КОНСТАНТИН КОРОВИН - Ловля рыбы на Мурманском море

☆

Location: The State Tretyakov Gallery, Moscow, Russia.

Sources: my.tretyakov.ru/app/masterpiece/20516

www.tretyakovgallerymagazine.com/articles/norway%E2%80%93...

Panel for the 'Pavillion Of The Far North' at the 1896 Nizhny Novgorod Exhibition Of Industry And Art

Rus: Панно для Павильона Крайнего Севера на Всероссийской Промышленной Художественной Выставке 1896 года в Нижнем Новгороде

TEXT BY OLGA ATROSHCHENCO. The North in the Art of Russian Painters // The Tretyakov Gallery Magazine. Special issue. Norway-Russia: On the Crossroads of Cultures.

In 1894, entrepreneur and philanthropist Savva Ivanovich Mamontov submitted to the minister of finance Sergei Witte a memorandum in which he described the riches of the Russian North, and proposed to build a railway from Vologda to Arkhangelsk across the impassable swampland and forests. Witte, before replying, decided to see the region with his own eyes and proposed to Mamontov to join him and a special committee on a cruise around the North. As was usual with such expeditions, the team included a graphic artist, in this case the future famous painter, then a student at the Academy of Fine Arts, Alexander Borisov, and the writer Yevgeny Lvov (E.L. Kochetov), who published in 1895 a book "Out in the Cold Sea. A Journey to the North". The expedition lasted a little more than three weeks.

In the grip of powerful aesthetic emotion engendered by the sights seen in Arkhangelsk and eager to share his feelings with others, Mamontov in 1894 financed an expedition to the region consisting of his painter friends Valentin Serov and Konstantin Korovin, the latter recently returned from France, where he had lived for about 18 months. "What an awful mistake to chase French tones when you have such beauty here," Mamontov opined, alluding to Korovin.

But besides such pure emotion, this decision was also driven by sound common sense. When the patron of arts and industrialist received the authorisation to build the railway to Arkhangelsk - a project which was successfully completed in 1897 - he wanted to introduce this exotic locale to the Russian public in advance. The most convenient opportunity for this seemed to present itself at the Nizhny Novgorod Exhibition of Industry and Art in 1896, where a pavilion devoted to the Far North was erected. Mamontov decided to enlist the services of Korovin, whom he knew as a fine stage designer, to design the pavilion and the exhibition, and for the execution of ten large murals. The artists' journey was vital for the realisation of this ambitious undertaking because the goal set for Korovin was "to create in the vast Northern Pavilion the impression and to provoke in the viewers the feelings which... [he himself] experienced in the North ". This objective was fully achieved.

Korovin designed the composition and the basic colour scheme in sketches, and hired the painters Sergei Malyutin and Nikolai Dosekin to implement his design. Later the murals from the fair, which were Mamontov's property, graced the lobby of the Yaroslav railway station built in 1904 in Moscow, and contributed considerably to the popularisation of the North (D.I.: These panels adorned the railway station until the early 1960s; they fell into disrepair and were transferred to the Tretyakov Gallery).

Korovin and Serov followed practically the same route as Mamontov: over the Northern Dvina to Arkhangelsk, then, on the comfortable steamship "Lomonosov" owned by the Arkhangelsk-Murmansk line, they proceeded to Novaya Zemlya and the Murman coast, visiting the north of Norway and Swedish Lapland. Late in September the friends returned to Moscow with considerable numbers of northern sketches created during their travels, which were later used in the making of the murals.

That was not the end of Korovin's acquaintance with the North. In 1895 he repeated the journey, this time in the company of Nikolai Prakhov and the painter Nikolai Dosekin. Two years later he revisited Arkhangelsk with Valentin Serov, and in 1898, as part of preparation for a colossal project of creating a series of decorative murals for the 1900 World Fair in Paris, he travelled to the North with Nikolai Klodt.

As usual, his packing was brief: "There are open suitcases on the floor. I'm packing paints, brushes, the easel and a field glass, a fur jacket, underwear, big shooting boots, a flashlight and a fully stocked medicine chest. I'm not taking a gun; I'm going to the Far North, to the Arctic Ocean, to paint from nature, and if there is a gun, there's a hunt, sketching falling by the wayside. I take only several fishing hooks and a slim English string. The ocean is deep, so you need a long string and a sinker. The compass, I take it too...".

Decades later, living in exile in Paris, the painter would reminisce about his old times in Russia and write several interesting short stories about his stay in the wild North. Like many other painters, Korovin admired the inimitable northern architecture. "A tall wooden church, truly admirable," he wrote. "Many cupolas, they are covered with batten looking like fish scale. The dimensions of the church are a work of genius. The church is a vision of beauty. Its sides are decorated with strips of white, yellow and green paint, as if with a trim. How nicely it fits into the scenery!". Korovin, who had a special bond with nature, was stunned by the "pacific disposition" of local wild animals. The artist affectionately describes how he "gave a gentle stroke to the smooth head and kissed the cold wet nose" of a big seal as it looked on "with its marvellous round eyes that were like human eyes, only kinder". But most importantly, in this inclement country Korovin had an opportunity to apply his innate talent for colour differently than before. In the landscapes such as "A Quay by the Dvina in Arkhangelsk" (1894, Regional Art Museum, Tula), "A Mooring in Arkhangelsk" (second half of the 1890s, Russian Museum), and "Arkhangelsk" (1897, Tretyakov Gallery) the artist was still applying bright, saturated colour schemes depicting genre scenes from the life of a seaport town.

The northern sketches of Korovin and his friend Serov established in Russian painting of the 1900s a dominance of the exquisite palette of nacreous and grey ashen tones. Korovin himself said than nowhere had he seen such a great diversity of colour shades as in the supposedly monochrome North. Later, explaining his infatuation with the northern country, he said that one could never see such a rich palette in the South. This colour scheme typical for nature in the North attracted the young artists of the Moscow school who organised in 1903 the "Union of Russian Artists". Korovin's associates applied his colour design to create images of early spring, the last snow, and the first cold spells. The intricate greyish blue tones also allowed to fill compositions with light sadness, nostalgia, and poetic charm.

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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Offset lithograph poster; 76 x 51 cm.

Hungarian painter, printmaker, graphic designer and animated film director, is known for his mathematically inspired works, impossible objects, optical illusions, double-meaning images and anamorphoses. The geometric art of István Orosz, with forced perspectives and optical illusions, has been compared to works by M. C. Escher.

