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Downtown St. John's with the historic Newfoundland Pink White and Green tricolour flying.
The flag along with the Union Jack, appears on the cover of the sheet music for The Ode to Newfoundland, by Sir Cavendish Boyle, published in January, 1902 and adopted as the official anthem of Newfoundland on May 20, 1904.
Photoshop Equalize and Craquelure filters add texture to the image.
The polished prow of a black Egyptian reed ship slowly became a computer headset, as Word swam into vision - the frog jumped off the sliding glass door and into the house where I slept. Parking my other stuff, I took off my straw hat in some strange maneuver to use to flush the little green fellow out of carpeted corners and back to the very wet outside deck. Fall in the Olympian evergreen forests carried by streams of cool water falling on a warm night –little green tree frogs falling with the rain.
Billy knocked and asked me if I was ok – after using the bathroom.
“Wasn’t me,” I said, “I haven’t left the room since you last passed through and I told you about the little frog jumping into the house.“
Billy said “But you shut the door, and I could hear you coughing in there.”
“Nope, I haven’t moved since you were last here.”
Billy looked at the ceiling and played his experience back he said, “Oh - That was Pa in there – he shut the door and was coughing and making sounds in the bathroom.”
“I think we should talk to your dad about hanging around,” I said thinking back on noises from last night and my occasional strange dream of dying with old men.
“If he likes hanging around here then we should let him,” Billy said, all fuzzy head and whiskers, stepping into the black hall dressed head to foot in black. I had given him something that made him my best friend now, as if I weren't already – he came back from walking with Rosie having missed seeing me on the corner. Waving her pink bags at me he said – “You can make it to the corner, you should make it to the next corner.”
But my hands steadily gripped my twin pink and blue aluminium support rods –
“No she won’t need em” I predicted, shaking my unsteady head no to Billy when it would have been funner to accept the offering pink flags. Pink bags I carry with me in my sneaky black purse slapped up tight against my back – you just don’t notice such things mostly.
Me hobbling along on my double canes Rosie raced me back across the neatly trimmed mini-yards of the community, and thinking we were going further she stepped into the street - like she was merely alert and poised for more deer to walk into the clear puddles.
“Let’s go back” I said to Rosie, she studied exactly how I turned which told her everything, then “Go Find Billy!” and she was off, just like we were racing to find him, or it was possible I could win.
Ya never know.
The young women who attend Cullman Middle School recently got the opportunity to learn hardcore, advanced self defense skills from Officer Cindy Rohrscheib of the Cullman Police Department.
Officer Robrscheib is a certified instructor in the Equalizer Self-Defense Program. She has helped train police officers and deputies throughout the Cullman County area. She is now also assisting the general public in safety awareness and women’s self-defense training across all ages groups.
Physical Education Coach Leann Evans has teamed up with Officer Rohrscheib over the last 8 years to provide this Equalizer Self-Defense Training to willing female students at Cullman Middle School. Each year brings the tried and true methods of the Equalizer system along with evolving techniques and amazing nuances designed by Officer Rohrscheib. This year’s new innovation involved escape techniques employed if students are bound by duct tape and/or rope by would-be potential attackers of captors.
This year’s program ran for a full two week session. It was challenging, rigorous and fun!
cullmantoday.com/2016/01/22/cullman-middle-school-girls-l...
Luminance HDR 2.3.1 tonemapping parameters:
Operator: Mantiuk06
Parameters:
Contrast Equalization factor: 0.28
Saturation Factor: 1.1
Detail Factor: 47.9
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PreGamma: 1
Water droplet abstract taken without an external flash. Topaz Equalize filter used to enhance final look
If you have a moment take a look at my newly updated website www.lucyhillphotography.com
The temporary water barriers used during construction are nolonger needed as water is allowes to equalize between the two sides, during the opening of the new fish passageway at the Baxter Grist Mill Dam is an estimated 1.5 million dollar restoration project that features a concrete notched weir fishway for herring, reinforce the dam and improve the fish ladder at Mill Pond on the Mills Creek, in West Yarmouth, MA on Feb. 3, 2020. The progressive pool-weir fishway provides an incremental path for fish to swim between two bodies of water that have different elevations, such as here at a dam. The completion of the passage is just one major milestone in this restoration project.
