View allAll Photos Tagged bilderrahmen
Time for some analog shots I took recently. This is the second one that had contact with the enemy also referred to as: Light. On undeveloped film. Three photos got completely destroyed, but I was able to restore almost everything of this one when scanning the negative. Now it looks like I added a fancy filter, hahaha. Very artistic!
used my Canon AE-1 with Canon FD 50mm f/1.8
35mm color film | ISO 400
Art Meets Photography !
- portrait of finesse!
EffiARt
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edit here by Aviary
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Scarlett (englisch „scarlet“ = „scharlachrot“)
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Software: - PhotoScape, irfan, photofiltre, & Adobe plugins
My work flow:
better portrait focus, out of focus, fish-eye corrected, eyes refreshed
cadre, framed: with photofiltre my own creation
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what the hell is cadre ?
- i found this:
cadre, cadrage
* Frame, framework, Rahmen, Einrahmung
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Cadrage (von französisch le cadre, der Rahmen), im Englischen Framing.
Die Cadrage ( "gestaltete Bildkomposition" ) setzt die optischen Bildschwerpunkte und entspricht nicht zwangsläufig dem natürlichen Blick:
durch Raumnutzung, Lichtsetzung, Objektivwahl und andere Einflussnahmen können verzerrte Größenverhältnisse oder optische Detailbetonungen erzielt werden.
Das Bildfeld, das vom Bildformat eingeschlossen ist, heißt Kader, der Rahmen des Bildausschnitts Kadrierung.
Le cadrage est un choix artistique : il montre une partie de la scène et en cache une autre.
Framing is an artistic choice: it shows a part of the scene and hides another.
Rahmung ist eine künstlerische Auswahl: Sie betont einen Teil der Szene und verbirgt einen anderen.
cadre:
French, from Italian quadro, from Latin quadrum square
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Französich, vom italienischen quadro, (Bild), lateinisch quadrum (Quadrat).
Einfassung, Rahmen, Bilderrahmen, welcher ein Bild oder Foto umgibt
typische Redewendung:
Je n’aime pas le tableau, mais j’aime le cadre.
I don´t love the picture, but i like the frame.
Ich mag das Gemälde nicht, aber ich mag den Bilderrahmen.
sans cadre - rahmenlos- ohne Rahmung - no frame, no framing
but, aber:
"cadrage argentique"
Silberfotografie , analoge Fotografie, 35 mm film, nicht digital
Das Bild handelt von mir und meinen japanischen Figuren aus Japan Namens Danbo. Aufgenommen hab ich es bei mir zu Hause. Die Tapete ist ursprünglich eine graue Leinwand. Bearbeitet hab ich das alles mit Photoshop. Mein Kopf ist größer, die Gesichtszüge ausgeprägter, die arme dünner, ein Ansatz von einem Bauch und das Danbo Foto ist von mir und wurde in einen Bilderrahmen eingefügt. Diesen Bild-Style hab ich von Schwaighofer -art . Dort erklärt er auch unter anderen, wie man solche comicartigen Bildlooks macht.
The picture is of me and my Japanese figures from Japan Danbo name. I've taken it home with me. The wallpaper is originally a gray Leinwandt. Edited I have all that with Photoshop. My head is larger, the more pronounced facial features, poor thin, an approach of a belly and the Danbo photo is of me and was inserted into a picture frame. This picture style I got from Schwaighofer-art. He also explains, among others, how to make such a comic-like image looks. I´m sorry my english is not very good.;)
Nachtrag für Puzzle-Treffpunkt - ich hatte vergessen, es in der Gruppe zu posten, nachdem ich es gelegt hatte.
Das erste 1500er seit fast einem Jahr!
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Die beiden letzten Partien waren wie erwartet etwas mühsam. Noch die letzten 50 Teile dunkler Hintergrund kosteten mich Nerven. Fast am Schluss musste ich am rechten Rand des Bilderrahmens 2 Teile austauschen.