Studied at the Hungarian University of Arts and Design (now Moholy-Nagy University of Art and Design) in Budapest as pupil of István Balogh and Ernő Rubik. After graduating in 1975 he began to deal with theatre as stage designer and animated film as animator and film director. He is known as painter, printmaker, poster designer, and illustrator as well. He likes to use visual paradox, double meaning images and illusionistic approaches while following traditional printing techniques such as woodcutting and etching. He also tries to renew the technique of anamorphosis. He is a regular participant in the major international biennials of posters and graphic art and his works has been shown in individual and group exhibitions in Hungary and abroad. Film director at the PannóniaFilm Studio in Budapest, Habil. professor at University of West Hungary in Sopron, co-founder of Hungarian Poster Association, member of Alliance Graphique International (AGI) and Hungarian Art Academie. He often uses OYTIΣ, or Utisz, (pronounced: outis) (No one) as artist's pseudonym.

During the last two decades - when most of the works shown here were made – the activities of the poster designer, the printmaker, the illustrator, and the film director have completed each other. Many motive, stylistic features, technical solutions appeared in all of the media and for Orosz it seemingly did not cause any problem to cross the borders of the different genres. When he was drawing a poster usually he did it with the preciseness of illustrators, when he was illustrating a book, he did it with the narrative mood of filmmakers, if he was animating films, sometimes he used the several layers approach of etchers and engravers and for prints he often chose the emblematic simplifying way of depiction of posters. If we call him only a poster designer based on his functional prints, we narrow down his field of activity, we go closer to the truth if we associate him with „postering" as a way of thinking, or if we call his many sided image depicting ourselves and our age as the poster-mirror of István Orosz. (Guy d'Obonner: Transfiguration of Poster - detail)

István Orosz was known as poster designer in the first part of his career. He made mainly cultural posters for theatres, movies, galleries, museums and publishing houses. At the time of the revolutions of 1989 in Eastern Europe he drew some political posters too. His "Tovarishi Adieu" (also used with text "Tovarishi Koniec" – that means Comrades it is over) appeared in many countries and it was known as symbolic image of changes in the area.

Artists who design anamorphosis (anamorphosis is Greek for "re-transformation") play with perspective to create a distorted image that appears normal only when viewed from the correct angle or with the aid of curved mirrors. The technique was often used by Renaissance-era artists. Orosz tries to renew the technique of anamorphosis and his aim is to develop it as well when he gives a meaning to the distorted image, too. It is not an amorph picture any more, but a meaningful depiction that is independent from the result that appears in the mirror or viewed from a special point of view. This approach of anamorphoses is suitable for expressing more sophisticated messages.

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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

Oil on canvas; 280 x 280 cm.

Jörg Immendorff was one of the best known contemporary German painters; he was also a sculptor, stage designer and art professor. He studied at the Kunstakademie Düsseldorf under Joseph Beuys. The academy expelled him because of some of his left-wing political activities and neo-dadaist actions. From 1969 to 1980 he worked as an art teacher at a public school, and then as a free artist, holding visiting professorships all over Europe. In 1989 he became professor at the Städelschule in Frankfurt am Main and in 1996 he became professor at the Art Academy in Düsseldorf -- the same school that had dismissed him as a student.

His paintings are sometimes reminiscent of surrealism and often use irony and heavy symbolism to convey political ideas. He named one of his first acclaimed works "Hört auf zu malen!" ("Stop painting!"). He was a member of the German art movement Neue Wilde. Best known is his Cafe Deutschland series of sixteen large paintings (1977-1984) that were inspired by Renato Guttuso’s Caffè Greco; in these crowded colorful pictures, Immendorff had disco-goers symbolize the conflict between East and West Germany. Since the 1970s, he worked closely with the painter A. R. Penck from Dresden in East Germany. He created several stage designs, including two for the Salzburg Festival. In 1984 he opened the bar La Paloma in Hamburg St. Pauli and created a large bronze sculpture of Hans Albers there. He also contributed to the design of André Heller's avant-garde amusement park "Luna, Luna" in 1987. Immendorff created various sculptures; one spectacular example is a 25 m tall iron sculpture in the form of an oak tree trunk, erected in Riesa in 1999.

In 1997 he won the best endowed art prize in the world, the MARCO prize of the Museum of Contemporary Art in Monterrey, Mexico. In the following year he received the merit medal (Bundesverdienstkreuz) of the Federal Republic of Germany. He was a friend and the favorite painter of former German Chancellor Gerhard Schröder, who chose Immendorff to paint the official portrait of Schröder for the Bundeskanzlerleramt. The portrait, which was completed by Immendorff's assistants, was revealed to the public in January 2007; the massive work has ironic character, showing the former Chancellor in stern heroic pose, in the colors of the German flag, painted in the style of an icon, surrounded by little monkeys. These "painter monkeys" were a recurring theme in Immendorff's work, serving as an ironic commentary on the artist's business.

Immendorff was diagnosed with Lou Gehrig's disease in 1998. When he could not paint with his left hand any more, he switched to the right. As of 2006, he used a wheelchair full-time and did not paint anymore; instead he directed his assistants to paint following his instructions. On May 27, 2007, at age 61, he succumbed to the disease.

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.

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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. The poppies represent each member of the British and Commonwealth forces killed during World War 1.

Oil on canvas; 91.2 x 71.2 cm.

By the time László Moholy-Nagy turned towards painting after graduating from law school and developed his own abstract style influenced by Malewitsch and El Lissitzky, it was inevitable that he would become one of the most important artists of Constructivism. He soon exposed himself in Hungary as the founder of the artist group "Ma", but left his home country after the failure of the revolution.

He moved to Berlin In 1920 where Gropius noticed him and invited him to join the "Bauhaus" in 1923. There Moholy-Nagy ran the metal class but also worked in all other areas of design in which he was equally influential. The artist published his ideas in the series of Bauhaus books, for example "Malerei, Fotografie, Film" (1925). Moholy-Nagy wanted an "experimental, functional artist […] who considers art as a laboratory for new forms of expression which were then supposed to be employed in all areas of modern life" (Karin Thomas).

The expectations of the age of technology and his new media led Moholy-Nagy to a functional use of Abstraction, which he managed to show in all areas of design and which guided him through different phases of experimenting. His varied oeuvre ranges from painting, photography, film, design and stage design to experiments with photograms which considerably influenced the development of light art and kinetic art. László Moholy-Nagy left the "Bauhaus" in 1928 together with Gropius and worked in Berlin as a stage designer, exhibition organiser, typographer and film producer. He emigrated to the USA in 1937 and ran the "New Bauhaus" in Chicago. Moholy-Nagy opened his own art institute, the "School of Design", in Chicago in 1938 and enlarged it in the following years by adding the faculties economics, psychology and information theory.

László Moholy-Nagy became severely ill and died one year later, in 1946.

Oil on canvas; 282 x 330 cm.

