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Grandma
Oil on Canvas
40" x 30"
Completed in 2003
Inventory # 2459.101.2003.11.012
© Matthew Felix Sun
For 3D Gallery presentation, please visit 3DVas (3D Virtual Art Space)
For video presentation, please visit "Sibyls" - Portraits of Old Women by Matthew Felix Sun
Note:
Winner of www.artslant.com/sf/showcases/showcase?sublist=9^painting - or see it on my ArtSlant public profile's "Awards" tab.
Published by Synchronized Chaos, an interdisciplinary art, poetry, literary, science, nature, cultural issues, and travel writing webzine, October 2009
Part of Matthew Felix Sun's Apocalypse Series
My Featured Work - Portrait Painting "Grandma"
If I have to summarize my career as an artist, I would say that the biggest achievement I’ve attained was the creation of my portrait painting “Grandma”.
"Arabesque" and Other Paintings Inspired by Literature
Looking back to my paintings inspired by literature, my Grandma remains my best creation, which was inspired by few scattered descriptions of the protagonist's peasant grandmother at various phases of her long life by Günter Grass in his fantastic novel The Tin Drum (Die Blechtrommel) - her many layers of skirts, her peeling potatoes, the heated bricks she used to keep warm, again, underneath her layers of skirts.
This painting was inspired by passages from Günter Grass's novel The Tin Drum (Die Blechtrommel).
San Francisco Museum of Modern Art is presenting an "Unauthorized SFMOMA Show", which allows people to upload images of artworks to SFMOMA website, and "all works are immediately accepted, each submission automatically constituting an Unauthorized SFMOMA Solo Show on view at SFMOMA via the same website ( sfmoma.show ). Each exhibition starts when a work is submitted and ends when a new work is submitted."
A couple weeks later, I uploaded two oil paintings - my main endeavors, to be included in the upcoming catalogue.
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
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
Artperformance of the group "CIE L'HOMME DEBOUT" at "La Strada" in Bremen, Germany
Kunstperformance der Gruppe "CIE L'HOMME DEBOUT" bei "La Strada", Bremen
SANTO OAGUS DE JARUCO!...JARUCO!...
Y
ESTADOS UNIDOS DE AMERICA Y DEL MUNDO ETC...
SANTO DE LOS DESGRACIAOS!...
DE LOS
DEGENERAOS!...
PERVERTIOS!...
DEPRAVAOS!...
DESVERGONZAOS!...
DESCARAOS!...
ETC
ETC
ETC...
AO JESUS OF NIBIRU SCARLET BLACK BEN PICKMAN ALE PREZ OBAMER BEN AFFLECK RED SHIRT BOY TRINIDAD HMNOS GUSTI BODEGA JARUCO STCHARBEL ST OAGUS CAMP MANITOU 4FUNOFBOYS LUKAS2126 GI JOE $15 LUKE BRACEY USSHUTDOWN SON6OCT13 2333U.png
SANTO SANTO SANTO!...
GUSVELAS@YAHOO.COM
OBRAELVON321@LOOMEE.DE
HELLO TO SANDRA AND REINHARDT OF DEUTSCHLANDS ETC...
IM MEMORIAM MIRCO!...VON LAURENTIA!...
SEEA HADAD ALSO AND ANCIENT SUMERIA!...
AND NIBIRU!...
AND THE SUPPOSED!...LONG AWAITED APOKALYPSE AS PROPHESIED BY JESUS ETC...
JESUS OF NIBIRU!...
JESUS OF NAZARETH!...
OUR YET TO BE OFFICIALLY "VERIFIED AND CONFIRMED" BINARY SOLAR SYSTEM AT LEAST!...
WITH MINI-PLANETARY SOLAR BROWN DWARF SYSTEM TRACKING!...
SEEA ALSO
DR HARRINGTON!...REPUTED DISCOVER...NOW DEAD!...
EVEN "PRESUMED MURDERED"...
SEEA ALSO
JOHN DINARDO!...
AND HOW "NIBIRU" THE DESTROYER
NEMESIS!
WAS THE CAUSE OF THE PLAGUES OF EGYPT!...