An approximate $400,000 grant from the U.S. Department of Agriculture (USDA) Natural Resources and Conservation Service (N?RCS) and a majority share from the Community Preservation Act has paid for the project.
The efforts will benefit six habitats. One of the habitats is the Mill Pond, which is the seasonal home of swan pairs. Water levels and construction activities have successfully been underway without disrupting the swans.
The construction will better stabilize the mill, a local tourist attraction. The new spillway will provide better flow through the grist mill. The dam’s earthen embankments will be made more stable with riprap rock and thick sheeting.
Since 1710, the Baxter Mill has been at this location. The dam suffered failures about 60 years ago, with subsequent rebuilds. Local funding will provide the restoration of the mill, which has been inoperative for 40 years.
NRCS has a proud history of supporting America’s farmers, ranchers, and forest landowners. For more than 80 years, we have helped people make investments in their operations and local communities to keep working lands working, boost rural economies, increase the competitiveness of American agriculture, and improve the quality of our air, water, soil, and habitat.
As the USDA’s primary private lands conservation agency, we generate, manage, and share the data, technology, and standards that enable partners and policymakers to make decisions informed by objective, reliable science.
And through one-on-one, personalized advice, we work voluntarily with producers and communities to find the best solutions to meet their unique conservation and business goals. By doing so, we help ensure the health of our natural resources and the long-term sustainability of American agriculture.
Farm Production and Conservation (FPAC) is the Department’s focal point for the nation’s farmers and ranchers and other stewards of private agricultural lands and non-industrial private forest lands. FPAC agencies implement programs designed to mitigate the significant risks of farming through crop insurance services, conservation programs, and technical assistance, and commodity, lending, and disaster programs.
The agencies and services supporting FPAC are Farm Service Agency (FSA), Natural Resources Conservation Service (NRCS), and Risk Management Agency (RMA).
NRCS – NRCS - nrcs.usda.gov/wps/portal/nrcs/site/national/home/
FPAC - Farm Production and Conservation - usda.gov/our-agency/about-usda/mission-areas
USDA - USDA.gov
USDA Photo by Diane B. Petit
Taken during our little trip to New York back in September. I like how the light in the windows look like a stereo equalizer.
U.S. MNT DRAWS WITH MEXICO 2-2 IN FRONT OF 59,066 IN GLENDALE, ARIZ.
Michael Bradley and Chris Wondolowski Score First-Half Goals for USA
GLENDALE, Ariz. (April 2, 2014) - Sporting their new away kits for the first time in 2014, the U.S. Men's National Team players played to a 2-2 draw against longtime rival Mexico in front of 59,066 fans at University of Phoenix Stadium. The USA scored twice in the first half with Michael Bradley scoring the game's opening goal and then assisting Chris Wondolowski's team-leading third goal of the year. The USA increased its unbeaten streak to five games against Mexico (2-0-3 during its current stretch). The U.S. had held Mexico scoreless for 392 straight minutes until Rafael Marquez's 49th-minute goal.