Jörg Immendorff was one of the best known contemporary German painters; he was also a sculptor, stage designer and art professor. He studied at the Kunstakademie Düsseldorf under Joseph Beuys. The academy expelled him because of some of his left-wing political activities and neo-dadaist actions. From 1969 to 1980 he worked as an art teacher at a public school, and then as a free artist, holding visiting professorships all over Europe. In 1989 he became professor at the Städelschule in Frankfurt am Main and in 1996 he became professor at the Art Academy in Düsseldorf -- the same school that had dismissed him as a student.

His paintings are sometimes reminiscent of surrealism and often use irony and heavy symbolism to convey political ideas. He named one of his first acclaimed works "Hört auf zu malen!" ("Stop painting!"). He was a member of the German art movement Neue Wilde. Best known is his Cafe Deutschland series of sixteen large paintings (1977-1984) that were inspired by Renato Guttuso’s Caffè Greco; in these crowded colorful pictures, Immendorff had disco-goers symbolize the conflict between East and West Germany. Since the 1970s, he worked closely with the painter A. R. Penck from Dresden in East Germany. He created several stage designs, including two for the Salzburg Festival. In 1984 he opened the bar La Paloma in Hamburg St. Pauli and created a large bronze sculpture of Hans Albers there. He also contributed to the design of André Heller's avant-garde amusement park "Luna, Luna" in 1987. Immendorff created various sculptures; one spectacular example is a 25 m tall iron sculpture in the form of an oak tree trunk, erected in Riesa in 1999.

In 1997 he won the best endowed art prize in the world, the MARCO prize of the Museum of Contemporary Art in Monterrey, Mexico. In the following year he received the merit medal (Bundesverdienstkreuz) of the Federal Republic of Germany. He was a friend and the favorite painter of former German Chancellor Gerhard Schröder, who chose Immendorff to paint the official portrait of Schröder for the Bundeskanzlerleramt. The portrait, which was completed by Immendorff's assistants, was revealed to the public in January 2007; the massive work has ironic character, showing the former Chancellor in stern heroic pose, in the colors of the German flag, painted in the style of an icon, surrounded by little monkeys. These "painter monkeys" were a recurring theme in Immendorff's work, serving as an ironic commentary on the artist's business.

Immendorff was diagnosed with Lou Gehrig's disease in 1998. When he could not paint with his left hand any more, he switched to the right. As of 2006, he used a wheelchair full-time and did not paint anymore; instead he directed his assistants to paint following his instructions. On May 27, 2007, at age 61, he succumbed to the disease.

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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.

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en.wikipedia.org/wiki/Neuschwanstein_Castle

Neuschwanstein Castle

Neuschwanstein Castle (German: Schloss Neuschwanstein, pronounced [nɔʏˈʃvaːnʃtaɪn]) is a 19th-century Romanesque Revival palace on a rugged hill above the village of Hohenschwangau near Füssen in southwest Bavaria, Germany. The palace was commissioned by Ludwig II of Bavaria as a retreat and as a homage to Richard Wagner.

The palace was intended as a personal refuge for the reclusive king, but it was opened to the paying public immediately after his death in 1886. Since then over 60 million people have visited Neuschwanstein Castle.[2] More than 1.3 million people visit annually, with up to 6,000 per day in the summer.The palace has appeared prominently in several movies and was the inspiration for Disneyland's Sleeping Beauty Castle.

The municipality of Schwangau lies at an elevation of 800 m (2,620 ft) at the south west border of the German state of Bavaria. Its surroundings are characterized by the transition between the Alpine foothills in the south (towards the nearby Austrian border) and a hilly landscape in the north that appears flat by comparison. In the Middle Ages, three castles overlooked the village.

One was called Schwanstein Castle.[nb 1] In 1832 Ludwig's father King Maximilian II of Bavaria bought its ruins to replace them by the comfortable neo-Gothic palace known as Hohenschwangau Castle. Finished in 1837, the palace became his family's summer residence, and his elder son Ludwig (born 1845) spent a large part of his childhood here.[citation needed]

Vorderhohenschwangau Castle and Hinterhohenschwangau Castle[nb 2] sat on a rugged hill overlooking Schwanstein Castle, two nearby lakes (Alpsee and Schwansee), and the village. Separated only by a moat, they jointly consisted of a hall, a keep, and a fortified tower house.[4] In the 19th century only ruins remained of the medieval twin castles, but those of Hinterhohenschwangau served as a lookout place known as Sylphenturm.

The ruins above the family palace were known to the crown prince from his excursions. He first sketched one of them in his diary in 1859.[7] When the young king came to power in 1864, the construction of a new palace in place of the two ruined castles became the first in his series of palace building projects.[8] Ludwig himself called the new palace New Hohenschwangau Castle – only after his death was it renamed Neuschwanstein.[9] The confusing result is that Hohenschwangau and Schwanstein have effectively swapped names: Hohenschwangau Castle replaced the ruins of Schwanstein Castle, and Neuschwanstein Castle replaced the ruins of the two Hohenschwangau Castles.

Concept and ethos

Neuschwanstein embodies both the contemporaneous architectural fashion known as castle romanticism (German: Burgenromantik), and Ludwig II's immoderate enthusiasm for the operas of Richard Wagner.

In the 19th century many castles were constructed or reconstructed, often with significant changes to make them more picturesque. Palace-building projects similar to Neuschwanstein had been undertaken earlier in several of the German states and included Hohenschwangau Castle, Lichtenstein Castle, Hohenzollern Castle and numerous buildings on the River Rhine such as Stolzenfels Castle.[10] The inspiration for the construction of Neuschwanstein came from two journeys in 1867: One in May to the reconstructed Wartburg near Eisenach,[11] another in July to the Château de Pierrefonds, which Eugène Viollet-le-Duc was transforming from a ruined castle into a historistic palace.

The king saw both buildings as representatives of a romantic interpretation of the Middle Ages as well as the musical mythology of his friend Richard Wagner. Wagner's operas Tannhäuser and Lohengrin had made a lasting impression on him.

In February 1868 Ludwig's grandfather Ludwig I died, freeing the considerable sums that were previously spent on the abdicated king's appanage.[8][nb 4] This allowed him to start the architectural project of building a private refuge in the familiar landscape far from the capital Munich, so that he could live his idea of the Middle Ages.

Ludwig II (c.1868)

Richard Wagner (1871)

It is my intention to rebuild the old castle ruin of Hohenschwangau near the Pöllat Gorge in the authentic style of the old German knights' castles, and I must confess to you that I am looking forward very much to living there one day [...]; you know the revered guest I would like to accommodate there; the location is one of the most beautiful to be found, holy and unapproachable, a worthy temple for the divine friend who has brought salvation and true blessing to the world. It will also remind you of "Tannhäuser" (Singers' Hall with a view of the castle in the background), "Lohengrin'" (castle courtyard, open corridor, path to the chapel) [...].