ABOUT 3,600 YEARS AGO DURING THE EXODUS OF THE CHILDREN OF ISRAEL OUT OF EGYPT!...
SEEA ALSO OF RECENT EVENT!...
AARON AT NAVAL DC YARD...
AND
NOW MORE RECENTLY
MYRIAM!...
MOSES, AARON, AND MYRIAM!...
SEEA ALSO
AARON DEAN!...LUKE BRACEY IN DANCE ACADEMY!
TANZ DEINE TRAUME AUF DEUTSCH!...
HELLO SANDRA AND REINHARDT!...
HELLO TO ALSO!...
TO
MENSCH ANGELA DOROTHEA MERKEL VON JOACHIM DEUTSCHLANDS UND GOTT!...
IN SHORT!...
KANZLERIN ANGELA MERKEL!...
HELLO DEUTSCHLANDS AND EUROPE AND THE WORLD!...
THE COMING OF NIBIRU!...
MONTAG 7TH DAY OF USA GOVERNMENT SHUTDOWN!...TAG 7 OCTOBER 2013 0142!!!...UHR
More scanning with my 14mp GCMC Scan 2 SD scanner! A mix of 35mm XP1 &FP4 b&w I think.
1,000 Flickr views June 2017!
OON 439 behind, seen in Apokalypse in Le Mans
Used in documentary:
www.imcdb.org/movie_498466-Aston-Martin--Victory-by-Desig...
DB3S/8
works 1955 with 'Gothic Arch' body. The car was fitted with single-plug engine and drum brakes for Paul Frere to drive in production form at Spa and Frere won. Converted back to full works specification. Brooks/Riseley-Prichard retired at Le Mans, Walker finished 4th at the Grand Prix meeting at Aintree, Parnell/Salvadori retired in the Goodwood 9 Hours race, Parnell won the Daily Herald Trophy at Aintree and Parnell/Salvadori finished 7th in the Tourist Trophy. In 1956 Parnell/Brooks retired at Sebring, Moss finished 2nd at the May Silverstone meeting, Salvadori/Walker retired at the Nurburgring, Salvadori finished 2nd at the Grand Prix meeting at Silverstone in July and Brooks finished 2nd in the Daily Herald Trophy at Oulton Park. 1956 the body was updated to the same specification as DB3S/9 the car was sold in the United States to Joe Lubin and painted white and blue. Raced extensively, Subsequent owner had a major accident with the car and fitted the body from DB3S/118. Unused twin-plug engine fitted and brought back to the UK. Completely restored to full works 'Gothic Arch' specification (other than head-rest to conceal roll-over bar). Registered 743 HYX (previous registration uncertain). In the Midlands Motor Museum 1978-85. See Motor Sport, November 1978.
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
"Wir sind der Sturm, den du säst, der Dreck den du verschmähst.
Wir sind der Schatten deines Seins und werden derer viele sein." lyrics from "Legion", by Agonoize.
pic and postwork: www.darksightberlin.com
First time to rest after the first 90 minutes show...chilling for 20 minutes, cause the next 90 minutes of the show will start soon. Olli Senger backstage.
pic and postwork: www.darksightberlin.com
"save me from this ordinary life..." from the songlyrics "Ordinary Life" by Agonoize.
pic and postwork: www.darksightberlin.com
The Triumph of Saint George
Oil on Canvas
48" x 30"
Completed in 2003
Inventory # 2452.101.2003.05.004
© Matthew Felix Sun
For video presentation, please see my blog "The Triumph of Saint George" or view it on YouTube directly, or www.flickr.com/photos/matthewfelixsun/5218231994/
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
Oil Painting “The Triumph of Saint George”
Just when the ill-conceived and ill-fated Iraq-invasion led by US president George W. Bush keeps and the prime minister of UK, Tony Blair, finally started to fade from our collective consciousness, it sprang back with vengeance in the tides of horrible stories and images.
Now, confronted with the terrifying aftermath of their reckless joint-decision, George W. Bush keeps mum, while Tony Blair tries desperately to white-wash his hands, yet however often he screamed “Out, damned spot! out, I say!”, his hands, together with those of GWB’s and Dick Cheney’s, would forever be stained with blood, gushed from the mangled bodies of US soldiers and Iraqi people.
