View allAll Photos Tagged apokalypse
Last Friday I was on a trip with my friend Roland Ster in Italy at the old train station.
See the other photos of this series here
- of a society heading for a complete breakdown.
Once the Government gives up on dog poo, it's time to stock up on semi-automatics, canned food and toilet paper =/
Skeletal Megalomania *
Atlante del Sol in Lanzarote.
A golf hotel ruin in nowhere.
A decaying monument
of megalomania, greed for profit and failure.
Skelettierter Größenwahn *
Atlante del Sol in Lanzarote.
Eine Golfhotel-Ruine im Nirgendwo.
Ein zerfallendes Monument
des Größenwahns, der Profitgier und des Scheiterns.
Skeletal Megalomania -
Atlante del Sol in Lanzarote.
www.flickr.com/photos/sterneck/albums/72157699172919565
Photo: Wolfgang Sterneck, 2017.
- * -
Wolfgang Sterneck:
In the Cracks of the World *
Photo-Reports : www.flickr.com/sterneck/sets
Articles (german/english) : www.sterneck.net
- * -
.
Skeletal Megalomania *
Atlante del Sol in Lanzarote.
A golf hotel ruin in nowhere.
A decaying monument
of megalomania, greed for profit and failure.
Skelettierter Größenwahn *
Atlante del Sol in Lanzarote.
Eine Golfhotel-Ruine im Nirgendwo.
Ein zerfallendes Monument
des Größenwahns, der Profitgier und des Scheiterns.
Skeletal Megalomania -
Atlante del Sol in Lanzarote.
www.flickr.com/photos/sterneck/albums/72157699172919565
Photo: Wolfgang Sterneck, 2016.
- * -
Wolfgang Sterneck:
In the Cracks of the World *
Photo-Reports : www.flickr.com/sterneck/sets
Articles (german/english) : www.sterneck.net
- * -
.
Skeletal Megalomania *
Atlante del Sol in Lanzarote.
A golf hotel ruin in nowhere.
A decaying monument
of megalomania, greed for profit and failure.
Skelettierter Größenwahn *
Atlante del Sol in Lanzarote.
Eine Golfhotel-Ruine im Nirgendwo.
Ein zerfallendes Monument
des Größenwahns, der Profitgier und des Scheiterns.
Skeletal Megalomania -
Atlante del Sol in Lanzarote.
www.flickr.com/photos/sterneck/albums/72157699172919565
Photo: Wolfgang Sterneck, 2017.
- * -
Wolfgang Sterneck:
In the Cracks of the World *
Photo-Reports : www.flickr.com/sterneck/sets
Articles (german/english) : www.sterneck.net
- * -
.
"Tonight I saw the Sun at Midnight. The red Breeze, as the burning Yellow spoke of Apokalypse and an End. The abandoned Ruin in the Forground, surrounded by mysterious dark Trees, the Forest of Fairies and the hypnotik Inebriation of breaking Skies wasn´t far away... After an Eyeblink I smiled and forget all the Ends they talk about - my Interest are the Beginnings after the Shower, the Dawn of the renewed Day. The World will never end - it transforms, was there and will be, only what we´ve done meanwhile for our "Lifes" (or Souls, whatever that is) should be important for us. We have to make it eternal and it´s ludikrous to wait for "the End" and be the Viktim of "Nihil" or of the "Tristesse" we build ourselfes. Nobody else to blame for... What a Weight, what a Possibility!"
pART of THINK! (PhotoPhilosophY) Set
_________________________________
©1999-2006 all Rights reserved, Krystian
Note that most knights don't wear complete plate armour for the limbs, which was quite typical in German lands. Some only wear gauntlets, cuisses and poleyns. Others have arm defences made of cuir bouilli and couters in the same style as the poleyns. Their bodies are protected by coats-of-plates and studded pourpoints. We can see some great helmets (by this date they were hardly worn in battle) and bascinets with flat visors. One knight's bascinet has got a strange visor in the shape of a human face.
Last Friday I was on a trip with my friend Roland Ster in Italy at the old train station.