Goal Scoring Rundown:
USA - Michael Bradley (Graham Zusi), 15th minute: Graham Zusi, on the game's first corner kick, delivered a perfect ball from the left side as Michael Bradley separated himself from Mexico defender Jesus Eduardo Zavala at the far right post. Bradley played the ball off a short hop and directed it into the net for his 12th career goal. It also marked the third time that Bradley scored off of a corner kick assist against Mexico. USA 1, MEX 0 (SEE GOAL)
USA - Chris Wondolowski (Michael Bradley), 28th minute: The USA's sharp passing from midfielders Graham Zusi and Clint Dempsey led to an attack from the right side as Tony Beltran crossed from the right flank. Michael Bradley flicked a header to the left side of the box, where Chris Wondolowski snuck behind Mexico's Rogelio Alfredo Chavez with a right-footed toe poke goal. It was Wondolowski's team-leading third goal of 2014 and the ninth goal of his career. USA 2, MEX 0 (SEE GOAL)
MEX - Rafael Marquez (Marco Fabian), 49th minute: Off of Marco Fabian's right-footed corner kick from the left side, Rafael Marquez lost USA center back Omar Gonzalez on the set piece and had an open header from seven yards out, which he promptly placed into the left side of the net for his 15th career goal for Mexico. USA 2, MEX 1
MEX - Alan Pulido (unassisted), 67th minute: Paul Aguilar had the initial attack, with his shot ricocheting off of the left post. Alan Pulido was the quickest to react, converging for the rebound and equalizer. USA 2, MEX 2 (FINAL)
Highlights and Post-Game Comments: All goal scoring, highlights and post-game comments from the team and players will be available at ussoccer.com.
Milestone Watch:
With his 12th career goal, Michael Bradley moved into a tie for 15th on the all-time U.S. MNT list with Frank Klopas and Clint Mathis.
Bradley, who made his first appearance of 2014, earned his 83rd career cap to move into sole possession of 22nd place on the all-time appearances list. Bradley had been tied with Brad Friedel, Eddie Lewis and Eddie Pope who had 82 caps apiece.
Chris Wondolowski's ninth goal puts him in a seven-way tie for 21st in the all-time USA goal scoring record books, matching the following players: Dominic Kinnear, Jovan Kirovski, Alexi Lalas, Peter Millar, Willy Roy and Josh Wolff.
Clint Dempsey made his 103rd career appearance, passing former U.S. MNT goalkeeper Kasey Keller (102 caps from 1990-2007) on the all-time list for 10th place.
With his 155th career cap, Landon Donovan, who entered the match in the 59th minute, is now only nine appearances behind all-time U.S. MNT leader Cobi Jones (164 caps from 1992-2004).
Next on the Schedule:
The U.S. MNT begins its three-game Send-Off Series against Azerbaijan at 7 p.m. PT (10 p.m. ET) on Tuesday, May 27, at Candlestick Park in San Francisco.
Broadcast information: ESPN2, WatchESPN, UniMas and ESPN Deportes Radio
Social: Twitter (@ussoccer); Facebook; Instagram
Tickets
Additional Notes:
The U.S. is now 17-32-14 all-time against Mexico and 12-5-5 since 2000.
The USA is now 2-0-1 all-time at University of Phoenix Stadium and 3-0-2 in Arizona.
With Clint Dempsey wearing the captain's armband, the U.S. is 6-3-2.
Jurgen Klinsmann is now 28-11-8 at the helm of the U.S. MNT.
Klinsmann's lineup Wednesday featured a 4-4-2 formation in front of goalkeeper Nick Rimando. The back line included Michael Parkhurst and Tony Beltran at left and right back, respectively, with Matt Besler and Omar Gonzalez paired at center back. Beltran made his third career appearance, and his first cap since the USA's 4-1 victory against Cuba on July 13, 2013, in the CONCACAF Gold Cup.
The starting diamond midfield included Brad Davis and Graham Zusi on the left and right sides, Kyle Beckerman at holding midfield and Michael Bradley at the top.
At forward, Dempsey and Chris Wondolowski were paired up front to start.
Klinsmann made several changes in the 59th minute, as Julian Green made his anticipated U.S. MNT debut when he entered for Davis. Landon Donovan replaced Zusi and Goodson took over for Besler.
Eddie Johnson made his 63rd career appearance, replacing Wondolowski in the 64th minute.
In the 72nd minute, DeAndre Yedlin earned his second cap when he replaced Beltran, and Maurice Edu entered for Beckerman.
