and satire born in Detroit, Michigan, 1893, died in San Diego, California, 1975. Merrill Denison is considered to be one of Canada's first important 20th century playwrights.
He graduated from the University of Toronto, and then studied architecture in the US. In 1921, Roy Mitchell invited him to Hart House Theatre as a stage designer and art director.
His one-act play, Brothers in Arms was produced at Hart House Theatre in 1921, and went on to become one of the most often produced English-Canadian dramas. Set in the Ontario bush, it comprises a satiric debate between a pompous Major and an uneducated backwoodsman on war, industry and responsibility. It was published in the anthology The Unheroic North (Toronto: McClelland & Stewart, 1923), which also included one of his most important works, Marsh Hay . The latter was produced in 1974 and professionally at the Shaw Festival in 1996.
In 1932, Denison returned to the US to work for CBS and NBC in radio drama , and wrote stage and radio plays with an historical focus. His works for "The Romance of Canada" series, commissioned in 1929 by Canadian National Railways, were directed by Tyrone Guthrie . Six of these plays were published in the anthology, Henry Hudson and Other Plays (1931). For US networks, he wrote a forty-week series called "Great Moments in History" (1932-33), "America's Hour" (1936) and other programs which examined freedom and democracy.
After the death of his first wife, he returned to Canada in 1954, living in Montreal and on his estate with his second wife in eastern Ontario.
Source: Sister Geraldine Anthony . "Denison, Merrill," The Oxford Companion to Canadian Theatre. Toronto: Oxford UP, 1989.
Part of the Bon Echo Provincial Park Album
Note: Commercial use of this image is prohibited without CDHS permission. All CDHS Flickr content is available for personal use providing our Rights Statement is followed:
This playbill of Merrill Denison's 'Marsh Hay' is from the Playwright's Workshop Theatre in Montreal c1973. It is a nationally mandated Canadian play development organization and a professional theatre centre dedicated to the development of contemporary Canadian work and new writers for the stage. It was founded in 1963 and incorporated in 1966.
laywright of realistic dramas and satire born in Detroit, Michigan, 1893, died in San Diego, California, 1975. Merrill Denison is considered to be one of Canada's first important 20th century playwrights.
He graduated from the University of Toronto, and then studied architecture in the US. In 1921, Roy Mitchell invited him to Hart House Theatre as a stage designer and art director.
His one-act play, Brothers in Arms was produced at Hart House Theatre in 1921, and went on to become one of the most often produced English-Canadian dramas. Set in the Ontario bush, it comprises a satiric debate between a pompous Major and an uneducated backwoodsman on war, industry and responsibility. It was published in the anthology The Unheroic North (Toronto: McClelland & Stewart, 1923), which also included one of his most important works, Marsh Hay . The latter was produced in 1974 and professionally at the Shaw Festival in 1996.
In 1932, Denison returned to the US to work for CBS and NBC in radio drama , and wrote stage and radio plays with an historical focus. His works for "The Romance of Canada" series, commissioned in 1929 by Canadian National Railways, were directed by Tyrone Guthrie . Six of these plays were published in the anthology, Henry Hudson and Other Plays (1931). For US networks, he wrote a forty-week series called "Great Moments in History" (1932-33), "America's Hour" (1936) and other programs which examined freedom and democracy.
After the death of his first wife, he returned to Canada in 1954, living in Montreal and on his estate with his second wife in eastern Ontario.
Source: Sister Geraldine Anthony . "Denison, Merrill," The Oxford Companion to Canadian Theatre. Toronto: Oxford UP, 1989.
Part of the Bon Echo Provincial Park Album
Note: Commercial use of this image is prohibited without CDHS permission. All CDHS Flickr content is available for personal use providing our Rights Statement is followed:
(further information and pictures you can see by clicking on the link at the end of page!)
Volkstheater - People's Theatre
The Volkstheater (2008)
The Volkstheater is one of the most important Schauspielbühnen (drama stages) of Vienna. It was founded in 1889 by the poet Ludwig Anzengruber and the industrialist Felix Fischer by the Association of the German folk theater (Volkstheater), to create an alternative to the Imperial Hofburg Theatre, the latter one the representation of everyday life, the folksy and comedic elements keeping away from its stage boards. The first president of the club was the famous stool manufacturer Franz Thonet. The founders intended in addition to folk plays mainly classical and modern dramas being performed and to provide a broad class of population access to the theater. Therefore the famous Theaterarchitektenduo (duo of theater architects) Ferdinand Fellner and Hermann Helmer the neo-Renaissance building with the representative column loggia have given a large auditorium with little boxes and many exits to the outside, by which this building in the style of historicism became a model for the entire monarchy. The auditorium with the ceiling painting by Eduard Veith, showing the coronation of the Austrian poets Ferdinand Raimund, Johann Nepomuk Nestroy and Ludwig Anzengruber, is one of the last in its original state preserved audiences in Vienna and was with 1900 seats formerly the largest in the entire German-speaking world. Today, the capacity of the theater is 970 places and it is the second largest theater stage in Vienna. According to safety regulations, which were adopted after the Ring Theatre fire in Vienna in 1881, the Volkstheater was the first exclusively electrically lit theater house.