See the other photos of this series here
Last Friday I was on a trip with my friend Roland Ster in Italy at the old train station.
See the other photos of this series here
MegaBosch - Die Rockstars der Apokalypse || RPC 2015 || Mit 2000 WATT im Gepäck ziehen wir durch die verstrahlte Einöde von Ort zu Ort, um uns als Rockstars der Apokalypse feiern zu lassen. Nebenbei machen wir auch Musik...|| www.megabosch.de/ || www.flickr.com/photos/mchenryarts/ || www.facebook.com/McHenryArts
Maddrax / Heft-Reihe
Die dunkle Zukunft der Erde
Christian Schwarz: Apokalypse
cover: Candy Kay
Bastei Verlag (Bergisch Gladbach / Deutschland; seit 2000)
ex libris MTP
AGUSTINA DE ARAGON Y ZARAGOSS!!A Y TARSUS Y METATARSUS Y ASKALON!...
GUSTI BORN4AREASON SHEA ANGELINA JOLIE 450,000YRS ANUNNAKI OLYMPIAS COLINFARREL JBOHNER54! MARIANNE PERLA DE ANTILLAS WARREN CULLEN WBIG CHAOS OAVELAS 50SHADESOF GEY! LUKE BRACEY JAMIE DORNAN MERKEL FREI GUSTI 4TAG 25OKT13 1809U.png
GUSVELAS@YAHOO.COM
OBRAELVON321@LOOMEE.DE
NOTEBOOK WITH RYAN GOSLING AND RACHEL MCADAMS IS ON
AND
I REMEMBERED!
GENA ROWLANDS!...
AND THE OTHER WOMAN IN RYAN GOSLINGS LIFE JUST SHOWED UP!...
LATER WORLD!...
THANK U LUKE BRACEY!...MY BROTHER LUKE!...
I LOVE U!...MAN!...
BETTER THAN MY OWN SKIN!...LUC!...REALLY!...
I WOULD VACATE MY OWN BODY LUC!...
AND MERGE WITH URS IF IT WERE POSSIBLE!...
THANK U BRO!...
MY DADDY LUC!...MY SON!...MY NEPHEW!...
MY FRIEND!...
THANK U LUC!...
CHEZ LUC VRACEY VEGA VEL...!
GUESS WHO'S COMING TO DINNER!
GUSVELAS@YAHOO.COM
CHEZ LUC!...
I GOT THE PHOTO OF JOHN "BAYNOER" BOEHNER WHEN I WAS SEARCHING IN GOOGLE!
LESLEY AND PETER BRACEY!...PARENTS!...
"MY SON LUKE" IS NOW AN ACTOR!
FOX CAME AND MADE HIM AN OFFER HE COULDN'T REFUSE!...
REMEMBER LUKE!...
GRACE KELLY LEFT HOLLYWOOD 4 MONACO AND
DOLORES HART 4 GOD!...
LOOK AT MY BELLY!...IF I HAVE TO SHARE MY FOOD WITH U BROTHER!...
THE NEW GOSPEL OF LUKE!...
THE APOKALYPSE OF LUKE!...
THE CRAZY ENDTIMES SPOILER GOSPEL OF LUKE!...
LUKAISM!...
AND A NEW HEAVENS AND EARTH AND A NEW MAN!...
U LUKE!...
LUKAS HOMO LUCENS!...
LATER PAL!...
I WANT TO WATCH MONTE CARLO COMING UP AT 2000HRS!...
GUSTI BORN4AREASON SHEA ANGELINA JOLIE 450,000YRS ANUNNAKI OLYMPIAS COLINFARREL JBOHNER54! MARIANNE PERLA DE ANTILLAS WARREN CULLEN WBIG CHAOS OAVELAS 50SHADESOF GEY! LUKE BRACEY JAMIE DORNAN MERKEL FREI GUSTI 4TAG 25OKT13 1809U.png
GUSVELAS@YAHOO.COM
OBRAELVON321@LOOMEE.DE
FREITAG GUSTI'S 90TH BIRTHDAY VORTAG!...25 OKTOBER 2013 1904!!!...UHR
Devils' Dance
Oil on Canvas
30" x 48"
Completed in 2004
Inventory # 2560.101.2004.02.001
© Matthew Felix Sun
Note: Published by Synchronized Chaos, an interdisciplinary art, poetry, literary, science, nature, cultural issues, and travel writing webzine, October 2009
Published in The Amistad, an online review magazine, by Howard University, Washington, D.C., Spring 2007
Part of Matthew Felix Sun's Apocalypse Series
This painting is currently being exhibited at Expressions Gallery in Berkeley (18 April - 17 July 2015: Hop, Skid & Jump.
