The Vatican pavilion was an oval shaped building topped by a cross, with a curving wall extending from the entrance. The pavilion and its contents had as there theme, "The Church is Christ Living in the World."

 

The most important work of art at the Fair was Michelangelo's 465 year old (in 1964) masterpiece in carved Carrara marble, the Pieta. The Pieta represents the body of Christ in the arms of His mother just after he was taken down from the cross. The work, six feet long by five feet nine inches high, was shown in a setting created by stage designer Jo Mielziner. Spectators were carried past it on three moving platforms at different heights. There was a walkway for those who wished to view it at their own pace. It was the first time that the Pieta had ever left the Vatican.

 

At the pavilions center was an exact replica of the excavation made under St. Peter's Basilica by archeologists in the 1940's and identified as St. Peter's burial place. And in the final ground floor room were transparencies of Michelangelo's Sistine Chapel ceiling and a photo exhibit on Catholic sacramental life.

 

The mezzanine floor had a Catholic chapel that seated 300 persons. Mass was said each morning, and the chapel was open all day.

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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.

wienwiki.wienerzeitung.at/WIENWIKI/Volkstheater

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Tower of London, Blood Swept Lands and Seas of Red, marking the centenary of the outbreak of the First World War. Created by ceramic artist Paul Cummins, with setting by stage designer Tom Piper, 888,246 ceramic poppies will progressively fill the Tower’s famous moat.

45.7 cm X 61 cm, 18” X 24”

Oil on Canvas board, 2014~2024

 

Many years ago, I immersed myself in theater, both as an actor and a stage designer, where the ensemble of leading and supporting actors, along with the dedicated staff, brought stories to life on the stages I crafted. These stages were meticulously designed and erected to serve as the canvas for the narratives we wished to convey.

 

For over a decade now, my artistic focus has remained steadfastly on the theme of the stage. Within my paintings, the stage emerges as a pristine, empty space—a tabula rasa where untold stories unfold beyond the grasp of both myself and the audience.

 

Within this tranquil void, the stage becomes a canvas for the unpredictable dramas of nature—be it earthquakes, floods, or wildfires. It becomes a theater for the conflicts of humanity, from the ravages of war to the embrace of a peaceful, bountiful existence filled with love.

 

My artistic portrayal reveals a stage that may seem serene on the surface, but beneath lies a profound emptiness where the collective history and narratives of all living beings, human and non-human alike, unfold in the theatre of life and death.

 

Siponto, Manfredonia, Puglia , Italia © 2016 All rights reserved by Michele Masiero

 

FotoSketcher: lively

Nikon coolpix p 7100

 

Il Parco archeologico di Siponto, è situato a pochi chilometri dalla città di Manfredonia in Puglia.Nell’area archeologica accanto alla chiesa di Santa Maria Maggiore di origine medievale, sono presenti i resti di una basilica paleocristiana del IV sec. d.C. a tre navate con abside centrale e pavimento a mosaico. Al fine di valorizzare tutta l’area archeologica, che comprende anche il restauro del complesso della chiesa di San Leonardo posto nelle vicinanze, e preservare i resti archeologici della basilica paleocristiana, il ministero dei beni culturali e la sopraintendenza archeologica della Puglia utilizzando fondi europei , ha approvato e finanziato il progetto dello scultore lombardo Edoardo Tresoldi.L’opera d’arte a carattere permanente di Edoardo Tresoldi, ricostruisce sui resti archeologici della basilica paleocristiana , i volumi in scala reale della basilica stessa sino ad una altezza di 14 metri ,utilizzando reti in metallo galvanizzato trasparenti. L’Opera d’arte,unica al mondo, ha richiesto l’utilizzo di sette tonnellate di rete metallica leggera e trasparente , e un lavoro protrattosi per circa tre mesi di una equipe di una trentina di persone tra cui archeologi, ingegneri e architetti e il gruppo di giovani creativi che collaborano con Tresoldi da diversi anni.

 

Edoardo Tresoldi

Scultore, pittore e scenografo, Edoardo Tresoldi ha un approccio artistico e di ricerca creativa e libera. Studia design e arti visive all'istituto d'arte di Monza. Nel 2009 si trasferisce a Roma e inizia a lavorare come pittore di scena per vari progetti cinematografici. La scenografia diventa un laboratorio di sperimentazione. Dal 2013 realizza sculture ed installazioni in rete metallica. Edoardo ha 28 anni, è di Cambiago, in provincia di Milano ed è considerato uno dei talenti della street art italiana. Si fa aiutare da una squadra in cui l’età media è 25 anni e anche i responsabili di Sovrintendenze ed Ente Paesaggistici, hanno riconosciuto il valore delle sue opere. A lui sono state affidati luoghi importanti, come le installazioni alla Vigna di Leonardo a Milano e alla Basilica di Siponto a Manfredonia.

 

.The Archaeological Park of Siponto, is located a few kilometers from the town of Manfredonia in the Puglia region. In the archaeological site next to the church of Santa Maria Maggiore of medieval origin, there are the remains of a paleoChristian basilica of the fourth century. after Christ, with three naves and central apse and mosaic floor. In order to enhance the whole archaeological area, which also includes the restoration of the complex of the church of San Leonardo nearby, and preserve the archaeological remains of an early Christian basilica, the Ministry of Cultural Heritage and the archaeological superintendence of Puglia using European funds, have approved and funded the project the Lombard sculptor Edoardo Tresoldi. The work of art, unique in the world, a permanent nature by Edoardo Tresoldi, reconstructs on the archaeological ruins of the paleoChristian basilica, the full-scale real volumes of the basilica itself up to a height of 14 meters, using wire mesh galvanized transparent.The Art work required the use of seven tons of transparent metal mesh, and a job that lasted for about three months in a team of thirty people including archaeologists, engineers and architects and the group of young creatives that cooperate with Tresoldi from several years.

 

Edoardo Tresoldi

 

Sculptor, painter and stage designer, Edoardo Tresoldi has an artistic and creative research approach and free. He has studied design and visual arts at the Institute of Art of Monza. In 2009 he moved to Rome and began working as a scene painter for various film projects. The scenery becomes a testing laboratory. From 2013 makes sculptures and installations made of wire mesh. Edoardo is 28 years old, is born at Cambasio, in the province of Milan and is considered one of the talents of the Italian street art. It was helped by a team where the average age is 25 years. To him they were

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1952 SCHWINN HORNET

 

THE POPULAR SCHWINN HORNET...

 

It's a Schwinn for me... I've compared them all and for my money, Schwinn's the best!"

 

America's Favorite Bicycle

 

What a combination! Trim dashing lines, superior Schwinn workmanship, and a complete line-up of equipment including streamlined tank with built-in horn, powerful Rocket-Ray headlight, sturdy luggage carrier, and truss rods. No wonder more kids choose the Schwinn Hornet than any other bicycle... and the low price will amaze you. Full guaranteed As-long-As-You-Own-It. Ask to see the "Hornet" at your Schwinn dealers. 26 inch model No. D-19.

 

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.

Blood Swept Lands and Seas of Red

Don’t miss our evolving installation Blood Swept Lands and Seas of Red, marking the centenary of the outbreak of the First World War. Created by ceramic artist Paul Cummins, with setting by stage designer Tom Piper, 888,246 ceramic poppies will progressively fill the Tower’s famous moat.

GERMANY PHOTO STORIES TRAVEL STORES PLACES STORIES

 

NEUSCHWANTEIN CASTLE & LINDERHOF PALACE PARK & LANDSCAPES

 

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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

The Sydney Opera House is a multi-venue performing arts centre in the Australian city of Sydney. It was conceived and largely built by Danish architect Jørn Utzon, finally opening in 1973 after a long gestation starting with his competition-winning design in 1957.

The Sydney Opera House was made a UNESCO World Heritage Site on 28 June 2007. It is one of the 20th century's most distinctive buildings and one of the most famous performing arts centres in the world.

The Sydney Opera House is situated on Bennelong Point in Sydney Harbour, close to the Sydney Harbour Bridge. It sits at the northeastern tip of the Sydney central business district (the CBD), surrounded on three sides by the harbour (Sydney Cove and Farm Cove) and neighboured by the Royal Botanic Gardens.

Contrary to its name, the building houses multiple performance venues. As one of the busiest performing arts centres in the world, hosting over 1,500 performances each year attended by some 1.2 million people, the Sydney Opera House provides a venue for many performing arts companies including the four key resident companies Opera Australia, The Australian Ballet, the Sydney Theatre Company and the Sydney Symphony Orchestra, and presents a wide range of productions on its own account. It is also one of the most popular visitor attractions in Australia, with more than seven million people visiting the site each year, 300,000 of whom take a guided tour.