Nick Rimando moved to 10-0-1 in his career, making four saves against Mexico.
-U.S. Men's National Team Match Report-
Please note: The below statistical information is subject to change and should not be seen as the official report. Final statistics will be posted at ussoccer.com, and the Budweiser Man of the Match will also be named.
Match: U.S. Men's National Team vs. Mexico
Date: April 2, 2014
Competition: International Friendly
Venue: University of Phoenix Stadium; Glendale, Ariz.
Kickoff: 8 p.m. PT
Attendance: 59,066
Weather: 90 degrees, humid
Scoring Summary: 1 2 F
USA 2 0 2
MEX 0 2 2
USA - Michael Bradley (Graham Zusi) 15th minute
USA - Chris Wondolowski (Michael Bradley) 28
MEX - Rafael Marquez (Marco Fabian) 49
MEX - Alan Pulido 67
Lineups:
USA: 1-Nick Rimando; 6-Tony Beltran (2-DeAndre Yedlin, 72), 3-Omar Gonzalez, 5-Matt Besler (21-Clarence Goodson, 59), 15-Michael Parkhurst; 14-Kyle Beckerman (7-Maurice Edu, 72), 19-Graham Zusi (10-Landon Donovan, 59), 11-Brad Davis (9-Julian Green, 59), 4-Michael Bradley; 17-Chris Wondolowski (18-Eddie Johnson, 64), 8-Clint Dempsey (capt.)
Substitutions Not Used: 12-Sean Johnson, 16-Luis Gil, 22-Bill Hamid
Head coach: Jurgen Klinsmann
MEX: 23-Moisés Muñoz (1-Alfredo Talavera, 46); 28-Rogelio Chávez (22-Paúl Aguilar, 63), 6-Juan Carlos Valenzuela, 4-Rafael Márquez (capt.), 2-Francisco Javier Rodríguez; 27-Carlos Peña (9-Raúl Jiménez, 46), 17-Jesús Zavala, 7-Miguel Layun (16-Miguel Ángel Ponce, 68); 11-Alán Pulido, 18-Isaac Brizuela (10-Luis Montes, 57), 8-Marco Fabián
Substitutions Not Used: 5-Enrique Pérez, 26-Juan Carlos Medina
Head coach: Miguel Herrera
Stats Summary: USA / MEX
Shots: 9 / 13
Shots on Goal: 3 / 6
Saves: 4 / 1
Corner Kicks: 3 / 9
Fouls: 16 / 15
Offside: 3 / 1
Misconduct Summary:
MEX - Miguel Angel Ponce (caution) 76th minute
USA - DeAndre Yedlin (caution) 83
Officials:
Referee: Roberto Moreno (PAN)
Assistant Referee 1: Daniel Williamson (PAN)
Assistant Referee 2: Ricardo Morgan (JAM)
Fourth Official: Jafeth Perea (PAN)
Photography by Barbara Trainor for Get Image Ready.
Bright Pearl Seafood Restaurant - 346 Spadina Avenue [ www.brightpearlseafood.com ]
"Yellow Magic Orchestra is the first album by Japanese electropop band Yellow Magic Orchestra. Originally released in Japan in 1978, the album was re-released in the United States the following year with new cover art, a more American-friendly mixing (highlighting a punchier equalization and the use of reverb) and without the closing track of 'Acrobat'. Both would later be re-issued in 2003 as a double-disc format, with the American version as the first disc.
The album was intended to be a one-off project for producer and bass player Haruomi Hosono and the two session musicians he had hired: drummer Yukihiro Takahashi and keyboard player Ryuichi Sakamoto; the trio were to recreate Martin Denny's hit 'Firecracker', as well as other original compositions, with modern electronics. The project proved highly popular, culminating in a career for the three musicians; one that would last until 1983, before successful solo careers and reunions over the decades to come.