I had hoped that what I depicted in that painting would be simply a warning sign, rather than, unfortunately, a most awful prophecy as it turned out.
History will remember George W. Bush and Tony Blair, not kindly. As an artist, it was my duty to record and reflect the time I live in.
George W. Bush, the Artist and Apocalypse
During his horrible and incompetent presidency, George W. Bush (GWB) was often criticized as an imbecile ninny occupying a high office due to his fabulous family connection - his father Georg Bush was the president of the US from 1989 to 1993. To me, that argument was incorrect and way too benevolent. GWB did many horrible things not due to his stupidity, but his fundamental believe in those horrible things.
To me, this painting of mine below, The Triumph of Saint George, created during the time he was drumming up the invasion of Iraq in 2003, reflects what he was; the painting also jump-started my ongoing Apocalypse Series, to commemorate the miseries of humankind.
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
Dieses Detail erklärt den Namen. Die Figur der Maria steht auf einer Mondsichel, was auf die Apokalypse hindeutet. Nebenbei tritt sie die Schlange, mit dem berühmten Apfel im Maul, mit Füssen. Mir tat die Schlange ja insgeheim immer schon ein bisschen leid. Das arme Viech konnte schließlich nix dafür, dass sie diese Rolle im Paradies aufs Auge gedrückt bekommen hatte.
This detail explains the name because the Madonna is standing at a crescent. Which originated in the apocalypse. She stood at a serpent, which is biting into the famous apple. I have to admit that I've always secretly felt bad for the serpent. The poor thing could help it's role in the Garden of Eden.
Sisyphus
Oil on Canvas
48" x 24"
Completed in 2003
Inventory # 2457.101.2003.09.010
© Matthew Felix Sun
For a video presentation, please visit Orientation of Paintings
Note: Published by Synchronized Chaos, an interdisciplinary art, poetry, literary, science, nature, cultural issues, and travel writing webzine, November 2009
Part of Matthew Felix Sun's Apocalypse Series
Used on the book cover for Epistemologies of Ignorance in Education (HC)
For more details, please read My Blog: Monochromatic Drama and view video presentation of Monochromatic Paintings on YouTube Video
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
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
Karl Anton Wolf (* 8. September 1908 in Wien, Österreich; † 9. März 1989 ebanda), war ein österreichischer Maler und Bildhauer.
Karl Anton Wolf war als Künstler ein Autodidakt. Er ist bekannt für seine großformatigen Bilder und Eisenskulpturen. Eine seiner Skulpturen steht in Wien vor der Votivkirche, weitere im Wiener Donaupark und in Fischamend beim Eingang zu den Donauauen.
Leben und Wirken
Nach dem Besuch der Realschule arbeitete Wolf anfangs bei einer Speditionsfirma. In den Jahren 1927 bis 1939 unternahm er ausgedehnte Studienreisen durch Europa und Afrika. Er übte zahlreiche Berufe aus und war parallel stets künstlerisch tätig: Er komponierte, verfasste Texte und malte.
Nach dem Militärdienst im Zweiten Weltkrieg machte Wolf 1945 ein Geschäft im Mineralölhandel auf. Im Jahr 1953 entscheidet sich Wolf, endgültig als freischaffender Künstler tätig zu sein.
Im Jahr 1957 entstanden seine großformatigen Bilder „Welttheater“ und „Babylonischer Turm“. Im selben Jahr war er Preisträger der 4. Biennale von São Paulo. Im Jahr 1959 war Karl Anton Wolf Teilnehmer der documenta II in Kassel. Im Jahr 1961 erhielt er den Förderpreis des Österreichischen Unterrichtsministeriums.
Nach 1968 beschäftigte sich Wolf mit der Bildhauerei, es entstehen einige Eisenplastiken. Im Jahr 1970 war er Teilnehmer der 35. Biennale von Venedig. Wolf begann sich mit Materialbildern zu beschäftigen. Im Jahr 1971 fand die wichtige Einzelausstellung „Karl Anton Wolf. Plastik-Bilder Grafik“ in der „Neuen Galerie der Stadt Linz“ statt. 1972 wurde ihm der Professoren-Titel verliehen.