The Sydney Opera House is administered by the Sydney Opera House Trust, under the New South Wales Ministry of the Arts.

The Sydney Opera House is a modern expressionist design, with a series of large precast concrete "shells", each composed of sections of a sphere of 75.2 metres (246 ft 8.6 in) radius, forming the roofs of the structure, set on a monumental podium. The building covers 1.8 hectares (4.4 acres) of land and is 183 m (600 ft) long and 120 m (394 ft) wide at its widest point. It is supported on 588 concrete piers sunk as much as 25 m (82 ft) below sea level.

Although the roof structures of the Sydney Opera House are commonly referred to as "shells" (as they are in this article), they are in fact not shells in a strictly structural sense, but are instead precast concrete panels supported by precast concrete ribs. The shells are covered in a subtle chevron pattern with 1,056,006 glossy white- and matte-cream-coloured Swedish-made tiles from Höganäs AB though, from a distance, the shells appear a uniform white.

Apart from the tile of the shells and the glass curtain walls of the foyer spaces, the building's exterior is largely clad with aggregate panels composed of pink granite quarried at Tarana. Significant interior surface treatments also include off-form concrete, Australian white birch plywood supplied from Wauchope in northern New South Wales, and brush box glulam

Of the two larger spaces, the Concert Hall is located within the western group of shells, and the Opera Theatre within the eastern group. The scale of the shells was chosen to reflect the internal height requirements, with low entrance spaces, rising over the seating areas and up to the high stage towers. The smaller venues (the Drama Theatre, the Playhouse, and The Studio) are located within the podium, beneath the Concert Hall. A smaller group of shells set to the western side of the Monumental Steps houses the Bennelong Restaurant. The podium is surrounded by substantial open public spaces, of which the large stone-paved forecourt area with the adjacent monumental steps is also regularly used as a performance space.

Performance venues and facilities

The Opera House houses the following performance venues:

The Concert Hall, with 2,679 seats, is the home of the Sydney Symphony Orchestra and used by a large number of other concert presenters. It contains the Sydney Opera House Grand Organ, the largest mechanical tracker action organ in the world, with over 10,000 pipes.[citation needed]

The Opera Theatre, a proscenium theatre with 1,507 seats, is the Sydney home of Opera Australia and The Australian Ballet.

The Drama Theatre, a proscenium theatre with 544 seats, is used by the Sydney Theatre Company and other dance and theatrical presenters.

The Playhouse, an end-stage theatre with 398 seats.

The Studio, a flexible space with a maximum capacity of 400 people, depending on configuration.

The Utzon Room, a small multi-purpose venue, seating up to 210.

The Forecourt, a flexible open-air venue with a wide range of configuration options, including the possibility of utilising the Monumental Steps as audience seating, used for a range of community events and major outdoor performances. The Forecourt will be closed to visitors and performances 2011–2014 to construct a new entrance tunnel to a rebuilt loading dock for the Opera Theatre.

Other areas (for example the northern and western foyers) are also used for performances on an occasional basis. Venues at the Sydney Opera House are also used for conferences, ceremonies, and social functions.

Planning for the Sydney Opera House began in the late 1940s, when Eugene Goossens, the Director of the NSW State Conservatorium of Music, lobbied for a suitable venue for large theatrical productions. The normal venue for such productions, the Sydney Town Hall, was not considered large enough. By 1954, Goossens succeeded in gaining the support of NSW Premier Joseph Cahill, who called for designs for a dedicated opera house. It was also Goossens who insisted that Bennelong Point be the site for the Opera House. Cahill had wanted it to be on or near Wynyard Railway Station in the northwest of the CBD.

A design competition was launched by Cahill on 13 September 1955 and received 233 entries, representing architects from 32 countries. The criteria specified a large hall seating 3,000 and a small hall for 1,200 people, each to be designed for different uses, including full-scale operas, orchestral and choral concerts, mass meetings, lectures, ballet performances and other presentations. The winner, announced in 1957, was Jørn Utzon, a Danish architect. According to legend the Utzon design was rescued from a final cut of 30 "rejects" by the noted Finnish architect Eero Saarinen. The prize was £5,000. Utzon visited Sydney in 1957 to help supervise the project. His office moved to Sydney in February 1963.

Design and construction

The Fort Macquarie Tram Depot, occupying the site at the time of these plans, was demolished in 1958 and formal construction of the Opera House began in March 1959. The project was built in three stages. Stage I (1959–1963) consisted of building the upper podium. Stage II (1963–1967) saw the construction of the outer shells. Stage III (1967–1973) consisted of the interior design and construction.

Stage I: Podium

Stage I commenced on 2 March 1959 by the construction firm Civil & Civic, monitored by the engineers Ove Arup and Partners. The government had pushed for work to begin early, fearing that funding, or public opinion, might turn against them. However, Utzon had still not completed the final designs. Major structural issues still remained unresolved. By 23 January 1961, work was running 47 weeks behind, mainly because of unexpected difficulties (inclement weather, unexpected difficulty diverting stormwater, construction beginning before proper construction drawings had been prepared, changes of original contract documents). Work on the podium was finally completed in February 1963. The forced early start led to significant later problems, not least of which was the fact that the podium columns were not strong enough to support the roof structure, and had to be re-built.

Stage II: Roof

The shells of the competition entry were originally of undefined geometry, but, early in the design process, the "shells" were perceived as a series of parabolas supported by precast concrete ribs. However, engineers Ove Arup and Partners were unable to find an acceptable solution to constructing them. The formwork for using in-situ concrete would have been prohibitively expensive, but, because there was no repetition in any of the roof forms, the construction of precast concrete for each individual section would possibly have been even more expensive.

From 1957 to 1963, the design team went through at least twelve iterations of the form of the shells trying to find an economically acceptable form (including schemes with parabolas, circular ribs and ellipsoids) before a workable solution was completed. The design work on the shells involved one of the earliest uses of computers in structural analysis, in order to understand the complex forces to which the shells would be subjected. In mid-1961, the design team found a solution to the problem: the shells all being created as sections from a sphere. This solution allows arches of varying length to be cast in a common mould, and a number of arch segments of common length to be placed adjacent to one another, to form a spherical section. With whom exactly this solution originated has been the subject of some controversy. It was originally credited to Utzon. Ove Arup's letter to Ashworth, a member of the Sydney Opera House Executive Committee, states: "Utzon came up with an idea of making all the shells of uniform curvature throughout in both directions." Peter Jones, the author of Ove Arup's biography, states that "the architect and his supporters alike claimed to recall the precise eureka moment...; the engineers and some of their associates, with equal conviction, recall discussion in both central London and at Ove's house."

He goes on to claim that "the existing evidence shows that Arup's canvassed several possibilities for the geometry of the shells, from parabolas to ellipsoids and spheres." Yuzo Mikami, a member of the design team, presents an opposite view in his book on the project, Utzon's Sphere. It is unlikely that the truth will ever be categorically known, but there is a clear consensus that the design team worked very well indeed for the first part of the project and that Utzon, Arup, and Ronald Jenkins (partner of Ove Arup and Partners responsible for the Opera House project) all played a very significant part in the design development.

The shells were constructed by Hornibrook Group Pty Ltd, who were also responsible for construction in Stage III. Hornibrook manufactured the 2400 precast ribs and 4000 roof panels in an on-site factory and also developed the construction processes. The achievement of this solution avoided the need for expensive formwork construction by allowing the use of precast units (it also allowed the roof tiles to be prefabricated in sheets on the ground, instead of being stuck on individually at height). Ove Arup and Partners' site engineer supervised the construction of the shells, which used an innovative adjustable steel-trussed "erection arch" to support the different roofs before completion. On 6 April 1962, it was estimated that the Opera House would be completed between August 1964 and March 1965.

Stage III: Interiors

The Concert Hall and Grand Organ

Stage III, the interiors, started with Utzon moving his entire office to Sydney in February 1963. However, there was a change of government in 1965, and the new Robert Askin government declared the project under the jurisdiction of the Ministry of Public Works. This ultimately led to Utzon's resignation in 1966.

The cost of the project so far, even in October 1966, was still only $22.9 million, less than a quarter of the final $102 million cost. However, the projected costs for the design were at this stage much more significant.