Both 'Computer Game' tracks proper contain the same audio and were made to sound as if both games were being played in the same room; each track being from the perspective of its titular game unit - Circus and Space Invaders. Circus and several other arcade video games were featured in the promotional film for Tong Poo.
The album was first released in Japan in 1978. It was released in the US on 30 May 1979 by A&M Records on the Horizon label with a new mix by Al Schmitt, new cover art and a slightly different track listing. This 'US version' was subsequently released in Japan on 25 July 1979 by Alfa. Promotional A&M copies were pressed on yellow vinyl.
'Firecracker' was released as a single under the name 'Computer Game'. As such, on early US pressings of the album, 'Computer Game 'Theme from The Circus'' and 'Firecracker' were combined as one track, while the firecracker sound effect at the end of the track was indexed by itself as 'Firecracker'. This was corrected on later pressings." en.wikipedia.org/wiki/Yellow_Magic_Orchestra_(Japan_Mix)
*****
"Martin Denny was an American piano-player and composer best known as the 'father of exotica.' In a long career that saw him performing well into his 80s, he toured the world popularizing his brand of lounge music which included exotic percussion, imaginative rearrangements of popular songs, and original songs that celebrated Tiki culture.
His combo spawned two successful offshoots: Julius Wechter (of Baja Marimba Band fame) and exotica vibist Arthur Lyman.
Denny was born in New York, and raised in Los Angeles, California. He studied classical piano and at a young age toured South America for four-and-a-half years with the Don Dean Orchestra. This tour began Denny's fascination with Latin rhythms. Denny collected a large number of ethnic instruments from all over the world, which he used to spice up his stage performances.
After serving in the United States Army Air Forces in World War II, Denny returned to Los Angeles where he studied piano and composition under Dr. Wesley La Violette and orchestration under Arthur Lange at the Los Angeles Conservatory of Music. He also studied at the University of Southern California.
In January 1954, Don the Beachcomber brought Denny to Honolulu, Hawaii for a two-week engagement. He stayed to form his own combo in 1955, performing under contract at the Shell Bar in the Hawaiian Village on Oahu and soon signing to Liberty Records. The original combo consisted of Augie Colon on percussion and birdcalls, Arthur Lyman on vibes, John Kramer on string bass, and Denny on piano. Lyman soon left to form his own group and future Herb Alpert sideman and Baja Marimba Band founder Julius Wechter replaced him. Harvey Ragsdale later replaced Kramer.
Denny described the music his combo plays as 'window dressing, a background'. It is the perfect complement to the exotic setting of Hawaii. 'A lot of what I'm doing', he stated in Incredibly Strange Music Volume 1, 'is just window dressing familiar tunes. I can take a tune like 'Flamingo' and give it a tropical feel, in my style. In my arrangement of a Japanese farewell song, 'Sayonara', I include a Japanese three-stringed instrument, the shamisen. We distinguished each song by a different ethnic instrument, usually on top of a semi-jazz or Latin beat.'
Denny built a collection of strange and exotic instruments with the help of several airline friends. They would bring Denny back these instruments and he would build arrangements around them. His music was a combination of ethnic styles: South Pacific, the Orient and Latin rhythms.
During an engagement at the Shell Bar, Denny discovered what would become his trademark and the birth of 'exotica.' The bar had a very exotic setting: a little pool of water right outside the bandstand, rocks and palm trees growing around, very quiet and relaxed. As the group played at night, Denny became aware of bullfrogs croaking. The croaking blended with the music and when the band stopped, so did the frogs. Denny thought this to be a coincidence, but when he tried the tune again later, the same thing happened. This time, his bandmates began doing all sorts of tropical bird calls as a gag. The band thought it nothing more than a joke. The next day, though, someone approached Denny and asked if he would do the arrangement with the birds and frogs. The more Denny thought about it, the more it made sense. At rehearsal, he had the band do 'Quiet Village' with each doing a bird call spaced apart. Denny did the frog part on a grooved cylinder and the whole thing became incorporated into the arrangement of 'Quiet Village'.