Das gerahmte Gemälde ist übrigens eines von Jean-Baptiste Camille Corot (1796-1875) aus Paris.
Vermutlich hat LeBron es diesem hier nachempfunden: Souvenir of Mortefontaine - Camille Corot 1864.
Über LeBron:
American artist Sandi Lebron is self-taught, with a desire to paint that began when she was a young child. Today, she is an award winning artist and is part of a talented family with her husband, Robert Lebron, and her son Aaron B. Faulkner, both of whom are also professional and accomplished artists. Lebron has developed her distinctive style from many travels around the world to photograph antique carousels and to visit the great museums of Europe and the United States. Each of Sandi's paintings is a work of art detailing her whimsical and charming prints and posters.
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Hersteller: SunsOut
Nr.: 42026.
Jahr: 2005.
1500 p. (genau genommen sind es 46x33=1518)
Grösse: 84x61 "
Künstlerin: Sandi LeBron
Gekauft neu, November 2006.
Gelegt 1.-3. August, 2017.
723 min. (12 Std. 23 min.)
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Brand: SunsOut
Nr.: 42026.
Year: 2005.
1500 p. (Eaxctly there are 46x33=1518)
Measures: 33x24 "
Artist: Sandi LeBron
Purchased new, November 2006.
Put together August 1-3, 2017.
743 min. (12 h 23 min.)
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teekeek und hina repetto und Shannon Pezzolla haben das als Favoriten hinzugefügt.
Zwischendurch waren es mal 5 Favs, im März 2021 wieder nur noch 4.
Design Modular Frame: Sandra Gullino
Design Carambola: Carmen Sprung
Paper for frame: office paper, 4 rectangels DIN A5
Paper Carambola: different sizes from 20x20cm – 11,5x11,5 cm (Goldfaser Washi, Kraftpapier, Freudenberger papier)
At Prien Arno showed me on the last morning how to fold the Modular Frame of Sandra Guillino!
At home I don’t had all steps on mind… But Doris, my dear origami friend, just uploaded the frame and gave me some hints to fold it by myself. – So many thanks to Arno and Doris!!
This is just a working photo. I am glad finished the frame and I have to admit that I have had some difficulties with the spatial imagination folding it........ :-))
But now, it looks quite good assembled with the wonderful carambolas .
La Luna - Fliege mit mir zum Mond. Stilvolles Poster mit Graphic Art vom Mond. Unglaublich elegant in einem Bilderrahmen, zum Beispiel im Wohnzimmer mit anderen Postern.
Thank you for comments and faves.
© Black Sign Artwork on Facebook | Instagram | Pinterest | Click Here To Order: blacksign.de
Alpina Feine Farben
No. 06 "DÄCHER VON PARIS"
DIE INSPIRATION
Den Blick auf die poetisch anmutenden Pariser Graubraun-Facetten können auch wir hoch über den Dächern der Metropole erleben: vom Eiffelturm aus bis zu 276 Metern Höhe oder vom Tour Montparnasse aus 210 Metern Höhe. Die Farben der Stadt sehen – und sich wie Gott über Frankreich fühlen.
DIE FARBPERSÖNLICHKEIT
Dieser noble Taupe-Ton liebt und lebt eine kultivierte Eleganz, die er poetisch mit einem Touch Romantik interpretiert. Dabei begegnet uns „Dächer von Paris“ stets mit seinem klassischen und würdevollen Stil.
DER RAUMCHARAKTER
Klassische Eleganz mit Gefühl: Diese Nuance verleiht Wohnräumen einen noblen, romantisch anmutenden Chic. Mit Würde kreiert der Ton ein elegantes Raumgefühl, welches von einer vornehmen kultivierten und poetischen Atmosphäre geprägt ist.