The second stage of construction was progressing toward completion when Utzon resigned. His position was principally taken over by Peter Hall, who became largely responsible for the interior design. Other persons appointed that same year to replace Utzon were E. H. Farmer as government architect, D. S. Littlemore and Lionel Todd.

Following Utzon's resignation, the acoustic advisor, Lothar Cremer, confirmed to the Sydney Opera House Executive Committee (SOHEC) that Utzon's original acoustic design only allowed for 2000 seats in the main hall and further stated that increasing the number of seats to 3000 as specified in the brief would be disastrous for the acoustics. According to Peter Jones, the stage designer, Martin Carr, criticised the "shape, height and width of the stage, the physical facilities for artists, the location of the dressing rooms, the widths of doors and lifts, and the location of lighting switchboards.

Significant changes to Utzon's design

The major hall, which was originally to be a multipurpose opera/concert hall, became solely a concert hall, called the Concert Hall. The minor hall, originally for stage productions only, had the added function of opera and ballet to deal with and is called the Opera Theatre. As a result, the Opera Theatre is inadequate to stage large-scale opera and ballet. A theatre, a cinema and a library were also added. These were later changed to two live drama theatres and a smaller theatre "in the round". These now comprise the Drama Theatre, the Playhouse, and the Studio, respectively. These changes were primarily because of inadequacies in the original competition brief, which did not make it adequately clear how the Opera House was to be used. The layout of the interiors was changed, and the stage machinery, already designed and fitted inside the major hall, was pulled out and largely thrown away.

Externally, the cladding to the podium and the paving (the podium was originally not to be clad down to the water, but to be left open).

The construction of the glass walls (Utzon was planning to use a system of prefabricated plywood mullions, but a different system was designed to deal with the glass).

Utzon's plywood corridor designs, and his acoustic and seating designs for the interior of both major halls, were scrapped completely. His design for the Concert Hall was rejected as it only seated 2000, which was considered insufficient. Utzon employed the acoustic consultant Lothar Cremer, and his designs for the major halls were later modelled and found to be very good. The subsequent Todd, Hall and Littlemore versions of both major halls have some problems with acoustics, particularly for the performing musicians. The orchestra pit in the Opera Theatre is cramped and dangerous to musicians' hearing. The Concert Hall has a very high roof, leading to a lack of early reflections onstage—perspex rings (the "acoustic clouds") hanging over the stage were added shortly before opening in an (unsuccessful) attempt to address this problem.

Completion and cost

The Opera House was formally completed in 1973, having cost $102 million. H.R. "Sam" Hoare, the Hornibrook director in charge of the project, provided the following approximations in 1973: Stage I: podium Civil & Civic Pty Ltd approximately $5.5m. Stage II: roof shells M.R. Hornibrook (NSW) Pty Ltd approximately $12.5m. Stage III: completion The Hornibrook Group $56.5m. Separate contracts: stage equipment, stage lighting and organ $9.0m. Fees and other costs $16.5m.

The original cost estimate in 1957 was £3,500,000 ($7 million). The original completion date set by the government was 26 January 1963 (Australia Day). Thus, the project was completed ten years late and over-budget by more than fourteen times.

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Tower of London - 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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Tower of London

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.

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"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

 

(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.

Source: Wiener Zeitung

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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.

Deutschland / Bayern - Schloss Neuschwanstein

 

Neuschwanstein Castle (German: Schloss Neuschwanstein, pronounced [nɔʏˈʃvaːnʃtaɪn], Southern Bavarian: Schloss Neischwanstoa) 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 in honour of Richard Wagner. Ludwig paid for the palace out of his personal fortune and by means of extensive borrowing, rather than Bavarian public funds.

 

The castle was intended as a home for the king, until he died in 1886. It was open to the public shortly after his death. Since then more than 61 million people have visited Neuschwanstein Castle. More than 1.3 million people visit annually, with as many as 6,000 per day in the summer.

 

The municipality of Schwangau lies at an elevation of 800 m (2,620 ft) at the southwest border of the German state of Bavaria. Its surroundings are characterised by the transition between the Alpine foothills in the south (toward the nearby Austrian border) and a hilly landscape in the north that appears flat by comparison.

 

In the Middle Ages, three castles overlooked the villages. One was called Schwanstein Castle. In 1832, Ludwig's father King Maximilian II of Bavaria bought its ruins to replace them with 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.

 

Vorderhohenschwangau Castle and Hinterhohenschwangau Castle sat on a rugged hill overlooking Schwanstein Castle, two nearby lakes (Alpsee and Schwansee), and the village. Separated by only a moat, they jointly consisted of a hall, a keep, and a fortified tower house. In the nineteenth century only ruins remained of the twin medieval 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. 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. Ludwig 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.

 

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. The inspiration for the construction of Neuschwanstein came from two journeys in 1867 — one in May to the reconstructed Wartburg near Eisenach, 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 Wagner, whose 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. This allowed Ludwig II to start the architectural project of building a private refuge in the familiar landscape far from the capital Munich, so that he could live out his idea of the Middle Ages.

 

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

 

The building design was drafted by the stage designer Christian Jank and realised by the architect Eduard Riedel. 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. The king insisted on a detailed plan and on personal approval of each and every draft. Ludwig's control went so far that the palace has been regarded as his own creation, rather than that of the architects involved.

 

Whereas contemporary architecture critics derided Neuschwanstein, one of the last big palace building projects of the nineteenth century, as kitsch, Neuschwanstein and Ludwig II's other buildings are now counted among the major works of European historicism. For financial reasons, a project similar to Neuschwanstein – Falkenstein Castle – never left the planning stages.

 

The palace can be regarded as typical for nineteenth-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 foreshadow elements of Art Nouveau. Characteristic of Neuschwanstein's design are theatre themes: Christian Jank drew on coulisse drafts from his time as a scenic painter.

 

The basic style was originally planned to be neo-Gothic but the palace was primarily built in Romanesque style in the end. The operatic themes moved gradually from Tannhäuser and Lohengrin to Parsifal.

 

In 1868, the ruins of the medieval twin castles were completely demolished; the remains of the old keep were blown up. The foundation stone for the palace was laid on 5 September 1869; in 1872 its cellar was completed and in 1876, everything up to the first floor, the gatehouse being finished first. At the end of 1882 it was completed and fully furnished, allowing Ludwig to take provisional lodgings there and observe the ongoing construction work. In 1874, management of the civil works passed from Eduard Riedel to Georg von Dollmann. The topping out ceremony for the Palas was in 1880, and in 1884, the king was able to move in to the new building. In the same year, the direction of the project passed to Julius Hofmann, after Dollmann had fallen from the King's favour.

 

The palace was erected as a conventional brick construction and later encased in various types of rock. The white limestone used for the fronts came from a nearby quarry. 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 scaffolding and a steam crane that lifted the material to the construction site. Another crane was used at the construction site. The recently founded Dampfkessel-Revisionsverein (Steam Boiler Inspection Association) regularly inspected both boilers.

 

For about two decades the construction site was the principal employer in the region. 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 working at night by the light of oil lamps. Statistics from the years 1879/1880 support an immense amount of building materials: 465 tonnes (513 short tons) of Salzburg marble, 1,550 t (1,710 short tons) of sandstone, 400,000 bricks and 2,050 cubic metres (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 was able to move into the (still unfinished) Palas, and in 1885, he invited his mother Marie to Neuschwanstein on the occasion of her 60th birthday. By 1886, the external structure of the Palas (hall) was mostly finished. 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: The palace was intended to serve Ludwig II as a kind of inhabitable theatrical setting. As a temple of friendship it was also dedicated to the life and work of Richard Wagner, who died in 1883 before he had set foot in the building. In the end, Ludwig II lived in the palace for a total of only 172 days.

 

Neuschwanstein welcomes almost 1.5 million visitors per year making it one of the most popular tourist destinations in Europe. For security reasons the palace can only be visited during a 35-minute guided tour, and no photography is allowed inside the castle. There are also special guided tours that focus on specific topics. In the peak season from June until August, Neuschwanstein has as many as 6000 visitors per day, and guests without advance reservation may have to wait several hours. Ticket sales are processed exclusively via the ticket centre in Hohenschwangau. As of 2008, the total number of visitors was more than 60 million In 2004, the revenues were booked as €6.5 million.