– Ludwig II, Letter to Richard Wagner, May 1868[14]

The building design was drafted by the stage designer Christian Jank and realized by the architect Eduard Riedel.[15] For technical reasons the ruined castles could not be integrated into the plan. Initial ideas for the palace drew stylistically on Nuremberg Castle and envisaged a simple building in place of the old Vorderhohenschwangau Castle, but they were rejected and replaced by increasingly extensive drafts, culminating in a bigger palace modelled on the Wartburg.[16] The king insisted on a detailed plan and on personal approval of each draft.[17] His control went so far that the palace has been regarded as his own creation rather than that of the architects involved.[18]

Whereas contemporary architecture critics flouted Neuschwanstein, one of the last big palace building projects of the 19th century, as kitsch, Neuschwanstein and Ludwig II's other buildings are now counted among the major works of European historicism.[19][20] For financial reasons a project similar to Neuschwanstein – Falkenstein Castle – never left the planning stages.[21]

The palace can be regarded as typical for 19th century architecture. The shapes of Romanesque (simple geometric figures such as cuboids and semicircular arches), Gothic (upward-pointing lines, slim towers, delicate embellishments) and Byzantine architecture and art (the Throne Hall décor) were mingled in an eclectic fashion and supplemented with 19th century technical achievements. The Patrona Bavariae and Saint George on the court face of the Palas (main building) are depicted in the local Lüftlmalerei style, a fresco technique typical for Allgäu farmers' houses, while the unimplemented drafts for the Knights' House gallery foretell elements of Art Nouveau.[22] Characteristic for Neuschwanstein's design are theater themes: Christian Jank drew on coulisse drafts from his time as a scenic painter.[23]

The basic style was originally planned to be neo-Gothic but was primarily built in Romanesque style in the end. The operatic themes moved gradually from Tannhäuser and Lohengrin to Parcival.[24]

Construction

Neuschwanstein under construction: Bower still missing, Rectangular Tower under construction (photograph c.1882–85)

Neuschwanstein under construction: upper courtyard (photograph c.1886)

In 1868 the ruins of the medieval twin castles were demolished completely; the remains of the old keep were blown up.[25] The foundation stone for the Palas was laid on September 5, 1869; in 1872 its cellar was completed and in 1876 everything up to the first floor. But the Gatehouse was finished first. At the end of the year 1873 it was completed and fully furnished, allowing Ludwig to take provisional lodgings there and observe the further construction work.[24] In 1874 direction of the civil works passed from Eduard Riedel to Georg von Dollmann.[26] The topping out ceremony for the Palas was in 1880, and in 1884 the king could move into the new building. In the same year the direction of the project passed to Julius Hofmann, after Dollmann had fallen in disgrace.

The palace was erected as a conventional brick construction and later encased with other types of rock. The white lime stone used for the fronts came from a nearby quarry.[27] The sandstone bricks for the portals and bay windows came from Schlaitdorf in Württemberg. Marble from Untersberg near Salzburg was used for the windows, the arch ribs, the columns and the capitals. The Throne Hall was a later addition to the plans and required a steel framework.

The transport of building materials was facilitated by a scaffolding and a steam crane that lifted the material to the construction site. Another crane was used at the construction site itself. The recently founded Dampfkessel-Revisionsverein (Steam Boiler Inspection Association) regularly inspected both boilers.

Ludwig II (1886)

For about two decades the construction site was the principal employer of the region.[28] In 1880 about 200 craftsmen were occupied at the site, not counting suppliers and other persons indirectly involved in the construction. At times when the king insisted on particularly close deadlines and urgent changes, reportedly up to 300 workers per day were active, sometimes at night by the light of oil lamps. Statistics from the years 1879/1880 support an immense amount of building materials: 465 t (513 short tons) of Salzburg marble, 1,550 t (1,710 short tons) of sandstone, 400,000 bricks and 2,050 m3 (2,680 cu yd) of wood for the scaffolding.

In 1870 a society was founded for insuring the workers, for a low monthly fee, augmented by the king. The heirs of construction casualties (30 cases are mentioned in the statistics) received a small pension.

In 1884 the king could move into the (still unfinished) Palas,[30], and in 1885 he invited his mother Marie to Neuschwanstein on the occasion of her 60th birthday.[nb 5] By 1886 the external structure of the Palas (hall) was mostly finished.[30] In the same year, Ludwig had the first, wooden Marienbrücke over the Pöllat Gorge replaced by a steel construction.

Despite its size, Neuschwanstein did not have space for the royal court, but contained only the king's private lodging and servants' rooms. The court buildings served decorative, rather than residential purposes:[9] The palace was intended to serve Ludwig II as a kind of inhabitable theatrical setting.[30] As a temple of friendship it was also devoted to life and work of Richard Wagner, who died in 1883 before he had set foot in the building.[31] In the end, Ludwig II only lived in the palace for a total of 172 days.

en.wikipedia.org/wiki/Linderhof_Palace

Linderhof Palace (German: Schloss Linderhof) is a palace in Germany, near Oberammergau

73 x 60 cm.

Italian painter and stage designer, born in Udine. Full name Afro Balsadella, but is usually known as Afro; brother of the sculptor Mirko Balsadella (Mirko). Father a leading decorator. Studied at secondary schools specialising in art subjects in Florence and Venice, and had his first one-man exhibition at the Galleria del Milione, Milan, in 1932. Began by painting still lifes, landscapes, portraits and murals. Moved in 1938 to Rome. War service and in the Resistance 1940-4. Developed a near-abstract style in 1947-8 under the influence of Klee and late Cubism. Held regular exhibitions at the Catherine Viviano Gallery, New York, from 1950-68 and made frequent visits to the USA, developing a looser, more improvisatory abstract style partly under the influence of Gorky, Kline and de Kooning. Joined the group Otto with Birolli, Corpora, Moreni, Morlotti, Santomaso, Turcato and Vedova in 1952. Painted a mural for the UNESCO headquarters in Paris 1958. Awarded the City of Venice painting prize at the 1956 Venice Biennale and Second Prize at the 1959 Pittsburgh International; also designed sets and costumes for the ballet and the opera. His late works, from c.1970, had more precise shapes. Died in Zurich.

Published in:

Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, p.2

285 x 330 cm.