Wolf schrieb auch Drehbücher. So entstehen im Jahr 1983 die Drehbücher „Parabal“ und „Das Erdhaufenspiel“. Beide Drehbücher wurden noch nicht verfilmt, allerdings wurde „Parabal“ als Hörspiel 1985 im Schweizer Rundfunk gesendet.
Im Jahr 1987 gründete Wolf die Karl-Anton-Wolf-Stiftung in Wien, die den Zweck hat, künstlerische Talente finanziell zu unterstützen. Im selben Jahr wurde Wolf das „Goldene Ehrenzeichen für Verdienste um das Land Wien“ verliehen.
Karl Anton Wolfs Grabmal befindet sich auf dem Neustifter Friedhof in Wien.
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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
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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
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Gemini Science Fiction / Heft-Reihe
Derek van Cleef (Dirk Hess) / Apokalypse 2000
cover: Olof Feindt (Van Vindt)
Martin Kelter Verlag
(Hamburg / Deutschland; 1976-1977)
ex libris MTP
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Projet : Apokalypse
Caste : Dairakudakan
Créé par : Free Spirit
Modèle : Kémil
MUA : Honorine Makeup Studios
Accessoires : Fraise au Loup Costumes
website : www.freespiritcrew.com
facebook : www.facebook.com/freespiritcrew
#bodypainting #gold #black #dairakudakan #freespirit #tattoo #facepainting
Jüngstes Gericht ( Endgericht Apokalypse Jüngster Tag Nacht ohne Morgen Letztes Gericht Gottes Gericht Weltgericht Gottesgericht ) ist als Gericht aller Lebenden und Toten eng mit der Idee der Auferstehung verknüpft - im Bild meist mit oben mittig der thronende Christus als Pantokrator unt links die Seligen die in den Himmel auffahren und rechts die Verdammten die zur Hölle gehen als ...
Fresken um das Jahr 1420 - 1430 ( 15. Jahrhundert - Mittelalter - 1931 freigelegt - Bilderbibel Bild Bilderzyklus Wandmalereien Wandbild Gemälde Fresko ) in der ...
Kirche Erlenbach ( Gotteshaus reformiert - Erwähnt 1228 - Baujahr um 1000 - Geweiht St. Michael - Michaelskirche Chiuche church église temple chiesa ) im Dorf Erlenbach im Simmental im Berner Oberland im Kanton Bern der Schweiz
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Michaelskirche - Kirche Erlenbach im Simmental
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- Baujahr : um das Jahr 1000
- Erste Erwähnung : Im L.ausanner Kirchenverzeichnis von 1228
- Besonderes : W.andm.alerein um 1420
- O.rgel : Ja - Baujahr 1812
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Die Michaelskirche - Kirche Erlenbach im Simmental steht im Dorf Erlenbach im Simmental
im Berner Oberland im Kanton Bern der Schweiz.
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Im Dorfzentrum von Erlenbach liegt die wunderschöne rund tausendjährige Kirche. Als
Baugruppe zusammen mit dem P.farrh.aus und der H.olzt.reppe wurde sind als national
bedeutsam eingestuft.
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Im L.ausanner Kirchenverzeichnis von 1228 ist die Kirche Erlenbach als Arlinbach
zum ersten Mal urkundlich erwähnt. Wer für ihren baulichen Unterhalt sorgte ist
nirgends festgehalten.
Die erhaltenen Schriften berichten aber, dass bei den Kämpfe der F.reiherren von
W.eissenb.urg gegen das aufstrebende Bern auch das Kirchengut in Mitleidenschaft
gezogen wurde.
Als die Berner bis Erlenbach vordrangen, plünderten sie das Gotteshaus schonungslos.