 

Neuschwanstein is a global symbol of the era of Romanticism. The palace has appeared prominently in several movies such as Helmut Käutner's Ludwig II (1955) and Luchino Visconti's Ludwig (1972), both biopics about the king; the musical Chitty Chitty Bang Bang (1968) and the war drama The Great Escape (1963). It served as the inspiration for Disneyland's Sleeping Beauty Castle and later, similar structures. It is also visited by the character Grace Nakimura alongside Herrenchiemsee in the game The Beast Within: A Gabriel Knight Mystery (1996).

 

In 1977, Neuschwanstein Castle became the motif of a West German definitive stamp, and it appeared on a €2 commemorative coin for the German Bundesländer series in 2012. In 2007, it was a finalist in the widely publicised on-line selection of the New Seven Wonders of the World.

 

A meteorite that reached Earth spectacularly on 6 April 2002, at the Austrian border near Hohenschwangau was named Neuschwanstein after the palace. Three fragments were found: Neuschwanstein I (1.75 kg (3.9 lb), found July 2002) and Neuschwanstein II (1.63 kg (3.6 lb), found May 2003) on the German side, and Neuschwanstein III (2.84 kg (6.3 lb), found June 2003) on the Austrian side near Reutte. The meteorite is classified as an enstatite chondrite with unusually large proportions of pure iron (29%), enstatite and the extremely rare mineral sinoite (Si2N2O).

 

Since 2015, Neuschwanstein and Ludwig's Linderhof and Herrenchiemsee palaces are on the German tentative list for a future designation as UNESCO World Heritage Sites. A joint candidature with other representative palaces of the romantic historicism is discussed (including Schwerin Palace, for example).

 

(Wikipedia)

 

Das Schloss Neuschwanstein steht oberhalb von Hohenschwangau bei Füssen im südöstlichen bayerischen Allgäu. Der Bau wurde ab 1869 für den bayerischen König Ludwig II. als idealisierte Vorstellung einer Ritterburg aus der Zeit des Mittelalters errichtet. Die Entwürfe stammen von Christian Jank, die Ausführung übernahmen Eduard Riedel und Georg von Dollmann. Der König lebte nur wenige Monate im Schloss, er starb noch vor der Fertigstellung der Anlage. Neuschwanstein wurde ursprünglich als Neue Burg Hohenschwangau bezeichnet, seinen heutigen Namen trägt es seit 1886. Eigentümer des Schlosses ist der Freistaat Bayern; es wird von der Bayerischen Verwaltung der staatlichen Schlösser, Gärten und Seen betreut und bewirtschaftet.

 

Neuschwanstein ist das berühmteste der Schlösser Ludwigs II. und eine der bekanntesten Sehenswürdigkeiten Deutschlands. Es wird jährlich von etwa 1,5 Millionen Touristen besucht. Das oftmals als „Märchenschloss“ bezeichnete Neuschwanstein ist nahezu ganzjährig für Besucher geöffnet. Die Architektur und Innenausstattung sind vom romantischen Eklektizismus des 19. Jahrhunderts geprägt; das Schloss gilt als ein Hauptwerk des Historismus. Eine Aufnahme der „Ludwig-Schlösser“ Neuschwanstein, Linderhof und Herrenchiemsee in die Liste des Weltkulturerbes der UNESCO wird angestrebt.

 

Erstmals urkundlich erwähnt wurde ein »Castrum Swangowe« im Jahre 1090. Damit gemeint waren die im Mittelalter an der Stelle des heutigen Schlosses Neuschwanstein stehenden zwei kleinen Burgen: Die aus einem Palas und einem Bergfried bestehende Burg Vorderhohenschwangau an der Stelle des heutigen Palas und, nur durch einen Halsgraben getrennt, ein befestigter Wohnturm namens Hinterhohenschwangau, der sich dort befand, wo zwischen heutigem Ritterhaus und Kemenate auch Ludwig II. einen hohen Bergfried geplant hatte, zu dessen Errichtung er jedoch nicht mehr kam. Beide Gebäude gingen auf die Herren von Schwangau zurück, die in der Region als Lehensnehmer der Welfen (bis 1191) und der Staufer (bis 1268), danach als reichsunmittelbare Ritter ansässig waren, bis zu ihrem Aussterben im Jahre 1536. Der Minnesänger Hiltbolt von Schwangau stammt aus diesem Geschlecht. Hinterhohenschwangau war wahrscheinlich der Geburtsort von Margareta von Schwangau, der Ehefrau des Minnesängers Oswald von Wolkenstein. Als 1363 Herzog Rudolf IV. von Österreich Tirol unter habsburgische Herrschaft brachte, verpflichteten sich Stephan von Schwangau und seine Brüder, ihre Festen Vorder- und Hinterschwangau, die Burg Frauenstein und den Sinwellenturm dem österreichischen Herzog offenzuhalten.

 

Eine Urkunde von 1397 nennt zum ersten Mal den Schwanstein, das heutige Schloss Hohenschwangau, das um diese Zeit unterhalb der älteren Doppelburg auf einer Anhöhe zwischen Alpsee und Schwansee errichtet worden war. Seit dem 16. Jahrhundert befand sich die reichsunmittelbare Herrschaft Schwangau unter Oberhoheit der Wittelsbacher, welche die Burg Schwanstein zur Bärenjagd sowie als Sitz für jüngere Söhne und später für ein Pfleggericht nutzten. Sie hatten den gesamten Besitz 1567 aus dem Nachlass der bankrotten Augsburger Patrizierfamilie Baumgartner erworben.

 

Im 19. Jahrhundert waren die beiden oberen Burgen zu Ruinen verfallen, die Überreste Hinterhohenschwangaus zu einem Sylphenturm genannten Aussichtsplatz umgestaltet. Ludwig II. verbrachte einen Teil seiner Kindheit in der Nähe der Burgruinen auf dem benachbarten Schloss Hohenschwangau, das sein Vater König Maximilian II. um 1837 von einer spätmittelalterlichen Burg zu einem wohnlichen Schloss im Sinne der Romantik hatte umgestalten lassen. Hohenschwangau war ursprünglich als Schloss Schwanstein bekannt, seine neue Bezeichnung erhielt es erst während des Wiederaufbaus. Damit wurden die Namen der Burg Schwanstein und der älteren Doppelburg Vorder- und Hinterhohenschwangau vertauscht. Max II. hatte 1855 Baurat Eduard Riedel beauftragt, für den Turm von Hinterhohenschwangau zunächst einen Aussichtspavillon in Glas-Eisen-Konstruktion zu entwerfen, im Jahr darauf dann einen Plan für die Reparatur des Turms und die Herstellung eines Zimmers mit einem Zeltdach darüber. Beides wurde jedoch zurückgestellt.

 

Die oberhalb des Wohnschlosses gelegenen Ruinen waren dem Kronprinzen – wie auch der Frauenstein und der Falkenstein – häufiges Wanderziel und deshalb gut bekannt. 1859 zeichnete er die Überreste der Vorderhohenschwangauer Burg erstmals in sein Tagebuch. 1837 pries ein Anonymus das wiederaufgebaute Schloss Hohenschwangau als „die Wiege einer neuen Romantik“ und schwärmte von dem Gedanken, dass „auch die Ruinen von dem vorderen Schlosse Schwangau (gemeint war die Doppelburg Vorder- und Hinterhohenschwangau), die mit Falkenstein und Hohen-Freyberg ein langgezogenes Dreieck bilden, zu einem großen einfachen Fest- und Sängersaal wiederaufgerichtet werden …“ Damit war die Idee eines Wiederaufbaus der Ruinen im Sinne einer Wiedergeburt des Austragungsortes des Sängerkriegs auf der Wartburg in der Welt; 20 Jahre bevor die thüringische Wartburg durch Hugo von Ritgen wiederaufgebaut wurde und 30 Jahre bevor Ludwig II. die Idee in die Tat umsetzte, indem er auf dem „Jugend“ genannten Burgfelsen von Vorder- und Hinterhohenschwangau ein neues „Sängerschloss“ nach dem Vorbild der Wartburg errichten ließ.