Jörg Immendorff was one of the best known contemporary German painters; he was also a sculptor, stage designer and art professor. He studied at the Kunstakademie Düsseldorf under Joseph Beuys. The academy expelled him because of some of his left-wing political activities and neo-dadaist actions. From 1969 to 1980 he worked as an art teacher at a public school, and then as a free artist, holding visiting professorships all over Europe. In 1989 he became professor at the Städelschule in Frankfurt am Main and in 1996 he became professor at the Art Academy in Düsseldorf -- the same school that had dismissed him as a student.

His paintings are sometimes reminiscent of surrealism and often use irony and heavy symbolism to convey political ideas. He named one of his first acclaimed works "Hört auf zu malen!" ("Stop painting!"). He was a member of the German art movement Neue Wilde. Best known is his Cafe Deutschland series of sixteen large paintings (1977-1984) that were inspired by Renato Guttuso’s Caffè Greco; in these crowded colorful pictures, Immendorff had disco-goers symbolize the conflict between East and West Germany. Since the 1970s, he worked closely with the painter A. R. Penck from Dresden in East Germany. He created several stage designs, including two for the Salzburg Festival. In 1984 he opened the bar La Paloma in Hamburg St. Pauli and created a large bronze sculpture of Hans Albers there. He also contributed to the design of André Heller's avant-garde amusement park "Luna, Luna" in 1987. Immendorff created various sculptures; one spectacular example is a 25 m tall iron sculpture in the form of an oak tree trunk, erected in Riesa in 1999.

In 1997 he won the best endowed art prize in the world, the MARCO prize of the Museum of Contemporary Art in Monterrey, Mexico. In the following year he received the merit medal (Bundesverdienstkreuz) of the Federal Republic of Germany. He was a friend and the favorite painter of former German Chancellor Gerhard Schröder, who chose Immendorff to paint the official portrait of Schröder for the Bundeskanzlerleramt. The portrait, which was completed by Immendorff's assistants, was revealed to the public in January 2007; the massive work has ironic character, showing the former Chancellor in stern heroic pose, in the colors of the German flag, painted in the style of an icon, surrounded by little monkeys. These "painter monkeys" were a recurring theme in Immendorff's work, serving as an ironic commentary on the artist's business.

Immendorff was diagnosed with Lou Gehrig's disease in 1998. When he could not paint with his left hand any more, he switched to the right. As of 2006, he used a wheelchair full-time and did not paint anymore; instead he directed his assistants to paint following his instructions. On May 27, 2007, at age 61, he succumbed to the disease.

Closed theatres were covered in taped messages of support reading 'Missing Live Theatre' on July 3rd 2020. The project was led by stage designers group Scene Change.

www.bbc.co.uk/news/entertainment-arts-53276472

Lifeline (5th July) www.bbc.co.uk/news/entertainment-arts-53302415

This image was taken during the Covid-19 pandemic and phase two of moving out of lockdown in Scotland. Non-essential retail with doors to the street were allowed to open from 29th June.

www.gov.scot/news/route-map-for-moving-out-of-lockdown

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.

Pencil, watercolour and gouache, squared for transfer, on paper-fronted board; 37.8 x 60 cm.

Russian painter, mainly in watercolour, art historian and stage designer. Born in St Petersburg of French and Italian descent, son of Nikolai Benois, architect to the Imperial Palaces in Peterhof. Briefly attended a part-time course in stage design at the Academy of Arts 1887, but otherwise self-taught as an artist. Studied law at the University of St Petersburg 1890-4, and while still a student formed a circle with a number of friends, including Diaghilev, Somov and Bakst, for the purpose of studying art. This later developed into the World of Art (Mir Iskusstva), which held exhibitions and published a journal of the same name, 1898-1904. Travelled widely in Europe and was influenced by the art of the eighteenth century. Became very active and influential as a stage designer, including sets and costumes for Le Pavillon d'Armide 1907 and (for Diaghilev) Petrushka 1911 and Le Rossignol 1914. Edited the periodical Khudozhestvennye sokrovishcha Rossii (Art Treasures of Russia) 1901-3, and wrote several books on art and volumes of memoirs. Curator of Painting at the Hermitage 1918-25, then moved in 1926 to Paris, where he continued to paint and design for the theatre. Died in Paris.

Published in:

Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, p.48

Gelatin silver print; 6 15/16 x 4 13/16 in.

By the time László Moholy-Nagy turned towards painting after graduating from law school and developed his own abstract style influenced by Malewitsch and El Lissitzky, it was inevitable that he would become one of the most important artists of Constructivism. He soon exposed himself in Hungary as the founder of the artist group "Ma", but left his home country after the failure of the revolution.

He moved to Berlin In 1920 where Gropius noticed him and invited him to join the "Bauhaus" in 1923. There Moholy-Nagy ran the metal class but also worked in all other areas of design in which he was equally influential. The artist published his ideas in the series of Bauhaus books, for example "Malerei, Fotografie, Film" (1925). Moholy-Nagy wanted an "experimental, functional artist […] who considers art as a laboratory for new forms of expression which were then supposed to be employed in all areas of modern life" (Karin Thomas).

The expectations of the age of technology and his new media led Moholy-Nagy to a functional use of Abstraction, which he managed to show in all areas of design and which guided him through different phases of experimenting. His varied oeuvre ranges from painting, photography, film, design and stage design to experiments with photograms which considerably influenced the development of light art and kinetic art. László Moholy-Nagy left the "Bauhaus" in 1928 together with Gropius and worked in Berlin as a stage designer, exhibition organiser, typographer and film producer. He emigrated to the USA in 1937 and ran the "New Bauhaus" in Chicago. Moholy-Nagy opened his own art institute, the "School of Design", in Chicago in 1938 and enlarged it in the following years by adding the faculties economics, psychology and information theory.

László Moholy-Nagy became severely ill and died one year later, in 1946.

Arthur Szyk was a graphic artist, book illustrator, stage designer and caricaturist. He was born into a Jewish family in Łódź, in the part of Poland which was under Russian rule in the 19th century. He always regarded himself both as a Pole and a Jew. From 1921, he lived and created his works mainly in France and Poland, and in 1937 he moved to the United Kingdom. In 1940 he settled permanently in the United States, where he was granted American citizenship in 1948.

Arthur Szyk became a renowned graphic artist and book illustrator as early as the interwar period – his works were exhibited and published not only in Poland, but also in France, the United Kingdom, Israel, and the United States. However, he gained real popularity through his war caricatures, in which, after the outbreak of World War II, he depicted the leaders of the Axis powers – mainly Adolf Hitler, Benito Mussolini and Emperor Hirohito. After the war, he also devoted himself to political issues, this time supporting the creation of Israel.

Szyk's work is characterized in its material content by social and political commitment, and in its formal aspect by its rejection of modernism and drawing on the traditions of medieval and renaissance painting, especially illuminated manuscripts from those periods. Unlike most caricaturists, Szyk always showed great attention to the coloristic effects and details in his works.