In einem späteren Vergleich erklärten sie sich aber bereit, die gestohlenen K.elche und
Ausstattungsgegenstände wieder zurückzugeben. Dies bestätigte der P.riester am
7. D.ezember 1303 im ältesten erhaltenen Schriftstück über die Erlenbacher Pfarrei.
Der K.ampf gegen Bern brachte die Herren von W.eissenb.urg in so arge finanzielle Be-
drängnis, dass sie am 20. A.ugust 1330 den Kirchensatz von Erlenbach samt Patronat,
dem P.riesterh.aus mit dem dazugehörigen Land sowie zwei Gütern, genannt de
Kumme und in dem Wijer an das A.ugustinerk.loster I.nterlaken übergaben.
Bald brachte ein innerer Zerfall auch die I.nterlakner C.horherren in finanzielle Schwierig-
keiten. Der Kirchensatz von Erlenbach wurde dem Geschlecht B.randis verpfändet. Dank
der Hilfe des B.ischoffs von L.ausanne und Bern konnten die I.nterlakner 1369 für eine
Summe von 1060 Gulden lauteres goldes und rechter gewicht die Schuld abzahlen.
Das K.loster I.nterlaken scheint seinen Pflichten nachgekommen zu sein. Die Kirche be-
fand sich in einem baulich guten Zustand, was Abgeordnete des B.ischoff von L.ausanne
anlässlich einer Inspektionsreise 1416 - 1417 bestätigten.
Das Kirchenspiel zähle damals einschliesslich des D.iemtigtals 300 Haushaltungen
und war weitaus das grösste im Niedersimmental ( W.immis: 100 und O.berwil: 70 ).
Auch wirtschaftlich und politisch war Erlenbach das Zentrum der Talschaft. Sein M.arkt
genoss bereits im 15. Jahrhundert einen beachtlichen Ruf.
In der ersten Hälfte des 15. Jahrhunderts wurde die Kirche vorübergehend zur Baustelle.
Die Neugestaltung des ganzen Innenraums war geplant.
Weil das einfache Volk des Lesens noch nicht kundig war, sollten die Kirchenwände mit
einer belehrenden B.ilderfolge versehen werden. Um Architektur und W.andm.alerei in
Einklang zu bringen war eine neue Wandgliederung erforderlich.
Die R.undbogenf.ensterchen wurden durch rechteckige ersetzt, welche genau der Grösse
der geplanten Bilder entsprachen.
Kurz nach 1420 war der ganze K.irchenraum, S.chiff und C.hor mit den eindrücklichen
W.andb.ildern neu ausgeschmückt. Die christliche Heilslehre wurde packend und folge-
richtig dargestellt.
Die B.ilderwände liessen sich mit Leichtigkeit im religiösen Unterricht einsetzen. Rund
hundert Jahre nach ihrem Entstehen wurden die M.alereien im Zeichen der Reformation
zugetüncht.
Als der bischöfliche Abgesandte 1453 die Kirche inspizierte wurden einige Veränderungen
befohlen. Der T.urm erschien den Inspektoren zu bescheiden.
Bereits vor der Reformation im 15. Jahrhundert beunruhigte ein starker S.ittenzerfall die
bernische Obrigkeit. Nachdem sich die Stürme der Reformation gelegt hatten sollte mit
der Glaubenserneuerung auch das verlotterte sittliche Leben der B.urger wieder in
bessere B.ahnen gebracht werden.
Als Ersatz für das bisherige geistliche G.ericht des B.ischofs setzte das reformierte Bern
1529 in jedem Kirchenspiel ein C.horgericht ein. Die bernische Staatsverfassung von
1831 brachte eine Neuorganisation der Gemeinden.
Das C.horgericht hiess von nun an S.ittengericht. Die Arbeit wurde 1852 dem neugeschaf-
fene Kirchenvorstand übertragen, 1874 dem Kirchgemeinderat. Seit 1881 ist die S.itten-
p.olizei nicht mehr Sache der Kirchgemeinden.
Im blühenden H.exenwesen und Aberglauben zeugte von der mangelhaften religiösen
Bildung des Volkes. Nach e.inigen bescheidenen Vorstössen erschien 1628 die erste
gedruckte Landschulordnung.