 

ach der Regierungsübernahme durch den jungen König 1864 war der Wiederaufbau der Vorderhohenschwangauer Burgruine – des späteren Neuschwansteins – das erste größere Schlossbauprojekt Ludwigs II. Er plante damit durchaus nichts Außergewöhnliches: In ganz Europa bauten sich zur gleichen Zeit gekrönte Häupter und Adelsfamilien Schlösser und Burgen in historischen Stilen oder ließen bedeutende mittelalterliche Monumente rekonstruieren. Kurz nach dem väterlichen Hohenschwangau hatte Ludwigs Onkel, König Friedrich Wilhelm IV. von Preußen, das Schloss Stolzenfels und von 1850 bis 1867 die Burg Hohenzollern wiedererrichten lassen. Der hannoversche König hatte von 1858 bis 1869 das Schloss Marienburg gebaut. Die britische Königin Victoria ließ ab 1845 Osborne House und kurz darauf Balmoral Castle umbauen, nachdem ihr Onkel Georg IV. schon zwischen 1820 und 1830 Windsor Castle bedeutend erweitert hatte. Ein weiteres Beispiel aus Europa war ab 1840 der Bau des Palácio Nacional da Pena durch den portugiesischen König Ferdinand II. Zur gleichen Zeit ließen die Fürsten zu Schwarzenberg das böhmische Schloss Frauenberg errichten und die Fürsten von Urach das Schloss Lichtenstein bauen. Auch die umfangreiche Restaurierung der Hohkönigsburg im Elsass durch den deutschen Kaiser, die allerdings erst im frühen 20. Jahrhundert stattfand, kann hier erwähnt werden.

 

Dem als Sinnbild einer Ritterburg gedachten Neuschwanstein folgten mit Linderhof noch ein Lustschloss aus der Epoche des Rokoko und mit Schloss Herrenchiemsee ein barocker Palast, der als Denkmal für die Zeit des Absolutismus stand. Angeregt zu dem Bau Neuschwansteins wurde Ludwig II. durch zwei Reisen: Im Mai 1867 besuchte er mit seinem Bruder Otto die wieder aufgebaute Wartburg bei Eisenach, im Juli desselben Jahres besichtigte er in Frankreich Schloss Pierrefonds, das damals von Eugène Viollet-le-Duc für Kaiser Napoleon III. von einer Burgruine zu einem historistischen Schloss umgestaltet wurde. Im Verständnis des Königs entsprachen beide Bauten einer romantischen Darstellung des Mittelalters, ebenso wie die musikalischen Sagenwelten Richard Wagners. Dessen Werke Tannhäuser und Lohengrin hatten den König nachhaltig beeindruckt. Am 15. Mai 1868 teilte er dem befreundeten Komponisten in einem Brief mit:

 

„Ich habe die Absicht, die alte Burgruine Hohenschwangau bei der Pöllatschlucht neu aufbauen zu lassen, im echten Styl der alten deutschen Ritterburgen“

 

Durch den Tod seines 1848 abgedankten Großvaters Ludwig I. konnte der junge König ab 1868 dessen Apanage einbehalten, wodurch ihm umfangreiche finanzielle Mittel zur Verfügung standen. Der König wollte mit dem nun entstehenden Bauprojekt in der ihm aus Kindertagen vertrauten Landschaft ein privates Refugium abseits der Hauptstadt München schaffen, in dem er seine Vorstellung des Mittelalters erleben konnte, zumal das von ihm gern genutzte Schloss Hohenschwangau jeweils während der Sommermonate von seiner ungeliebten Mutter, der Königin Marie, besetzt war. Die Entwürfe für das neue Schloss lieferte der Münchner Theatermaler Christian Jank, umgesetzt wurden sie durch den Architekten Eduard Riedel. Überlegungen, die Burgruinen in den Bau zu integrieren, wurden wegen der damit verbundenen technischen Schwierigkeiten nicht weiter verfolgt. Erste Pläne für das Schloss, die sich stilistisch an der Nürnberger Burg orientierten und einen schlichten Neubau anstelle der alten Burg Vorderhohenschwangau vorsahen, wurden wieder verworfen und gegen zunehmend umfangreichere Entwürfe ersetzt, die zu einem größeren Schloss nach dem Vorbild der Wartburg führten. Der König bestand auf einer detaillierten Planung und ließ sich jeden Entwurf zur Genehmigung vorlegen. Sein Einfluss auf die Entwürfe reichte so weit, dass das Schloss vor allem als seine eigene Schöpfung und weniger als die seiner beteiligten Architekten gelten kann.

 

Mit dem Bau des Schlosses wurde 1869 begonnen. Die Wünsche und Ansprüche Ludwigs II. wuchsen mit dem Bau ebenso wie die Ausgaben, und die Entwürfe und Kostenvoranschläge mussten mehrfach überarbeitet werden. So war anstelle des großen Thronsaales ursprünglich nur ein bescheidenes Arbeitszimmer geplant, und vorgesehene Gästezimmer wurden aus den Entwürfen wieder gestrichen, um Platz für einen Maurischen Saal zu schaffen, der aufgrund der ständigen Geldknappheit nicht realisiert werden konnte. Die ursprünglich schon für 1872 vorgesehene Fertigstellung des Schlosses verzögerte sich wiederholt. Als Dank für den Kaiserbrief erhielt der König ab 1871 zwar Zuwendungen aus dem Welfenfonds durch Bismarck, doch wurden seine finanziellen Mittel nun zunehmend auch durch seine weiteren Bauprojekte vereinnahmt. Der Palas und das Torhaus Neuschwansteins waren bis 1886 im Außenbau weitgehend fertiggestellt; ab 1884 konnte der König den Palas erstmals bewohnen. Ludwig II. lebte bis zu seinem Tod 1886 insgesamt nur 172 Tage im Schloss, das bis dahin noch einer Großbaustelle glich. 1885 empfing er hier anlässlich ihres 60. Geburtstags seine auf dem unteren Hohenschwangau residierende Mutter, die vormalige Königin Marie.

 

Neuschwanstein sollte Ludwig II. gewissermaßen als bewohnbare Theaterkulisse dienen. Es war als Freundschaftstempel dem Leben und Werk Richard Wagners gewidmet, der es jedoch nie betreten hat. Trotz seiner Größe war das Schloss nicht für die Aufnahme eines Hofstaats vorgesehen; es bot lediglich der Privatwohnung des Königs und Zimmern für die Dienerschaft Raum. Die Hofgebäude dienten weniger Wohn- als vielmehr dekorativen Zwecken. So war zum Beispiel der Bau der Kemenate – die erst nach Ludwigs Tod vollendet wurde – eine direkte Reminiszenz an den zweiten Akt von Lohengrin, wo ein solches Gebäude einen der Schauplätze darstellte.

 

Ludwig II. bezahlte seine Bauprojekte selbst aus seinem Privatvermögen und dem Einkommen seiner Zivilliste. Anders als oft kolportiert wird, wurde die Staatskasse für seine Bauten nicht belastet. Die Baukosten Neuschwansteins betrugen bis zum Tod des Königs 6.180.047 Mark, ursprünglich veranschlagt waren 3,2 Millionen Mark. Seine privaten Mittel reichten für die ausufernden Bauprojekte jedoch nicht mehr aus, und so musste der König laufend neue Kredite aufnehmen. 1883 war er bereits mit über 7 Millionen Mark verschuldet, 1885 drohte ihm erstmals eine Pfändung.

 

Die Streitigkeiten um die Verschuldung des Staatsoberhaupts veranlassten die bayerische Regierung 1886, den König zu entmündigen und für regierungsunfähig erklären zu lassen. Ludwig II. hielt sich zur Zeit seiner Entmündigung am 9. Juni 1886 in Neuschwanstein auf; es war das letzte seiner selbst in Auftrag gegebenen Schlösser, das er bewohnte. Die anlässlich seiner bevorstehenden Absetzung am 10. Juni 1886 nach Neuschwanstein gereiste Regierungskommission ließ der König im Torhaus festsetzen. Nach einigen Stunden wurden die Mitglieder der Kommission freigelassen. Am 11. Juni erschien eine zweite Kommission unter der Leitung Bernhard von Guddens. Der König musste Neuschwanstein daraufhin am 12. Juni 1886 verlassen und wurde nach Schloss Berg verbracht, wo er am 13. Juni 1886 im Starnberger See ertrank.

 

Ludwig II. errichtete Schloss Neuschwanstein nicht als Repräsentationsbau oder zur Machtdemonstration, sondern ausschließlich als seinen privaten Rückzugsort. Im Gegensatz dazu steht die heutige Bedeutung des Schlosses als eines der wichtigsten Touristenziele Deutschlands. Der Deutsche Tourismusverband macht auf internationaler Ebene mit Neuschwanstein Werbung für Bayern als ein Land der Märchenschlösser. So nimmt es nicht Wunder, dass bei einer Umfrage der Deutschen Zentrale für Tourismus (DZT) unter 15.000 ausländischen Gästen über deren liebstes Besucherziel das Schloss Neuschwanstein Platz 1 erreichte. Im nationalen Vergleich wählten 350.000 Teilnehmer die Schlossanlage in der ZDF-Show Unsere Besten – die Lieblingsorte der Deutschen indes nur auf Rang 19. Bei der Abstimmung über die neuen Weltwunder im Jahr 2007 war Schloss Neuschwanstein auf dem achten Platz zu finden.