Today, Szyk is a well-known and often exhibited artist only in his last home country – the United States. In Europe, since the late 1990s exhibitions of his art has been mounted in the Polish cities of Kraków, Warsaw, and Łódź as well as in Berlin, Germany. The recent publication of a Polish-language edition Szyk's biography and public broadcasts of the documentary film "Arthur Szyk - Illuminator" (Marta Tv & Film, Telewizja Polska (Łódź), 2005) also have improved Szyk's stature in his mother country, Poland.

www.youtube.com/watch?v=fhJmRWQc6Yg

Acrylic and sand on canvas; 160 x 140 cm.

Italian painter and stage designer. His interest in art was encouraged by his father, the art historian Umberto Gnoli, and his mother, the painter and ceramicist Annie de Garon, but his only training consisted of lessons in drawing and printmaking from the Italian painter and printmaker Carlo Alberto Petrucci (b 1881). After holding his first one-man exhibition in 1950, he studied stage design briefly in 1952 at the Accademia di Belle Arti in Rome; he enjoyed immediate success in this field, for example designing a production of William Shakespeare’s As You Like It for the Old Vic Theatre in London in 1955. He then began to live part-time in New York, where he began to work as an illustrator for magazines such as Sports Illustrated. During this period he drew inspiration from earlier art, especially from master printers such as Jacques Callot and Hogarth, from whom he derived his taste for compositions enlivened by large numbers of figures stylized to the point of caricature. In other works he emphasized the patterns of textiles or walls, boldly succumbing to the seduction of manual dexterity and fantasy in a style that was completely out of step with the prevailing trends of the 1950s.

Oil on panel; 29 x 20 cm.

Swedish painter, draughtsman, tapestry and stage designer. After studying under various artists in Tumba and elsewhere, in 1922–3 he attended the Konsthögskolan in Stockholm and in 1922 visited Berne, Nuremberg and Berlin. His early works, such as Jeårj (1923; Stockholm, Mod. Mus.), were loosely painted and naive in appearance and drew on vernacular art. In 1924 he visited Paris and Italy, and in 1924–5 he helped decorate the cinema in Malmö, one of numerous early decorative projects. In 1925 he was a founder-member of the Fri Konst group of artists, which included Carl Alexandersson (1897–1941), Sven Hempel (1896–1944) and others. The following year the membership was expanded to nine by the addition of such artists as Gustav Alexanderson (b 1901) to form the Nio Unga (Nine Young Men) group. Erixson travelled extensively around Europe in the late 1920s, and in 1932, after the dissolution of Nio Unga, he was a founder-member of Färg och Form (Colour and Form) with whom he exhibited thereafter. His painting of this period retained the earlier naivety but became more expressive, as in Dance Hall at Telemarken (1931; Stockholm, Mod. Mus.). After travels in Spain and Morocco in 1935–6 Erixson designed two large tapestry cartoons for the Konserthus in Göteborg, which were executed by the Gobelins. In 1938–40 he executed two large frescoes for the chapel at Skogskyrkogardens crematorium in Stockholm. From 1942–3 he produced painted glass windows for the St Gertrud chapel at Malmö crematorium, and in 1943 he became a professor at the Konstakademi in Stockholm. Erixson produced numerous theatrical set designs in the 1940s and 1950s, such as those for Federico García Lorca’s Blood Wedding (1944), and Shakespeare’s Richard III (1946) and Romeo and Juliet (1953), which were performed at the Dramaten theatre in Stockholm. He continued to paint interior scenes, townscapes and landscapes in this period, such as Autumn in Tattby (1944; Göteborg, Kstmus.), which still showed the influence of folk art. His later work was of much the same style though the details were pared away as in the powerful Memory of Nacka Hospital (1965; see 1969–70 exh. cat.). He was also involved in further decorative projects, producing cartoons, painted windows and theatre designs. Together with Bror Hjorth, Erixson was influential in revitalizing the folk art tradition in Sweden.

Grove Art excerpts - Electronic ©2003, Oxford Art Online

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Oil on canvas; 210 x 190 cm.

(b Faenza, 4 Aug 1909; d Rome, 5 April 1981). Italian painter, illustrator and stage designer. He began his training in Faenza in the workshop of the Italian painter and ceramicist Mario Ortolani (1901-55). After living briefly in Bologna (1927) and Paris (1928) he settled in Rome in 1929, first exhibiting his work at the Venice Biennale in the following year. His paintings at this time, such as Nude (Susanna after her Bath) (1929; Faenza, Pin. Com.), were characterized by an emphasis on tonal relationships and on the influence of the Scuola Romana. In 1934 he began to work with growing success as an illustrator for the journals Quadrivio and Italia letteraria. The contacts he established with Paris were intensified with his move there in 1947, resulting in three one-man shows at the Galerie Rive Gauche (in 1950, 1953 and 1957), and in his paintings he evolved a cautious balance between the representation and the disassembling of the image. Some of his best-known series of paintings date from this time, including his Cathedrals (e.g. Cathedral with Still-life and Dog, 1960; Rome, Vatican, Col. A. Relig. Mod.), pictures of town squares populated by acrobats and musicians, and later female nudes and a series entitled Mermaids.

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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Oil on canvas; 72 x 54 cm.

Italian painter, illustrator and stage designer. He began his training in Faenza in the workshop of the Italian painter and ceramicist Mario Ortolani (1901-55). After living briefly in Bologna (1927) and Paris (1928) he settled in Rome in 1929, first exhibiting his work at the Venice Biennale in the following year. His paintings at this time, such as Nude (Susanna after her Bath) (1929; Faenza, Pin. Com.), were characterized by an emphasis on tonal relationships and on the influence of the Scuola Romana. In 1934 he began to work with growing success as an illustrator for the journals Quadrivio and Italia letteraria. The contacts he established with Paris were intensified with his move there in 1947, resulting in three one-man shows at the Galerie Rive Gauche (in 1950, 1953 and 1957), and in his paintings he evolved a cautious balance between the representation and the disassembling of the image. Some of his best-known series of paintings date from this time, including his Cathedrals (e.g. Cathedral with Still-life and Dog, 1960; Rome, Vatican, Col. A. Relig. Mod.), pictures of town squares populated by acrobats and musicians, and later female nudes and a series entitled Mermaids.

Oil on canvas; 282 x 330 cm.