The Exotica album was recorded in December 1956 and released in 1957. In 1958, Dick Clark hosted Denny on American Bandstand. "Quiet Village" reached #2 on Billboard's charts in 1959 with the Exotica album reaching #1. He rode the charts of Cashbox and Variety also. Denny had as many as three or four albums on the charts simultaneously during his career. He also had national hits with 'A Taste of Honey,' 'The Enchanted Sea,' and 'Ebb Tide.'
Denny died in Honolulu on March 2, 2005 at age 93.
Denny's Firecracker is well known in Japan as the number which inspired Haruomi Hosono to establish Yellow Magic Orchestra. According to Hosono, one day in 1978, after a recording, he invited Ryuichi Sakamoto and Yukihiro Takahashi to his house and showed a memo which said 'Cover and arrange Martin Denny's Firecracker into a chunky-electric disco, featuring synthesizers, to sell out four million copies around the world'.
In 1988, 808 State,a pioneering Acid House electronic group from Manchester, England cited Denny as an influence on their hit song 'Pacific State'. In November 2008, Graham Massey from 808 State held a tribute night to Martin Denny amongst other acts in London under the banner of 'Manchester Mondo'.' en.wikipedia.org/wiki/Martin_Denny
An equalized (post-processed) version of an empty basketball court as seen from the observation deck of the Space Needle. If you didn't like this, the original is next.
July 5, 2010. Seattle, Washington. A view from the observation deck of Space Needle.
MB equalizing as she floats down to the deck of this WWII Japanese Shipwreck we were exploring. 40 FSW.
It was goals-a-plenty in this West Lancashire League Premier Match with Lostock taking a 24th minute lead but going in at half time level after a late goal. Lostock regained the lead early in the second with Oxley getting his brace but 2 goals from Whitehaven took them in front. Matty Bulcock fired in an equalizer from distance to level once again. LSG finished the game with 9 players after late dismissals for Wilkinson and Riding.
When we first heard about a T-shirt called the T-Equalizer we half expected to see a garment depicting a moody Mr. T pitying fools. But no, the T-Equalizer gets its name from the fact it has an insanely great graphic equalizer across its chest.
T-Equaliser
Illuminating
But it's not some ironed-on picture of a classic LED equalizer (like the one shown when KITT talked to Michael). No, this particular equalizer is of the electro luminescent variety, and it actually reacts to the music it 'hears'. How? Well a clever little mini battery pack is hidden in a pocket just inside the hem. This powers the gleaming LEDs on the equalizer. Clever, eh?
T-Equaliser
Looking flash
Rendering every other 'look at me' T-shirt utterly obsolete, the T-Equalizer is the ultimate in clubwear. Forget about sweary shock Ts and retro schlock Ts, this eye-catching shirt is guaranteed to mesmerize fellow clubbers and pubbers as it illuminates and moves in time to the music.
We've noticed that the T-Equalizer goes mad to that 'uncha-uncha-uncha' cacophony favored by club-goers, but it also seems to like metal and the (cranked up) theme to Fraizer. The darker the venue and the louder the music, the better.
Even if you're not into music or going out, the T-Equalizer represents a great addition to any wardrobe because it's so darned original. Indeed, turn the lights off, breathe heavily and roommates could be forgiven for thinking Darth Vader had just entered the room. Okay, they'd have to be pretty stupid roommates but the fact is this hi-tech T-shirt could be from outer space...if you squint hard enough.
We donned our T-Equalizers for a night out and lost count of the people who asked where we got them. Of course, we said Firebox. And so will everyone else, so get ordering and pump up the volume before it's too late.
MacDill Air Force Base Air Fest 2010.