 

Seit ihrer Öffnung für den Besucherverkehr im Todesjahr Ludwigs zählt die Anlage beständig steigende Gästezahlen. Allein in den ersten acht Wochen besuchten rund 18.000 Menschen das Schloss. 1913 zählte es über 28.000 Gäste, 1939 waren es bereits 290.000. Bis 2001 war die Zahl auf rund 1,3 Millionen Besucher angewachsen, darunter 560.000 Deutsche und 385.000 Amerikaner sowie Engländer. Drittstärkste Gruppe waren in jenem Jahr die 149.000 Japaner. Bis 2005 wurden insgesamt über 50 Millionen Besucher gezählt. 2013 wurde mit 1,52 Millionen Besuchern ein neuer Rekord aufgestellt, das waren 31 Prozent der gesamten Besucher in den staatlichen Schlössern, Burgen und Residenzen. Damit ist Schloss Neuschwanstein der unangefochtene Besuchermagnet der Bayerischen Schlösserverwaltung und deren einzige Anlage, die mehr Gewinn einbringt als Kosten verursacht. 2004 wurden über 6,5 Millionen Euro an Einnahmen verbucht. Die Anlage zählt in der Hochsaison von Juni bis August durchschnittlich mehr als 6000 Besucher am Tag, in Stoßzeiten bis zu 10.000. Aufgrund des hohen Andrangs müssen Gäste ohne Voranmeldung zum Teil mit mehreren Stunden Wartezeit rechnen. Der Ticketverkauf erfolgt – vor Ort und online – ausschließlich über das Ticketcenter in Hohenschwangau. Aus Gründen der Sicherheit ist es nur im Rahmen einer etwa 35-minütigen Führung möglich, das Schloss zu besichtigen. Daneben gibt es noch sogenannte Themenführungen, die sich beispielsweise mit den Sagenwelten der jeweiligen Bilder befassen.

 

Der mit Neuschwanstein verbundene Massentourismus ist für die Region jedoch nicht nur ein lukratives Geschäft, sondern bringt auch Probleme mit sich. Vor allem in den Sommermonaten ist die Verkehrssituation rund um die Königsschlösser Hohenschwangau und Neuschwanstein extrem angespannt. Der ausufernde Parksuchverkehr in Schwangau wirkt belastend auf die Bewohner, und der sich stauende Verkehr in der Augsburger Straße in Füssen ist zu einem Drittel auf den An- und Abreiseverkehr der Schlosstouristen zurückzuführen. Seit über 20 Jahren stehen die Stadt Füssen und die Gemeinde Schwangau in Verhandlung zur Beseitigung ihrer Verkehrsprobleme, doch die verschiedenen Interessenlagen und gegensätzliche Positionen der Beteiligten führten bislang zu keiner Lösung. Trotz langer Parkplatzsuche sowie Schlangestehen vor dem Ticketcenter und dem Schlossportal reißt der Besucherstrom nach Schloss Neuschwanstein nicht ab, denn

 

„Der Nimbus des „Märchenkönigs“ übt offensichtlich auf die Umwelt eine derartige Faszination aus, dass jeder Versuch, die Besucherströme auf andere, weniger besuchte Objekte abzulenken, bisher vergeblich war und wohl auch bleiben wird.“

 

Die bayerische Regierung investiert regelmäßig Summen in Millionenhöhe in die Erhaltung des Schlosses und in die touristische Erschließung der Anlage. 1977 musste der Felsberg unter der Kemenate für 500.000 DM saniert werden. Mit rund 640.000 DM schlug noch einmal die damalige Sanierung der Marienbrücke zu Buche, während für die Erneuerung der Schlossdächer 2,1 Millionen Mark aufgewendet werden mussten. In den 1980er Jahren war das Abtäufen eines Treppenhauses und die Anlage eines weiteren Besucheraufgangs nötig geworden. Sie kosteten insgesamt 4,2 Millionen Mark. In der Zeit von 1990 bis 2008 gab der Freistaat weitere 14,5 Millionen Euro für Instandhaltungsmaßnahmen – darunter die Instandsetzung der einzigen Zufahrtsstraße sowie eine jahrelange Fassadensanierung – und die Verbesserung der Besucherbetreuung aus. Auch die Innenräume müssen regelmäßig instandgesetzt und restauriert werden. So wurden 2009 und 2011 für über 425.000 Euro die original erhaltenen Textilien im Schlaf- sowie Wohnzimmer Ludwigs II. restauriert und durch Licht- sowie Tastschutz vor weiterem Verfall bewahrt.

 

Die Schlossverwaltung warnt davor, dass mit jährlich etwa 1,5 Millionen Besuchern das Schloss an die Grenzen seiner Kapazität gelangt sei. Die Besuchermassen würden – zusammen mit dem alpinen Klima und dem Licht – die wertvollen Möbel und Textilien stark belasten. Eine besondere Rolle scheint dabei die von den Besuchern ausgeatmete Feuchtigkeit zu spielen. Wissenschaftler sollen untersuchen, inwiefern die Schlossverwaltung diese Belastung verringern kann.

 

Neuschwanstein gilt als Sinnbild für die Zeit der Romantik und ist weltweit bekannt. In amerikanischer Werbung ist es das meistgenutzte Schlossmotiv. Schon im Mai 1954 zeigte die amerikanische Illustrierte Life in einer Sonderausgabe über das deutsche Wirtschaftswunder Schloss Neuschwanstein auf seiner Titelseite.

 

Das Schloss inspirierte Künstler wie Andy Warhol, der es zum Thema einer seiner Pop-Art-Sequenzen machte, nachdem er es 1971 besucht hatte. 2002 stürzten in der Nähe Neuschwansteins Trümmerstücke eines Meteoriten auf die Erde, die seitdem unter dem Namen des Schlosses katalogisiert sind.

 

Die Anlage war Vorbild für mehrere Bauten auf der ganzen Welt, allen voran für das Sleeping-Beauty-Schloss im Disneyland Resort im kalifornischen Anaheim. Auch das Dornröschen-Schloss im Disneyland Paris wurde dem bayerischen „Märchenschloss“ nachempfunden und folgt der internationalen Einordnung, die den Anblick von Neuschwanstein mit Disney's Cinderella bzw. mit Aschenputtel in Verbindung bringt. Ähnliches gilt für das Excalibur Hotel & Casino in Las Vegas. Der 1990 eröffnete, 290 Millionen Dollar teure Komplex zeigt starke Anlehnungen an Neuschwanstein. In Deutschland ließ der Kommerzienrat Friedrich Hoepfner in der Karlsruher Haid-und-Neu-Straße von 1896 bis 1898 seine „Hoepfner-Burg“ nach Plänen von Johann Hantschel errichten. Der als Betriebsgebäude für Hoepfners Brauerei errichtete Bau zeigt ebenfalls Reminiszenzen an Schloss Neuschwanstein.

 

Schloss Neuschwanstein diente unzählige Male als Kulisse für Verfilmungen über das Leben Ludwigs II. Es war zum Beispiel Drehort für Filme wie Helmut Käutners Ludwig II. von 1955 und Luchino Viscontis Ludwig II. von 1972. Auch die neueste Filmbiografie, Ludwig II. von Peter Sehr und Marie Noëlle aus dem Jahr 2012, wurde an Originalschauplätzen gedreht.

 

Die Anlage kam aber nicht nur bei Verfilmungen des Lebens Ludwigs II. zum Einsatz. Zum Beispiel fand auch ein Teil der Dreharbeiten zu Ken Hughes’ Fantasy-Komödie Tschitti Tschitti Bäng Bäng aus dem Jahr 1968 dort statt, und in Mel Brooks’ 1987 veröffentlichter Star-Wars-Parodie Spaceballs stellte Schloss Neuschwanstein das Zuhause von Prinzessin Vespa auf dem Planeten Druidia dar. Auch für Peter Zadeks Die wilden Fünfziger von 1983 und in dem 2008 erstmals ausgestrahlten TV-Spielfilm Die Jagd nach dem Schatz der Nibelungen diente Neuschwanstein als Kulisse.

 

In dem DEFA-Märchenfilm Die vertauschte Königin von Dieter Scharfenberg findet in der Anfangssequenz ein Schlossmodell Verwendung, das eine Adaption Neuschwansteins ist.