Jörg Immendorff was one of the best known contemporary German painters; he was also a sculptor, stage designer and art professor. He studied at the Kunstakademie Düsseldorf under Joseph Beuys. The academy expelled him because of some of his left-wing political activities and neo-dadaist actions. From 1969 to 1980 he worked as an art teacher at a public school, and then as a free artist, holding visiting professorships all over Europe. In 1989 he became professor at the Städelschule in Frankfurt am Main and in 1996 he became professor at the Art Academy in Düsseldorf -- the same school that had dismissed him as a student.

His paintings are sometimes reminiscent of surrealism and often use irony and heavy symbolism to convey political ideas. He named one of his first acclaimed works "Hört auf zu malen!" ("Stop painting!"). He was a member of the German art movement Neue Wilde. Best known is his Cafe Deutschland series of sixteen large paintings (1977-1984) that were inspired by Renato Guttuso’s Caffè Greco; in these crowded colorful pictures, Immendorff had disco-goers symbolize the conflict between East and West Germany. Since the 1970s, he worked closely with the painter A. R. Penck from Dresden in East Germany. He created several stage designs, including two for the Salzburg Festival. In 1984 he opened the bar La Paloma in Hamburg St. Pauli and created a large bronze sculpture of Hans Albers there. He also contributed to the design of André Heller's avant-garde amusement park "Luna, Luna" in 1987. Immendorff created various sculptures; one spectacular example is a 25 m tall iron sculpture in the form of an oak tree trunk, erected in Riesa in 1999.

In 1997 he won the best endowed art prize in the world, the MARCO prize of the Museum of Contemporary Art in Monterrey, Mexico. In the following year he received the merit medal (Bundesverdienstkreuz) of the Federal Republic of Germany. He was a friend and the favorite painter of former German Chancellor Gerhard Schröder, who chose Immendorff to paint the official portrait of Schröder for the Bundeskanzlerleramt. The portrait, which was completed by Immendorff's assistants, was revealed to the public in January 2007; the massive work has ironic character, showing the former Chancellor in stern heroic pose, in the colors of the German flag, painted in the style of an icon, surrounded by little monkeys. These "painter monkeys" were a recurring theme in Immendorff's work, serving as an ironic commentary on the artist's business.

Immendorff was diagnosed with Lou Gehrig's disease in 1998. When he could not paint with his left hand any more, he switched to the right. As of 2006, he used a wheelchair full-time and did not paint anymore; instead he directed his assistants to paint following his instructions. On May 27, 2007, at age 61, he succumbed to the disease.

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Oil on canvas; 91.6 x 127 cm.

Eugene Berman Biography

(b St Petersburg, 4 Nov 1899; d Rome, 14 Dec 1972). Russian painter and stage designer. His family moved to Western Europe in 1908 and his basic training was in Germany, Switzerland and France (apart from a brief residence in St Petersburg in 1914–18, when he received lessons in art from the painter Pavel Naumov and the architect Sergey Gruzenberg). In 1919 he enrolled at the Académie Ranson in Paris, attending courses under Edouard Vuillard and Maurice Denis, and two years later he exhibited at the Galerie Druet, Paris. From the late 1930s Berman worked increasingly in the USA, creating designs for ballet and other musical productions, for example for the Music Festival in Hartford, CT, in 1936. In spite of his cosmopolitan background, Berman maintained close connections with Russian artists, critics and dancers, collaborating, for example, with Serge Lifar on the production of Icare in Monte Carlo in 1938.

Gouache, scratchwork and india ink on paper; 18 1/2 x 14 1/8 in. (47.1 x 35.8 cm)

Swiss painter, draughtsman, sculptor and stage designer. He took an apprenticeship as a draughtsman-architect (1924–7) and then studied at the Ecole des Arts et Métiers in Lucerne (1927–8). Between 1928 and 1929 he stayed for the first time in Paris, where he attended the Académie Julian. He continued his training at the Vereinigte Staatschulen für freie und angewandte Kunst, Berlin (1929–30). The works of this period are signed François Grècque, a pseudonym that shows his admiration for ancient Greek art, traces of which are found in his works. In the course of many visits to Paris between 1932 and 1934, he had contacts with many artists, including Brancusi, Alexander Calder, Kandinsky, Mondrian and Henry Moore, and he was strongly influenced by the works of Braque and Picasso. In October 1933 he joined the Abstraction–Création group. In 1935 he collaborated in the exhibition Thèse, antithèse, synthèse at the Kunstmuseum in Lucerne, and in the same year he won a competition organized by that city, which involved the creation of a fresco, The Three Graces of Lucerne, to decorate the railway station. Many official commissions for frescoes or mural reliefs followed.

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.

Arnold Abner Newman (1918-2006) was an American photographer, noted for his "environmental portraits" of artists and politicians. He was also known for his carefully composed abstract still life images.

Pablo Ruiz y Picasso (1881-1973), also known as Pablo Picasso, was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet and playwright who spent most of his adult life in France. Born in Málaga, Spain, Pablo Picasso, became one of the greatest and most influential artists of the 20th century and the creator (with Georges Braque) of Cubism. A Spanish expatriate, Picasso was considered radical in his work.

This portrait was photographed at the exhibit "Arnold Newman: Masterclass" at The Contemporary Jewish Museum in San Francisco, California.

Altman was born in Vinnytsia, Imperial Russia. From 1902 to 1907 he studied painting and sculpture at the Art College in Odessa. In 1906 he had his first exhibition in Odessa. In 1910 he went to Paris, where he studied at the Free Russian Academy, working in the studio of Wladimir Baranoff-Rossine, and had contact with Marc Chagall, Alexander Archipenko, and David Shterenberg. In 1910 he became a member of the group Union of Youth. His famous Portrait of Anna Akhmatova, conceived in Cubist style, was painted in 1914. After 1916 he started to work as a stage designer.

In 1918 he was the member of the Board for Artistic Matters within the Department of Fine Arts of the People's Commissariat of Enlightenment together with Malevich, Baranoff-Rossine and Shevchenko. In the same year he had an exhibition with the group Jewish Society for the Furthering of the Arts in Moscow, together with Wladimir Baranoff-Rossine, El Lissitzky and the others. In 1920 he became a member of the Institute for Artistic Culture, together with Kasimir Malevich, Vladimir Tatlin and others. In the same year, he participated in the exhibition From Impressionism to Cubism in the Museum of Painterly Culture in Petrograd. From 1920 to 1928 he worked on stage designs for the Habimah Theatre and the Jewish State Theatre in Moscow. In 1923 a volume of his Jewish graphic art was published in Berlin. In 1925 he participated in Exposition Internationale des Arts Decoratifs et Industriels Moderns (Art Deco) in Paris. His first solo exhibition in Leningrad was in 1926.

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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.

Oil on canvas; 82 x 100 cm.