DIESER TON IN HARMONISCHER KOMPOSITION
Farbkombinationen aus Anthrazit, Weiß und Silber unterstreichen eine elegante Atmosphäre. Dazu passt ein Materialmix aus kühl und warm: zum Beispiel Schiefer mit Cashmere oder Leder mit Seide. Pastell-Töne sorgen für ein romantisch sanftes Flair.
MEHR INFOS UNTER:
alpina-feine-farben.de/startseite/farbfamilie-detailansic...
Arvo Paert "Tabula Rasa I, II" - youtube .
Leere Wand, bedeckt mit Schnittbogen C Sonderheft Brigitte-Mode Herbst-Winter 1978, leerer Bilderrahmen unter dem Bild.
Diese zehn Minuten im Winter, wenn die Sonne in diese Ecke scheint und alles so aussieht, als ob meine Mami noch leben würde.
Nein, nein, sie kommt nicht mehr zurück. Nie wieder.
Vielleicht im Paradies.
Doch dahin kommt man nicht so einfach.
Du musst schon ein richtig guter Mensch werden. Und du darfst dich vom Hass dieser Tage nicht mitreißen lassen.
langweil am rhein 2014 - canon 5d mkII - 40mm f2.8 pancake - road-devils.cc - rumblersruhrpott.de - Smokin Shutdown Hot Rod Magazine
(for English scroll down)
Tilly Creutzfeldt-Jakob
ALLES MUSS RAUS - Ein Solo für Zwei
"ALLES MUSS RAUS ist ein sehr persönliches, teil biografisches Programm mit Liedern aus verschiedenen Genres, die mich im Laufe des Lebens geprägt haben. In diesem Stück hatte ich die Möglichkeit alle Facetten von Tilly zu zeigen, ob in Fummel oder in Boy Drag." - Tilly Creutzfeldt-Jakob
Regie: Sten Kuth
Incognito Bar & Showpalast - Berlin - 19. Oktober 2019
____________________________________________________
Tilly Creutzfeldt-Jakob
ALLES MUSS RAUS - A Solo for Two
"ALLES MUSS RAUS is a very personal, partly biographical program with songs from different genres that have shaped me over the course of my life. In this piece I had the opportunity to show all facets of Tilly, whether in drag or in boy drag." - Tilly Creutzfeldt-Jakob
Directed by Sten Kuth
Incognito Bar & Showpalast - Berlin - October 19, 2019
Taken in early 1991 using Minolta X-700 and Minolta MD 24-35mm F3.5 zoom.
Scan Kodak Kodachrome 64 slide.
Lübeck, Germany
Meine Ausstellung nimmt immer mehr Form an.
Neben den Drucken erreichte mich gestern auch ein Paket mit den „kleinen“ Bilderrahmen und so kann nun die nächste Stufe beginnen … Das Einrahmen.
Das Hauptwerk, welches ich in 120x80 ausstelle, ist bereits eingerahmt. Alleine der leere Rahmen sah schon beeindruckend aus, jetzt wo ein Bild drin ist, ist es einfach nur WOW ...
Die „kleinen“ 40x60 Werke sind nun als nächstes dran.
Der Galerievertrag steht, es gibt keinen Glasbruch zu vermelden, die Drucke sind „Top“, die Flyer sind auch schon da und für den Aufbau hat sich auch schon Hilfe angekündigt.
Der 2. Dezember kann kommen!
Alle Infos zur Ausstellung: www.facebook.com/events/171583023032144/
Vernissage am 2.12.2013, ab 18.00 Uhr
Galerie Wedding Art
Tegeler Straße 40
13353 Berlin
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Andrea Mantegna
Madonna mit Kind mit den Heiligen Hieronymus und Ludwig von Toulouse
um 1455
Eitempera auf Holz, 69,4 x 44,5 cm
Paris
Musée Jacquemart-André
Inv. MJAP-P2184
Ausstellung
»Mantegna & Bellini – Meister der Renaissance«
Gemäldegalerie der Staatlichen Museen zu Berlin Preußischer Kulturbesitz
1. März – 30. Juni 2019
Album Frankreichfeldzug.