 

Die in dem Film Sherlock Holmes: Spiel im Schatten aus dem Jahr 2011 gezeigte Festung in den Schweizer Alpen wurde digital gestaltet, als Vorlage diente neben der Festung Hohenwerfen auch Schloss Neuschwanstein.

 

(Wikipedia)

АЛЕКСАНДР ГОЛОВИН, 1910-е - Умбрийская долина

☆

Location: The State Tretyakov Gallery, Moscow, Russia.

 

Source: my.tretyakov.ru/app/masterpiece/8472

 

The paintings of Aleksandr Golovin are light and elegant and have little to do with everyday difficulties: the artist, who remained in his youth without a livelihood, was forced to take up any work for many years. Fate brought Golovin into the theatrical world far from immediately: after graduating from college, he served as an apprentice with the decorator August Tomashki. And in 1902, a talented stage designer has already become the main decorator of the Imperial Theaters.

The fairy-tale atmosphere of the stage, and not the unsightly backstage - in the works of Golovin. His paintings are bizarre and sophisticated: whether it is an image of a proud female figure (A Spanish Woman with a Bunch of Yellow Flowers, 1906-1907), long rose garlands (Umbrian Valley, mid-1910s), or luxurious vases (Porcelain and flowers, 1915). The artist’s manner has absorbed the main styles of the era - impressionism, modern ... Looking at his delicate sketches of scenery and colorful majolica, you want one thing: to travel to that world that, contrary to turbulent times, was imagined by Aleksandr Golovin.

 

The artist often visited Italy and admired a special mood of "musical caress" poured over its nature. The picture Umbrian Valley was possibly painted on location, but somehow it has a decorative tone. Influenced by Art Nouveau, Golovin executes the painting in a refined graphic manner transforming the image into flat ornamental silhouettes. Combining a still-life motif in the foreground with the landscape in the background, the artist creates flat plans resembling transparent stage scenery. Umbrian Valley is perceived as a part of theater works by Golovin who designed in 1911 the well-known production of K.W. Gluck’s opera Orpheus and Eurydice. In that production, garlands of pink roses became a decorative leitmotif casting an ephemeral image of antiquity. Roses - attributes of the goddess Venus - are often found in works by Sandro Botticelli's, Golovin’s favourite master of the early Italian Renaissance.

 

Rus: Картины Александра Головина легки и изящны и мало соотносятся с житейскими трудностями: художник, оставшийся в юности без средств к существованию, долгие годы был вынужден браться за любую работу. Судьба привела Головина в театральный мир далеко не сразу: после окончания училища он служил подмастерьем у декоратора Августа Томашки. А в 1902 году талантливый сценограф уже стал главным декоратором Императорских театров.

Сказочная атмосфера подмостков, а не неприглядное закулисье — вот что восхищает в работах Головина. Его картины причудливы и изысканны: будь то изображение горделивой женской фигуры («Испанка с букетом жёлтых цветов», 1906-1907), длинных гирлянд роз («Умбрийская долина», 1910-е гг.) или роскошных ваз («Фарфор и цветы», 1915). Манера художника впитала главные стили эпохи — импрессионизм, модерн... Разглядывая его ажурные эскизы декораций и красочные майолики, хочешь одного: перенестись в тот мир, который вопреки неспокойному времени нафантазировал Александр Головин.

 

Цитируется по публикации: Гордеева М. Головин. Серия ''Великие художники''. Альбом 84. Комсомольская правда - Директ-Медиа, М. 2011, 48 с.

Александр Яковлевич создал удивительно красивое полотно «Умбрийская долина», которое можно рассматривать как его эстетическую программу. Это произведение, подобно многим другим станковым работам мастера, находится на стыке жанров: одновременно оно воспринимается и как пейзаж, и как натюрморт, и как эскиз декорации, и как декоративное панно. Главное место в композиции занимает растущий на террасе роскошный розовый куст, за ним открывается вид на залитую солнцем долину с голубыми горами у самого горизонта. Цветы и бутоны Головин старался изобразить натуралистически точно, но из-за использования множества оттенков растение больше походит на сказочное. Созданный художником мир похож на реальный, но все же в большей степени выглядит театральным. Эта картина в полной мере соответствует высказыванию искусствоведа и художественного критика Э.Ф. Голлербаха: «Природа становится прекрасной, когда начинает подражать театру».

COLECCIÓN DEL MUSEO RUSO.

Avenida Sor Teresa Prat, nº 15.

MÁLAGA.

 

“Victory over the Sun”

is a Russian Futurist opera

premiered in 1913 in Saint Petersburg.

Stage designer was Kazimir Malevich.

This rare video was a 16mm film at the Cloyne Pioneer Museum (donor unknown). There is no sound with this video. It was digitized so it could be shared and preserved years ago. We know little about this short film although it appears to commemorate Merrill Denison with the unveiling of a plaque at Hart House Theatre in Toronto.

 

We need viewer's help in identifying people in the video. Merrill is obviously the focus of the video but who are the others? Viewers can assist by letting us know who you recognize. If you know someone, share the timecode of the video with us in the comments below.

 

For instance, the late John Savigny can be seen with his hands folded at timecode 0:14 wearing glasses and a red/white striped shirt. John and his wife Mary were close friends of the Denisons. In fact, Mary authored the book 'Bon Echo - The Denison Years'.

 

'Merrill Denison was a playwright of realistic dramas and satire born in Detroit, Michigan, 1893, died in San Diego, California, 1975. He 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.' Source: Canadian Theatre Encyclopedia.

 

The inscription on the plaque at timecode: 2:22 reads as follows:

Brothers in Arms by Merrill Denison

Produced by Roy Mitchell (Director)

Cast: Charles Thompson, Heasell (sp?) Mitchell, Walter Bowles, and Merrill Denison

Hart House Theatre

April 1921

 

Part of the CDHS Archives

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:

pioneer.mazinaw.on.ca/flickr_statement.php

Pavel Tchelitchew

American, born Russia. 1898–1957

 

Hide-and-Seek

Derby, Vermont and New York, June 1940 - June 1942

 

By the time he turned twenty, Tchelitchew had been thrust into a lifetime of wandering. After fleeing Moscow for Kiev with his family in 1918, he spent a few years in Berlin honing his prowess as a stage designer, then a decade in Paris, where he developed paintings featuring multiple metamorphic images. The artist finally arrived in the United States in the autumn of 1934, at the age of thirty-six.

Although he began Hide-and-Seek while summering in Vermont in 1940, the painting is based on a tree the artist had sketched while traveling, six years earlier. At the time, Tchelitchew had made several drawings of the tree, with new elements emerging in each permutation: playful children arrived; branches and roots became fingers and toes. In the final canvas, embryonic figures encircle the trunk, their translucent bodies floating among traces of human and vegetal forms that pulse with a rhythmic multiplicity. The visceral, vibrating mass coalesces on the picture plane, enacting Tchelitchew’s theory of metamorphosis, in which separate moments and perspectives “exist as one, simultaneously, indivisibly and independently.” The painting’s luminous figures cycle between presence and absence, life and death, their movements paralleling the artist’s experience of forced flight and transformation. Hide-and-Seek, which took two years to complete, was ready just in time for the artist’s 1942 retrospective at The Museum of Modern Art.

 

Date of Interview: November 24, 1929 (2012)

Interviewer: Zoe Foodiboo

Interviewee(s): Tequila Mockingbird (Krovac)

Location: Dorotheenstrasse 9 (aka Tequila’s apartment), 1920s Berlin Project (owned and managed by Frau Jo Yardley), Second Life.

 

Abstract: Tequila Mockingbird has been a resident of 1920s Berlin for a little over a year. In addition to being a supporter, she is also choreographer, stage director and dancer for the local dance troupe, The Flapperettes. Other tenants mentioned in this interview include: Desireme Fallen, Dora Duchamp, Adele Kling, Max Beckert, Sonatta Morales, Captain Sir Walter Gedenspire, Zeno McAuley, Maegara Hesse, Luzie Cheng, Sasa Steigerwald, Victoria (Lulu) Weibes, and Wachtmeister Danitz.

 

**********

 

Zoe Foodiboo: Thank you for having me over, Tequila, your home is lovely!

 

Tequila Mockingbird (tequila.krovac): Thanks to you for coming Zoe

 

ZF: Let's start with a little bit about your background, Tequila. Where are you from?