Schulpflichtig waren alle 13- bis 14jährigen Kinder. Sie sollten in Schryben und Läsen
und in den puncten dess glaubens unterrichtet werden. Die Landschulordnung von
1675 schrieb vor, dass die E.ltern die K.inder früh - sobald sie imstande seien, zu be-
greifen - zur Schule schicken. Entlassen wurden sie erst, wenn sie die Fundamente
der wahren Religion beherrschten. Das Hauptanliegen der Schule lag somit vollständig
im religiösen Bereich.
In der Nacht vom 23. auf den 24. A.pril 1765 war in mithen des in dem dorf Erlenbach
gestandenen und von etwelchen Haushaltungen bewohnt gewesenen Schulhause,
ohnwissend wie, dergestalten Feür ausgebrochen.
Ausser der Kirche, dem P.frundhaus, zwei M.ühlen und fünf Häusern war alles übrige
durch den Dorfb.rand zerstört. In der Kirche erinnert der achteckige, hölzerne T.auf-
s.teindeckel an jene Zeit des Wiederaufbaus.
1785 und 1786 wurden in der Kirche verschiedene Reparationen vorgenommen. Dem
Verlangen nach mehr Luft und Raum wurde man mit den beiden grossen Rundbogen-
f.enstern im S.chiff und einer besseren Beleuchtung gerecht.
Im C.hor entstand den drei Wänden entlang ein neues Gestühl mit 22 Sitzen. Die
Balkendecke wurde herausgerissen und an ihrer Stelle entstand eine leicht Holztonne
aus langen T.annenholzbrettern. Sie entsprach zwar dem damaligen Geschmack, aber
nicht den Gesetzen der Baustatik.
Rund hundert Jahre später versuchte man mit gespannten Rundeisen der drohender
Einsturzgefahr entgegen zu wirken. Erst 1968 wurde der Kräfteausgleich innerhalb der
Dachkonstruktion mit einer stählernen Dachbinderverstärkung wieder hergestellt.
1812 errichtete Johannes Stölli auf der E.mpore eine stattliche O.rgel. Gleichzeitig
wurde in den beiden Längsmauern je ein hohes Fenster ausgebrochen, damit dem
Organisten mehr Licht zur Verfügung stand.
Um die kürzeste Verbindung vom Dorfkern zur Kirche begehbar zu machen, errichtete
David Tschabold 1816 ein 58stufige, überdachte Kirchent.reppe - ein Zimmermanns-
werk, das seinen Meister ehrt.
Die Kirchenu.hr, die heute noch ihren Dienst tut, stammt aus der Werkstatt eines St.
G.aller U.hrenmachers und wurde 1869 an Stelle des nicht mehr genügenden alten
Werkes gesetzt.
Im Frühjahr 1897 lieferte die G.lockengiesserei H. R.üetschi AG in A.arau ein neues,
dreistimmiges Geläute im F-Dur-Dreiklang.
Bis 1798 war das Kirchenspiel die unterste Verwaltungseinheit im bernischen Staats-
gefüge. Der Pfarrherr arbeitet nicht nur als Seelsorger sondern auch als staatlicher
Beamter auf Gemeindestufe; von der K.anzel verkündete er sowohl das Evangelium
als auch die Mandate der Regierung.
Das Gemeindegesetz 1852 löste schliesslich das Kirchenwesen teilweise aus dem
Aufgabenkreis der Einwohnergemeinde aus. Das Kirchengesetz von 1874 schaffte
noch eine klarere Ordnung und schafft Kirchgemeinde und Kirchgemeinderat. Seit
1891 ist die ganze Kirche, das P.farrh.aus mit den dazugehörigen Gebäuden Eigentum
der Kirchgemeinde. Beide stehen heute unter Denkmalschutz.
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W.andm.alereien
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Kurz nach 1420 hatte die Erlenbacher Kirche ein grossartiges Geschenk empfangen. Der
ganze Kirchenraum, S.chiff und C.hor war mit eindrücklichen W.andb.ildern neu geschmückt
worden.
Dieses Unternehmen hatte viel Mut, Einsatz und Opferfreude gefordert. Die Auftraggeber
hatten nicht nur einen ausgezeichneten g.otischen Künstler gefunden, sondern sie hatten
es auch verstanden, diesem Meister ein B.ildprogramm aufzutragen, das die ganze christ-
liche Heilslehre packend und folgerichtig zur Darstellung brachte.