History
On 14 September 1889 opened the theater its doors with Ludwig Anzengruber's drama "The stain on the honor". The bourgeoisie and the aristocracy of money (Geldadel) called the new theater "their house" and thus defied the exclusively reserved for the aristocracy Court Theatre, whose artistic director initially even harbored takeover plans. When the popular theater was run down and broke, he then wanted to buy it cheap. But the people theater celebrated one success after another. Just one year after the opening had to be enlarged the stage area. In 1907 were added a further extension with additional foyer and 1911 more stage side rooms.
In the 1920s, the Volkstheater experienced under the theater directors Alfred Bernau and Rudolf Beer artistic highlights. Spectacular repertoires, prominent actors, directors and stage designers of that time continued the success story of the theater. From 1938 to 1945, the theater became part of the Nazi leisure program "Strength through Joy" of the German Labor Front under Walter Bruno Iltz. In the years 1938/1939 was rebuilt the theater and removed the sculptural decoration on the facade. For a visit of Adolf Hitler even a reception and break room was extra set up, the so-called leaders room (Führerzimmer). In 1944 the dome and foyers were destroyed in an attack, a year later the building was restored but for the time being it was decided not to reconstruct the dome and the facade decoration. Only in the course of a general renovation in the early 1980s the dome was restored. On 10 May 1945, the theater was reopened. After the war, the director and actor Günther Haenel became director of the theater. His game plan focused mainly socio-critical issues.
In the following two decades (1950s and 1960s) dominated on the initiative Leon Epps' contemporary plays and bold interpretations of classics the theater program and the popular theater became famous with Raimund and Nestroy interpretations under the direction of Gustav Manker. Manker became at the beginnings of the 1970s director of the theater and celebrated breakthroughs with the discovery of modern Austrian dramatic literature.
In 1954, the play series "People's Theatre in the districts" was launched. Individual productions of popular theater are presented in external venues in the districts of Vienna. Among these secondary venues since 2005 the "Hundsturm (dogs tower)" as a smaller stage is included in which experimental theater works are staged. But also in the main building of the popular theater are additional venues located, like the "Red Bar" (in the buffet room on the first floor), the "Black Salon", the "White Salon" and the "Reception Room" (formerly "Führerzimmer"). Since 2009/10 in Bellaria Cinema at Museum Street behind the People's Theatre the production "Go West ? - Young authors write for the popular theater" has its home.
The auditorium (2009)
On both sides of the main house in the Neustiftgasse watch "the good spirits of the Viennese popular theater". In the nearby small Weghuberpark sits theater buffoonery poet Ferdinand Raimund suspended in reverie on a marble bench, surrounded by the feminine genius of fantasy. This sculpture was created by the Austrian sculptor Franz Vogl 1898. At the corner of Burggasse/Museum Street a bust of the famous Austrian actress Johanna "Hansi" Niese (by Josef Müllner, 1952) reminds of the triumph of comedic presentation at the beginning of the century.
Heraldic lion decoration on the upper walls of the Grand Foyer of the Granada, evoking a mediaeval great hall. It was designed, along with the rest of the interior, by Russian émigré Theodore Komisarjevsky, a stage designer and theatre director.
"The Granada Cinema in Tooting, an area in the borough of Wandsworth, London was one of the great luxurious cinemas built in the 1930s. It is considered by many to be the most spectacular cinema in Britain.
"The cinema opened on 7 September 1931, as one of the Granada chain, with the film Monte Carlo and screened movies sometimes with stage shows or organ recitals until it closed as a cinema on 10 November 1973 (showing The Good, the Bad and the Ugly). The organ was a Wurlitzer theatre organ that had originally been used in Sacramento, California. It had a full size stage on which a number of theatrical productions were performed. The normal programme consisted of either two feature films, or one with a variety show.
"The building, which became the first cinema to be preserved and given a Grade I listing, was designed by Cecil Massey in the Art Deco style with four Corinthian style pillars over the entrance. It was the interior, however that was (and is still) spectacular. This was designed by Theodore Komisarjevsky, a set designer, making use of ornamental plasterwork by Clark and Fenn. It has marble foyers both at the main and balcony entrances, and a hall of mirrors and deep ceilings more suitable for a palace than a cinema.
"The seating capacity was over 3000, and was often completely sold-out. Stars such as [The Beatles], Frank Sinatra, Danny Kaye, The Andrews Sisters and Carmen Miranda gave concerts there. After closing as a cinema the building reopened as a bingo hall."
Source: Wikipedia
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