Italian painter, illustrator and stage designer. He began his training in Faenza in the workshop of the Italian painter and ceramicist Mario Ortolani (1901-55). After living briefly in Bologna (1927) and Paris (1928) he settled in Rome in 1929, first exhibiting his work at the Venice Biennale in the following year. His paintings at this time, such as Nude (Susanna after her Bath) (1929; Faenza, Pin. Com.), were characterized by an emphasis on tonal relationships and on the influence of the Scuola Romana. In 1934 he began to work with growing success as an illustrator for the journals Quadrivio and Italia letteraria. The contacts he established with Paris were intensified with his move there in 1947, resulting in three one-man shows at the Galerie Rive Gauche (in 1950, 1953 and 1957), and in his paintings he evolved a cautious balance between the representation and the disassembling of the image. Some of his best-known series of paintings date from this time, including his Cathedrals (e.g. Cathedral with Still-life and Dog, 1960; Rome, Vatican, Col. A. Relig. Mod.), pictures of town squares populated by acrobats and musicians, and later female nudes and a series entitled Mermaids.

Tower of London

Tower of London (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 progressively fill the Tower’s famous moat until 11 November 2014).

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‘STILL LIFE WITH BLUE SLIPPERS’ (1911)

Oil on canvas, 43 x 33

Provenance

Private collection, Moscow

Bibliography

M. Etkind, ‘Natan Altman’.

Altman was born in Vinnytsia, Imperial Russia. From 1902 to 1907 he studied painting and sculpture at the Art College in Odessa. In 1906 he had his first exhibition in Odessa. In 1910 he went to Paris, where he studied at the Free Russian Academy, working in the studio of Wladimir Baranoff-Rossine, and had contact with Marc Chagall, Alexander Archipenko, and David Shterenberg. In 1910 he became a member of the group Union of Youth. His famous Portrait of Anna Akhmatova, conceived in Cubist style, was painted in 1914. After 1916 he started to work as a stage designer.

In 1918 he was the member of the Board for Artistic Matters within the Department of Fine Arts of the People's Commissariat of Enlightenment together with Malevich, Baranoff-Rossine and Shevchenko. In the same year he had an exhibition with the group Jewish Society for the Furthering of the Arts in Moscow, together with Wladimir Baranoff-Rossine, El Lissitzky and the others. In 1920 he became a member of the Institute for Artistic Culture, together with Kasimir Malevich, Vladimir Tatlin and others. In the same year, he participated in the exhibition From Impressionism to Cubism in the Museum of Painterly Culture in Petrograd. From 1920 to 1928 he worked on stage designs for the Habimah Theatre and the Jewish State Theatre in Moscow. In 1923 a volume of his Jewish graphic art was published in Berlin. In 1925 he participated in Exposition Internationale des Arts Decoratifs et Industriels Moderns (Art Deco) in Paris. His first solo exhibition in Leningrad was in 1926.

Helene de Sparte act II set design - Leon Bakst

Artist: Leon Bakst

Completion Date: 1912

Style: Art Nouveau (Modern)

Genre: design

Rosenberg Lev Samoylovich called Bakst was a painter and a stage designer of Belorussian birth. Born into a middle class Jewish family, Bakst was educated in St Peterburg, attending the Academy of Arts. Bakst traveled regularly to Europe and North Africa and studied in Paris with a number of notable artists at the Academie Julian. With Alexander Benois and Serge Diaghlev he was a founder of the WORLD OF ART group in 1898. In 1906 he became a drawing teacher at the Yelizaveta Zvantseva's private school in St Peterburg.

Bakst realized his greatest artistic success in the theatre. In 1909 he collaborated with Diaghilev in the founding of Ballets Russes, where he acted as artistic director, and his stages designs rapidly brought him international fame. Between 1909 and 1921 his name became inseparable from the Ballets Russes. He also designed for other celebrities, included the artist producers Vera Komissarzhervskaya in 1906, Ida Rubinstein between 1911 to 1924. He settled in Paris in 1912, having being exiled from St Peterburg where, as a Jew he was unable to obtain a residence permit.

Bakst was arguably the most accomplish painter, as well as designer, in the World of Art group. His early preferences were for Realist painters and Old Masters, such as Rembrandt and Velazquez. The animated line and relaxed postures in his portraiture also suggest the influence of his close friend Valentin Serov. Through Benois and his circle Bakst was attracted to "retrospectivism" and Orientalism, and motifs from ancient Greece and Egypt became signatures in his easel paintings and theoretical work. The Benois circle also introduced him to Symbolism and Art Nouveau.

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.

"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

Rosenberg Lev Samoylovich called Bakst was a painter and a stage designer of Belorussian birth. Born into a middle class Jewish family, Bakst was educated in St Peterburg, attending the Academy of Arts. Bakst traveled regularly to Europe and North Africa and studied in Paris with a number of notable artists at the Academie Julian. With Alexander Benois and Serge Diaghlev he was a founder of the WORLD OF ART group in 1898. In 1906 he became a drawing teacher at the Yelizaveta Zvantseva's private school in St Peterburg.

Bakst realized his greatest artistic success in the theatre. In 1909 he collaborated with Diaghilev in the founding of Ballets Russes, where he acted as artistic director, and his stages designs rapidly brought him international fame. Between 1909 and 1921 his name became inseparable from the Ballets Russes. He also designed for other celebrities, included the artist producers Vera Komissarzhervskaya in 1906, Ida Rubinstein between 1911 to 1924. He settled in Paris in 1912, having being exiled from St Peterburg where, as a Jew he was unable to obtain a residence permit.

Bakst was arguably the most accomplish painter, as well as designer, in the World of Art group. His early preferences were for Realist painters and Old Masters, such as Rembrandt and Velazquez. The animated line and relaxed postures in his portraiture also suggest the influence of his close friend Valentin Serov. Through Benois and his circle Bakst was attracted to "retrospectivism" and Orientalism, and motifs from ancient Greece and Egypt became signatures in his easel paintings and theoretical work. The Benois circle also introduced him to Symbolism and Art Nouveau.

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Oil on canvas; 76 x 102 cm

German architect, painter, and designer, active mainly in Berlin. Schinkel was the greatest German architect of the 19th century, but until 1815, when he gained a senior appointment in the Public Works Department of Prussia (from which position he effectively redesigned Berlin), he worked mainly as a painter and stage designer. His paintings are highly Romantic landscapes somewhat in the spirit of Friedrich, although more anecdotal in detail (Gothic Cathedral by a River, Staatliche Museen, Berlin, 1813-14). He continued working as a stage designer until the 1830s, and in this field ranks among the greatest artists of his period. His most famous designs were for Mozart's The Magic Flute (1815), in which he combined the clarity and logic of his architectural style with a feeling of mystery and fantasy.

(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