Wer diesen Kirchenraum betrat und sich unter priesterlicher Führung mit all den B.ildinhalten
vertraut machte, der empfing einen tiefen Eindruck von der erlösenden Zuwendung Gottes
an den fehlbaren und innerlich hilfsbedürftigen Menschen. Es ist unverkennbar, dass der
Schöpfer dieses B.ildprogramms solche Seelenführung und Seelsorge anstrebte.
Nahezu vier Jahrhunderte waren seit der Reformation verstrichen und niemand wusste mehr
von den verborgenen Schätzen und man stand 1901 plötzlichen ungekannten Bildspuren
gegenüber, die sich in der Nordostecke des Schiffs zeigten.
Der zu Rate gezogene Professor Zemp ahnte grosse, wertvolle Z.yklen und empfahl deren
Freilegung. Der Kirchgemeinderat gab zu verstehen, dass er der Gesellschaft für Erhaltung
historischer Denkmäler gegenüber den alten Standpunkt zu behaupten habe und die Kirche
wurde erneut geweisselt.
Dreissig Jahre später zeigten sich wiederum M.alspuren. Diese schienen so vielversprechend,
dass Pfarrer Richard Bäumlin eigenhändig zum Schabm.esser griff. Je mehr die Wand wieder
in ihren warmen Farben zu leuchten begannen, desto mehr geriet der alte Standpunkt des
Rates ins Wanken. Der einzige anerkannte Restaurator, M.aler K.arl L.üthi, machte sich an die
Freilegung der B.ilder.
Wieder waren dreissig Jahre vergangen und die B.ilder hatten nicht nur Staub angesetzt,
sondern auch Risse bekommen und die Wischfestigkeit ihrer Farben eingebüsst. Wiederum
setzte sich der Pfarrherr, nun Ernst von Känel, für eine umfassende Restaurierung ein. Im
S.ommer 1962 gingen der erfahrene Restaurator Hans A. F.ischer und seine Mitarbeiter ans
Werk.
Nach der Freilegung aller noch auffindbaren Details wurde die M.alerei ein erstes Mal mit
einer erprobten F.ixierflüssigkeit bespricht. Damit waren die nicht mehr wischfesten Farben
vorläufig gespeichert. Nach der teilweisen Ergänzung der fehlenden B.ilder wurde mit einer
letzten Fixierung verhindert, dass der S.taub weiterhin in die Poren der M.alschicht eindringt.
So verlangen die B.ilder keine weitere Wartung ausser eine alle zehn Jahre zu wiederholende
sorgfältige Entstaubung durch den Restaurator.
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( BeschriebKircheErlenbach KircheErlenbach KantonBern Berner KircheKantonBern
AlbumKircheKantonBern AlbumKirchenundKapellenimKantonBern Kirche Church
Eglise Chiuche Chiuchli Iglesia Kirke Kirkko Εκκλησία Chiesa 教会 Kerk Kościół Igreja
Церковь Schweiz Suisse Switzerland Svizzera Suissa Swiss Sveitsi Sviss スイス Sveits Zwitserland Szwajcaria Suíça Suiza )
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Besuch der K.irchen im B.erner O.berland am Dienstag den 19. März 2013
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Mit dem Z.ug von B.ern nach M.ünsingen
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B.esichtigung der K.irche M.ünsingen
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Mit dem Z.ug von M.ünsingen über S.piez nach O.ey-D.iemtigen und weiter mit dem
P.ostauto nach D.iemtigen
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Mit dem F.ahrrad von D.iemtigen über E.rlenbach - W.immis - S.piez - F.aulensee
nach L.eissigen und über S.piez wieder zurück nach T.hun
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Mit dem Z.ug von T.hun wieder zurück nach B.ern
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Kamera : Canon EOS 550D Neu
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Hurni130319 KantonBern AlbumRegionT.hunHochformat
E - Mail : chrigu.hurni@bluemail.ch
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Letzte Aktualisierung - Ergänzung des Textes : 310317
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