"Arabesque" and Other Paintings Inspired by Literature
Grass's The Tin Drum also moved me to create another painting with his depiction of nightmarish book burning by the Nazis' - The Devil's Dance. The archaic scroll with the proclamation of "Faith, Hope, and Love", I hope, echoed the perverse scene in the book.
This painting was inspired by passages from Günter Grass's novel The Tin Drum (Die Blechtrommel).
Also see Contents versus Expression
In this triptych we can observe some knights wearing armour with typical German features of the late 14th century.
Note that most knights don't wear complete plate armour for the limbs. Some only wear gauntlets, cuisses (of a studded fabric) and poleyns. Some knights wear couters made in the same style as the poleyns (with typical German vertical fluting), one knight has got arm defences made of a studded fabric. Coats-of-plates and studded pourpoints are worn on the body. We can see some great helmets (by this date they were hardly worn in battle) and bascinets with flat visors. One knight's bascinet has got a strange visor in the shape of a human face.
Compare the knights' attire with the almost contemporary effigy of Johann von Katzenelnbogen in Kloster eberbach: www.flickr.com/photos/roelipilami/6027666704/in/set-72157...
Das Oratorium wurde von der Compagnia della Madonna del Rosario 1574 innerhalb des Klosterkomplexes der Dominikaner eingerichtet. Der Eingang befindet sich in der Via Bambinai nur wenige Schritte von der Kirche San Domenico an der gleichnamigen Piazza entfernt.
Der Gebetsraum wurde von Giacomo Serpotta (Palermo 1656 – 1732) in den Jahren 1714 – 1717 mit aufwändigen Stuckaturen mit Szenen aus dem Alten Testament, der Apokalypse und der Legende um Maria mit dem Rosenkranz sowie figürlichen Allegorien der Tugenden ausgestattet.
Nach der Pestepidemie von 1624 gab die Bruderschaft das Gemälde der Madonna del Rosario(Rosenkranzmadonna) bei Anthonis van Dyck in Auftrag. Das Werk zeigt die Madonna umgeben von den Heiligen Dominikus, Katharina von Siena, Vinzenz Ferrer, Olivia, Ninfa, Agathe, Christina und Rosalia und hängt seit 1628 über dem Altar des Oratoriums.
MegaBosch - Die Rockstars der Apokalypse || RPC 2015 || Mit 2000 WATT im Gepäck ziehen wir durch die verstrahlte Einöde von Ort zu Ort, um uns als Rockstars der Apokalypse feiern zu lassen. Nebenbei machen wir auch Musik...|| www.megabosch.de/ || www.flickr.com/photos/mchenryarts/ || www.facebook.com/McHenryArts
Kokoschkas Stadt- und Landschaftsansichten / Kokoschka's City and Landscape Views / Vues de la ville et du paysage de Kokoschka / Виды города и пейзажи Кокошки / 科科什卡的城市景观和景观 / कोकोस्का का शहर और परिदृश्य दृश्य
Best of Southside Festival 2016
Alleiniger Spitzenreiter meiner mickrigen Fotosammlung vom Southside Festival 2016, das (nach nicht mal einem ganzen Festival-Tag) wegen einer Wetterapokalypse, die ihresgleichen sucht, abgebrochen wurde … Ich habe in meinem ganzen Leben noch nie so eine furchteinflößende schwarze Wolkenwand gesehen … Es ist keine Übertreibung, wenn ich sage, dass ihre Erscheinung locker mit einer dieser gigantischen Superzellen vergleichbar war, wie sie für gewöhnlich auf der anderen Seite des Atlantiks auftreten. Ihre Mitgift bestand aus Zentimetergroßen Hagelbomben, bis zu 75 Litern Regen pro Quadratmeter, Orkanwinden von bis zu 100km/h (9-10bft, wie ich gelesen habe), und stetigem elektrischem "Potenzialausgleich", was scheinbar sogar meine Elektronik zum durchdrehen brachte. Mein Handy hat seltsame Sachen gemacht, und die Videos die ich vom Unwetter gemacht habe, fehlen einfach auf der Speicherkarte … völlig verrückt … Wobei die "Luftfeuchtigkeit" in dieser Hinsicht sicher auch nicht zu unterschätzen ist.