The business end of an AC-130U Spooky II's General Dynamics GAU-12/U Equalizer five-barrel 25 mm Gatling Gun-style rotary cannon. If that isn't enough to terrify you then you're not capable of being frightened. It's unloaded and I still didn't want to stand in front of it. This cannon fires about sixty-five PGU-38 HEI rounds per second. Per second. Somewhere around four thousand rounds per minute. These rounds weigh about 8 ounces each and they're as long as your hand. And you know...they pierce armor and explode 'n stuff. All while the AC-130 gunship is orbiting way up in the sky somewhere ostensibly minding its own business. If you ever wanted to know what it feels like to be a Jackson Pollock painting this is the tool for the job.
Here's a teaser for next week's iPhone 6 and 6 Plus review in the Sun-Times.
I took the two new iPhones, plus an Olympus E-M1, plus four other phones, out to shoot a series of test photos. With each phone, I just composed the photo and clicked the shutter. With the E-M1 -- figuring that people don't buy a nice camera and just leave it on automatic -- I might have made a quick adjustment or two. Nothing that would have taken me more than a few seconds.
Each is a JPEG straight from the camera. I've scaled them down to 1024x768, both to make an easily-viewable lightbox and to equalize the viewing experience. I've also included a zoomed-in view of each image, to give you a sense of the original JPEGs' clarity and detail.
So you can look at these without prejudices. Which are your favorites? I'll post the "answers" next week.
Luminance HDR 2.0.0 tonemapping parameters:.
Operator: Mantiuk06.
Parameters:.
Contrast Equalization factor: 0.281.
Saturation Factor: 1.1 .
Detail Factor: 48 .
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PreGamma: 1
"Controversy equalizes fools and wise men — and the fools know it."
– Oliver Wendell Holmes, Sr., The Autocrat of the Breakfast-Table (1858), Chapter V.
"Bigger the population, the more minorities. Don't step on the toes of the dog lovers, the cat lovers, doctors, lawyers, merchants, chiefs, Mormons, Baptists, Unitarians, second-generation Chinese, Swedes, Italians, Germans, Texans, Brooklynites, Irishmen, people from Oregon or Mexico. The people in this book, this play, this TV serial are not meant to represent any actual painters, cartographers, mechanics anywhere. The bigger your market, Montag, the less you handle controversy, remember that!... Authors, full of evil thoughts, lock up your typewriters. They did."
– Ray Bradbury, "Fahrenheit 451".
"It is well known that Sorellian Syndicalism, out of which the thought and the political method of Fascism emerged—conceived itself the genuine interpretation of Marxist communism."
– Giovanni Gentile, Che cosa è il fascismo: Discorsi e polemiche , (“What is Fascism?”), Florence: Vallecchi, (1925), Origins and Doctrine of Fascism.
"Avoid using the term generically and without definition, because it is not well-known globally and the term may exist primarily as a public relations device to make its supporters’ actual beliefs less clear and more acceptable to a broader audience. In AP stories discussing what the movement says about itself, the term “alt-right” (quotation marks, hyphen and lowercase) may be used in quotes or modified as in the self-described “alt-right” or so-called alt-right."
– Associated Press Stylebook
Geertgen tot Sint Jans
Around 1460/1465, after 1490, active in Haarlem
Fate of the earthly remains of John the Baptist, after 1484
In the background the separate burial of head and body after the beheading of John the Baptist under Herod; in the foreground the opening of the tomb and burning of the bones on the orders of the emperor Julian the Apostate in the year 362, in the middle distance the retrieval of the rescued remains in the 13th century. This scene is, however, relocated into the late 15th century, the members of the Haarlem St. John Convention having themselves represented in a group portrait - the earliest in the history of painting.
Geertgen tot Sint Jans
Alrededor de 1460/1465, después de 1490, activo en Haarlem
El destino de los restos terrenales de Juan el Bautista, despues de 1484
En el fondo el entierro por separado de la cabeza y el cuerpo después de la decapitación de Juan el Bautista bajo Herodes; en el primer plano la apertura de la tumba y la quema de los huesos por orden del emperador Juliano el Apóstata en el año 362; en el centro, la recuperación de los restos salvados en el siglo 13. Esta escena, sin embargo, se transfiere en los finales del siglo 15, los miembros del convento de Haarlem de los Caballeros de San Juan se haciendo representar en un retrato de grupo - el primero en la historia de la pintura.