 

TM: I am from Mexico. I was born in Mexico City in 1909

 

ZF: How exotic! What was it like growing up in Mexico City? Did you live with your parents?

 

TM: Yes, for most part of it...I was born during the Mexican Revolution war, though. It was followed by the Cristero war we are still facing.

 

Zoe nods, "Are your parents still there in Mexico City?

 

TM: No....all my family got killed

 

Zoe's eyes widen as she whispers, "Oh my...."

Zoe shuffles her notes.

 

TM: All these years had been very violent. My dad used to have some mines all over the country...

 

Zoe nods, "I see."

 

TM: He made sure I came to Berlin through a business partner he was selling minerals to.

 

ZF: How old were you when you traveled to Berlin?

 

TM: I was 19 years old. I was hoping my dad and my younger brother would be following me. my mom died when I was still a child....

 

Zoe nods

 

TM: But they got killed by the christians soon after I left. They were Masons. So I have no reasons to go back to Mexico for now.

 

ZF: I see. Where did you live when you first arrived?

 

TM: I met Meagara right after arriving and we shared a house in Behrenstrasse. I shared the house with her for about 7 months

 

ZF: Swanky neighborhood! How did you meet Meagara?

 

TM: Through the same business contact of my father who arranged everything for me coming here. I met her at a party. We were both willing to live in Berlin and she found the perfect villa for us.

 

Zoe nods, "Who else did you meet when you first arrived?"

 

TM: well, I soon started making friends with my closest neighbours....I met the captain when he was still married to Desi. And I started making friends with Dora and Addie, also.

 

ZF: Ah, Sir Walter was one of your neighbors?

 

TM: I had a maid at that time, that came with me from Mexico. Her name was Lama.

 

Zoe nods and scribbles on her note pad

 

TM: Yes the captain was my neighbour, and I often found him smoking on the corner...Desi did not allowed him smoking in the house.

 

ZF: I see....so that is how you two became acquainted....

 

TM: Yes, he often asked me about my poems and we chatted when we met. And then that Eldorado night came up...

 

Zoe looks at Tequila questioningly

 

TM: Well, it was recently forbidden to do cocaine and Max was doing it, so there was a rally.

Danitz came in the cabaret and started beating everyone

 

Zoe’'s eyes widen

 

TM: I noticed the captain had been beaten and tried to help. Then Danitz announced he was taking some people to jail

 

ZF: Oh boy....

 

TM: I said it was unfair to only take Sonatta and Max as we were all having fun so, Danitz took me also. And Lama, my maid, came with me. The four of us were kept in the same room and Lama and I were kind of afraid, as that was the first time we had ever been in jail. Then an upset officer came in the room...

 

ZF: oh my!

 

TM: Lama was the closest to the door so she got beat hard. The officer broke her neck.

 

ZF: My gracious!

 

TM: So I started yelling for an ambulance. That is when the Captain tried to rescue us, but he got shot on his leg. It was a tragedy.

 

ZF: What happened after that?

 

TM: I got released the day after, but had to send Lama back to Mexico on a wheelchair, wearing a posture collar. And the captain had to spend a full week in the hospital

 

ZF: Poor Walter....

 

TM: Yes, I took him flowers though. After that we just became closer as friends. And he divorced Desi.

 

Zoe nods

 

TM: So, I started visiting him in Paris quite often. At that time, Zeno came with the idea of organizing a chorus line.

 

ZF: the Flapperettes!

 

TM: I was very interested in participating in that...yes, The Flapperettes. It was easy to put it together as I was already friends with Dora and Addie. We presented our first show at Der Keller and had been committed to it since then. I am the choreographer and stage designer of the group.

 

ZF: How exciting! Where do you get your inspiration for the choreography and stage designs?

 

TM: Well, it depends on the song....we first started with a basic stage and were only doing costume changes. But now we are changing stages also. I try to follow art deco style and all the girls have to hurry into changing stages when the curtain goes down...

 

Zoe nods

 

TM: It is hard to do sometimes, but we want to grow and learn how to entertain better. We will be offering a mini show for X-mas next month and we want to surprise the Berliners with what we are preparing.

 

ZF: ooohhh...sounds like fun!

 

TM: I hope it will be.

 

ZF: Do you help with costumes as well?

 

TM: Yes, Dora, Addie and me look for costumes and agree all together.

 

ZF: Wonderful. Are there any other dancers in the Flapperettes?

 

TM: Yes, there are Luzie and Sasa, as well as Lulu, but she is our understudy for now. We also have invited dancers, and a big surprise for this upcoming X-mas mini-show!

 

Zoe smiles

ZF: You had a tarot reading booth at last year's winter market, is that right? Will you do another this year?

 

TM: If Morgie invites me to do it, I will. I find tarot reading very interesting and I like to participate in as much activities I can. We are also planning to do a pin-up calendar...

 

Zoe nods, "Flapperettes, Winter Market....how else do you spend your time?"

 

ZF: Ah yes, I heard about the calendar - quite exciting!

 

TM: **I am mainly a poet and a photographer. I am preparing an exhibition for Paris right now. To me, art is the most important reason to spend time here...

 

Zoe nods, "Do you have any plans for an exhibition here in Berlin?"

 

TM: Maybe next year I will go for some dada art or some other creative concept I come up with.... In my own particular way to interpret dadaism, of course.

 

ZF: Wonderful! Tell me, how do you discover the 1920s Berlin Project?

 

TM: I discovered it while wandering around, looking for a nice location to do some photos. I started wearing that freebie dress they were giving away at the Teleportplatz and soon realised the sim had a lot more to offer regarding fashion, style, history, and a wonderful community. I fell in love with the city immediately and sent Maegara an invitation to join me and explore together. I was amazed she recognized all the characters in the pictures at the museum and we went exploring around from there...

 

ZF: How long ago was this?

 

TM: A year ago...September last year. Then she found the villa and we moved in.

 

[at this point, Zoe Foodiboo’s viewer crashed]

 

ZF: Tell me about your Rezz Day party at Eldorado. You had it together with Walter, is that correct?

 

TM: Yes, the captain and I have very close RezzDays so we decided to celebrate both at Eldorado after the Flapperette's show...where he was an invited DRAG flapperette dancer, by the way...

 

ZF: How lovely! Who catered your event? Did you have music?

 

TM: Morgie catered and it was a lot of fun, yes. Then he proposed...

 

ZF: Who did?

 

TM: The Captain proposed. He gave me a ring, and we moved here to 9 Dorotheenstrasse. But after a few weeks we figured out we are actually cousins.

 

ZF: Ah yes, I remember now...huhwhat? You’re cousins?

 

TM: Yes, we are related, and we did not want to risk having pig-tailed babies. So, we had to end our partnering relationship; but we keep on being good friends...

 

ZF: How did you discover that you are related?

 

TM: The same old family friend who brought me here revealed that fact. It was sad. But we got over it.

 

Zoe nods slowly, letting it sink in

ZF: Distant cousins or close cousins?

 

TM: Close cousins...which made any partnering impossible

 

ZF: I see. It's all so very.....modern....or something. :) I'm glad you're still friends! or family, I guess.

 

TM: It was unexpected....sometimes you do not know your roots that well!

 

Zoe looks around, "So you live here alone?"

 

TM: Yes, I live here by myself.

 

ZF: It's a beautiful home....you've done a lovely job decorating!

 

TM: Danke. I am looking forward to go back to Behrenstrassse, but Maegara has been out for a long vacation, so I have not got any chance to meet her and talk about it...

 

ZF: Oh, you're moving?

 

TM: It depends on what will happen next month...

 

ZF: Christmas?

 

TM: Yes, let us see what Noel has in his gift sack.

 

ZF: Always an adventure here in Berlin!

 

Tequila smiles

 

ZF: Well, thank you so much, Tequila. This was all quite illuminating! Is there anything else you would like to add before I go?

 

TM: Thanks to you for taking the burden of my interview...

 

ZF: Oh, it was my pleasure.

 

TM: Thank you

 

ZF: See you later. Have a nice evening!

 

TM: You too...thank you for your time!

 

Zoe Foodiboo waves

__________

 

**Tequila’s personal website: krovac.blogspot.mx/

      

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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

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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.

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 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.

 

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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.

GERMANY PHOTO STORIES TRAVEL STORES PLACES STORIES

 

NEUSCHWANTEIN CASTLE & LINDERHOF PALACE PARK & LANDSCAPES

 

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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

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

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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

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"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

 

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

 

Tickets www.greatermanchesterfringe.co.uk