Also … An dieser Stelle "Vielen lieben Dank!" besonders an die coolen Leute aus dem Saarland mit ihrem Bus, die meine Freundin und mich aufgenommen haben, als wir am Campingplatz alles stehen und liegen lassen und vor diesem meteorologischen Monster fliehen mussten! ("Kommt schnell rein! Aber Schuhe aus – boah mein Chef bringt mich um!!" xD) Geil, wenn man wie ein begossener Pudel so nett in einem Bus aufgenommen und erstmal mit Bier, Suppe und guter Laune begrüßt wird, als gehöre man sowieso zum Rudel :-))
Mein Mitgefühl und meine "Segenswünsche" gilt all denen, die nicht so viel Glück hatten wie wir, und bei denen das Wetter deutlich mehr Tribut gefordert hat … So manch einem/einer wurde buchstäblich das Zuhause namens Zelt mit allem Hab und Gut unterm Arsch weggerissen, von Verletzungen aller Art ganz zu schweigen. Get well soon!
Rock am Ring 2016 hat's vorgemacht, aber das Southside 2016 hat noch eins drauf gesetzt … Ich muss sagen, bei uns in GER ein ziemlich besch...eidener Festival-Sommer bisher.
Le panneau central montre Michael triomphante sur les forces du mal qui apparaissent ici dans le réalisme lugubre des créatures hybrides diablement aliénés. Leur chiffre sept fait penser aux sept péchés capitaux. Dans une petite scène secondaire dans le fond est montré la bataille des anges sous le leadership de Michael, dans l'Apocalypse prophétiseé, contre les anges de Satan, d'abord brouillés et maintenant transformé en démons. Sur les ailes: à l'intérieur, le saint Jérôme et saint Antoine de Padoue, à l'extérieur, le Saint-Sébastien et une sainte avec un garçon.
Die Mitteltafel zeigt Michael triumphierend über die Kräfte des Bösen, die hier in der unheimlichen Realistik teuflisch verfremdeter Mischwesen erscheinen. Ihre Siebenzahl lässt an die sieben Todsünden denken. In einer kleinen Nebenszene im Hintergrund ist der in der Apokalypse prophezeite Kampf der Engel unter der Führung Michaels gegen die abgefallenen und nun in Dämonen verwandelten Engel des Satans dargestellt. Auf den Flügeln: innen die Heiligen Hieronymus und Antonius von Padua, außen der Heilige Sebastian und eine weibliche Heilige mit einem Knaben.
Altarpiece of the Archangel Michael
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
Skeletal Megalomania *
Atlante del Sol in Lanzarote.
A golf hotel ruin in nowhere.
A decaying monument
of megalomania, greed for profit and failure.
Skelettierter Größenwahn *
Atlante del Sol in Lanzarote.
Eine Golfhotel-Ruine im Nirgendwo.
Ein zerfallendes Monument
des Größenwahns, der Profitgier und des Scheiterns.
Skeletal Megalomania -
Atlante del Sol in Lanzarote.
www.flickr.com/photos/sterneck/albums/72157699172919565
Photo: Wolfgang Sterneck, 2016.
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Wolfgang Sterneck:
In the Cracks of the World *
Photo-Reports : www.flickr.com/sterneck/sets
Articles (german/english) : www.sterneck.net
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