"Eine Pontonbrücke (auch Schiffbrücke oder Schwimmbrücke) besteht aus einer Reihe von auf einem Gewässer schwimmenden Pontons, Schiffen, Booten oder anderen Schwimmkörpern, auf die ein Steg, eine Brückenfahrbahn oder in seltenen Fällen ein Gleis montiert ist." Wikipedia.
Samuel van Hoogstraten (1627-1678), active in Dordrecht, Vienna, Rome, London and The Hague
The inner Castle square in Vienna, 1652
During his two-year stay in Vienna (1651/53), Hoogstraten for emperor Ferdinand III was active. Probably on whose behalf arose the view to the inner Castle square in northwestern direction with the for Rudolf II built Amalienburg. By means of painted as trompe-l'oeil slip of paper with the signature of the artist on the as well simulated black picture frame, Hoogstraten expresses his penchant for the mixture of painting and reality by eye-deceiving effects.
Samuel van Hoogstraten (1627-1678), tätig in Dordrecht, Wien, Rom, London und Den Haag
Der innere Burgplatz in Wien, 1652
Während seines etwa zweijährigen Aufenthalts in Wien (1651/53) war Hoogstraten für Kaiser Ferdinand III. tätig. Vermutlich in dessen Auftrag entstand der Blick auf den inneren Burgplatz in Richtung Nordwesten mit der für Rudolf II. errichteten Amalienburg. Anhand des als Trompe-l'oeil gemalten Zettels mit der Signatur des Malers auf dem ebenfalls fingierten schwarzen Bilderrahmen bekundet Hoogstraten seine Vorliebe für die Vermischung von Malerei und Wirklichkeit durch augentäuschende Effekte.
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 Währinger street/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 of Joseph Semper with 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 subsequently moved to Vienna. From the beginning on, 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, in 1878, the first windows installed, in 1879, the Attica and the balustrade finished, and from 1880 to 1881 the dome and the Tabernacle built. 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.
Dome hall
Entrance (by clicking on 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 needs another two years.
1891, the Court 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 "Estensische Sammlung (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 Court 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 on 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. On 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 German Reich.
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 bring 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. To this end 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 also belon 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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B&N Boutique
◘ Dieses Herzregal hat Bilderrahmen, die
kann gut für deine Fotos sein. Einfach
Ziehen Sie Ihr Bild per Drag & Drop auf ddie Schrift LOVE in der Mitte des Bilderrahmens.
Es besitzt Bücher eine Lampe eine Rose und einige andere Kleinigkeiten.
Überzeugen Sie sich mit dem hier verlinkten Film, über das Regal.
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◘ Es muss nicht entpackt werden, es geht als Ordner in Ihr Inventar.
◘ Das Regal besteht aus 100% Mesh
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Schloss Wilhelmshöhe
Kassel
Schauplatz der obszönen Theaterposse ist eine Apotheke; der Apotheker im Pantalone-Kostüm, unterstützt von einem Narren, bietet zwei jungen Damen in prächtigen Renaissance-Kostümen frische Würste als Medizin an.
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B&N Boutique
◘ Dieses Herzregal hat Bilderrahmen, die
kann gut für deine Fotos sein. Einfach
Ziehen Sie Ihr Bild per Drag & Drop auf ddie Schrift LOVE in der Mitte des Bilderrahmens.
Es besitzt Bücher eine Lampe eine Rose und einige andere Kleinigkeiten.
Überzeugen Sie sich mit dem hier verlinkten Film, über das Regal.
◘ Das Herz Wandregal ist Copy und Modify
◘ Es muss nicht entpackt werden, es geht als Ordner in Ihr Inventar.
◘ Das Regal besteht aus 100% Mesh
Ich danke Ihnen für Ihr Interesse
Gemafreie Musik von musicfox