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Shot with Nikon D300 with Nikkor-Q Auto 135 f/3.5.
© Dirk HR Spennemann 2013, All Rights Reserved
You can also find me on smugmug.—For my exhibitions see here.
The Beyond / Heft-Reihe
"Grave Robber!"
cover: Jim McLaughlin
Ace Magazines / USA 1953
Reprint / Comic-Club NK 2010
ex libris MTP
Best viewed in lightbox (press "L")
GTNP proved me wrong in saying it wasn't a great sunset park. I love how the light was coming out between the peaks, it really was enhanced with the 2 minute exposure.
Grand Teton National Park, WY
Canon 5D Mark II
Canon 17-40L @ 17mm
2 min., f/22, ISO 50
B+W #110 (10-stop) ND & B+W Slim Circ. Pol. Filters
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"Out beyond the ideas of wrong doing and right doing, there is a field; I'll meet you there."
Model: Yvonne Van de Meerendonk
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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
I know, this seems to be an ordinary photo of an ordinary dog, with pebblestones beyond...But if you look beyond this image you discover a friendly, faithful and unselfish soul, a real family member.
"Beyond" - Our Daily Challenge
It was only one bright and sunny day during my trip to China. This made my walking along the Great Wall become pleasant... The sunshine could warm the day, cold windy day though. My hands were cold as ice but I just loved it as it's both cold and sunny . Walking up higher, I could see thing wider... It was around end of winter, everything looked dry and dusty... It gave the moods of remote and farway in the harsch season, I would imagine the military and the people who made this were faced.
It's long wall and was there more centuries for us to learn how great effort human beings could do.
Detail :
In c. 220 B.C., under Qin Shi Huang, sections of earlier fortifications were joined together to form a united defence system against invasions from the north. Construction continued up to the Ming dynasty (1368–1644), when the Great Wall became the world's largest military structure. Its historic and strategic importance is matched only by its architectural significance.
The Great Wall as we see today was mostly built during the Ming Dynasty. It starts from Shanhaiguan Pass in the east to Jiayuguan Pass in the west traversing provinces of Liaoning, Hebei, Beijing, Tianjin, Shanxi, Inner Mongolia, Ningxia, Shaanxi and Gansu.
See detail in whc.unesco.org/en/list/438 and www.travelchinaguide.com/china_great_wall/index.htm
The Great Wall
Beijing, China
I saw on google a picture of Batgirl in Batman Beyond
media.photobucket.com/image/batgirl%20beyond/HoldingJ/Re-... . Give credits if use and tell me what you think :D
Ikoflex I(850/16 pre-war) / Novar 75mm f3.5 w/ Kenko R1 Filter(Red)
Rollei Retro400s @400 ASA
Compard R09 One Shot (Rodinal) 1+50 20℃ 22min
EPSON GT-X980
Aren't these the most perfect shoes in a little while? Of course I do say that about so many Syb shoes..... ;)
Photographed Sept. 2016 : MINOLTA 24 Rapid (Rokkor 32mm/2.8) square format 24x24 camera.FOMAPAN 400 @ ASA 200 pushed into Agfa Rapid cassette & developed ADOX ATOMAL 49 used 'one shot' (125ml>600ml , t=15min T=20*C).
Bed Bath & Beyond #376 (30,000 square feet)
9900 Brook Road, The Creeks at Virginia Centre, Glen Allen, VA
This location opened in 2001 and closed in February 2021. The majority of the space became a HomeGoods on November 19th, 2022, while the remainder became a Bath & Body Works on March 24th, 2023.
Right on the border between Cumbria and Yorkshire, a small hill farm with ancient stone walls criss-crossing the land in the valley and onto the open moor beyond.
Fell Yeat, Lune Valley, Cumbria
66503 negotiates the 180-degree curve past the former timber pond at Barry Docks with the Dow Chemicals plant in the background. The train has just started its journey back to Wentloog and is in the process of pushing back the wagons. The loco will run around at No2 Dock and continue its journey to Wentloog (4Z49). 27 February 2018.
Well, just trying to visually record this thing before it eventually bites the dust. I'm enjoying it while I can, knowing that growing it out to terminal length is not in the cards. I don't mind being a bit "Lord of the Rings" as Autumn eventually sets in, but beyond that...I think I'll be wanting some changes.
A work in progress
It is with some doubt that I place this artwork online, and that doubt is easy to explain. The work does not meet the ideals being imposed on us from all sides. Instead of attractive and strong, I show myself in a raw and honest way. Although I thought I stood above this, it turns out to be an insurmountable thing.
With this preface, I want to explain the title. "Beyond the truth", We show ourselves to the world around us in an impeccable way. We ensure that we look our best, we tell the best anecdotes about our lives. This is the truth that we present to the public eye. But behind this truth, there lies another truth. The less beautiful truth of what we look like when we stay at home all day, how we sometimes feel bad about ourselves for a whole range of reasons. We naturally prefer to keep these things to ourselves, and we would do everything we could to completely erase this truth.
So with these self-portraits I want to go beyond my truth. Show myself in a different way than people usually see me. No polished self-portraits, but raw and honest.
Detail:
Canon EOS 50D
Cokin Gray Graduated Filter
Cokin Sunset Filter & Hoya Polarisere 62mm.
History:
Rohtas Fort, (Qila Rohtas) is an exceptional example of early Muslim military architecture in Central and South Asia, for it was built essentially for military purposes. Following the defeat of the Mughal Emperor Humayun in 1541, Sher Shah Suri built a strong fortified complex at Rohtas, a strategic site about 16 kilometres north-west of the city of Jhelum and 7 km from Dina. It was constructed on a hillock where the tiny Kahan river meets another rainy stream called Parnal Khas and turns east towards Tilla Jogian Range. The fort is about 300 feet above its surroundings. It is 2660 feet (818 meters) above sea level and covers an area of 12.63 acres.
Qila Rohtas is a garrison fort and could hold a force of up to 30,000 men. Due to its location, massive walls, trap gates and 3 Baolis (stepped wells) it could withstand a major siege although it was never besieged.
Most of the fort was built with ashlar stones collected from its surrounding villages such as Tarraki village. Some part of the fort were built with bricks.
The fort is irregular in shape and follows the contours of the hill it was constructed on. The fort is exactly 5.2 km in circumference. A 533 meter long wall divides the citadel (for the Chieftain) from other parts of the fort.
The fortification has 68 bastions (towers) at irregular intervals. Out of the 3 Baolis, one of them is in the citadel and the rest are in the other parts of the fort. One of the Gates (Langar Khani) opens into the citadel and is a trap gate because it is in the direct line of fire of the bastions.
The Khwas Khani gate is an example of double walling. A small enclave on the western side is a citadel within a citadel. It is accessible by only one gate and also had a very fine Baoli which suggests that it was meant for the Chief and his family. In this citadel there is a beautiful Mosque called the Shahi Mosque (Not to be confused with the one in Lahore). There are no palaces in the Fort except for a structure built by Raja Man Singh called the Haveli of Man Singh. It is built on the highest point of the citadel.