Geertgen tot Sint Jans
Um 1460/1465, nach 1490, tätig in Haarlem
Schicksal der irdischen Überreste Johannes des Täufers, nach 1484
Im Hintergrund die getrennte Bestattung von Haupt und Leichnam nach der Enthauptung des Täufers unter Herodes; im Vordergrund die Öffnung des Grabes und Verbrennung der Gebeine auf Befehl Kaiser Julian Apostatas im Jahr 362; im Mittelgrund die Wiederauffindung der geretteten Überreste im 13. Jahrhundert. Diese Szene ist jedoch ins späte 15. Jahrhundert verlegt, wobei sich die Mitglieder des Haarlemer Johanniterkonvents in einem Gruppenporträt - dem frühesten der Malereigeschichte - darstellen ließen.
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
Last year my parents bought a cabin in the Whiteshell Provincial Park (in Manitoba). For the first year we kept our cats separated. In fact my cat never tried being a lake kitty. Last fall my parents lost their cat to cancer and they decided they wanted to adopt an older pair of cats and they picked a pair of ginger tom brothers (from Quagga a local no-kill shelter). They named the boys Dylan and Thomas. This year then became the first year for all three cats. We brought my cat to the lake and this past week the three boys spent their first week together. My tom called Winnie got along with Dylan, but Thomas played the part of Sir Hiss from Walt Disney's Robin Hood most of the week. There was one exception - all three could put aside their differences when they were watching the chipmunks. Here is Dylan on the left, Thomas (Sir Hiss) in the middle and Winnie on the right.
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Anton von Maron (1731-1808), attivo a Firenze, Roma e Vienna
La vedova Maria Teresa, 1773
Maron rappresenta l'imperatrice nel costume da vedova, che portava sempre dal 1765, dopo la morte di Francesco Stefano. Elevato allegoricamente per la personificazione di "pace per la forza", il suo unico ornamento è l'Ordine della Croce stellata. L'unico tocco di colore è il "tappeto Transilvania" ai suoi piedi. Il ritratto si distingue per la mancanza di dispendio decorativo, la sua sobrietà davanti i ritratti cortesi pompose del periodo precedente.
Anton of Maron (1731-1808), active in Florence, Rome and Vienna
Maria Theresia as a widow, 1773
Maron represents the Empress in the costume of a widow which she always bore since the death of Franz Stephan in 1765. Allegorically elevated by the personification of "peace by strength", is her only jewellery the Order of the Starry Cross. The only touch of colour is the "Transylvanian carpet" at her feet. The portrait distinguishes itself by its lack of ornamental effort, its soberness in front of the pompous courtly portraits of the preceding period.
Anton von Maron (1731-1808), tätig in Florenz, Rom und Wien
Maria Theresia als Witwe, 1773
Maron stellt die Kaiserin in Witwentracht vor, die sie seit dem Tod Franz Stephans 1765 immer trug. Allegorisch durch die Personifikation des "Friedens durch Festigkeit" überhöht, ist ihr einziger Schmuck das Kreuz des Sternkreuzordens. Einziger farbiger Akzent ist der "Siebenbürgerteppich" zu ihren Füßen. Das Bildnis unterscheidet sich durch seinen Mangel an dekorativem Aufwand, seine Nüchternheit vor den prunkenden höfischen Porträts der vorangehenden Zeit.
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
Featuring as part of the Toronto International Film Festival (where we’ll be bringing you our review is a matter of days), is the big-screen actioner THE EQUALIZER, which is based on the same-titled cult 1980s series starring Edward Woodward. TRAINING DAY Oscar-winner Denzel Washington reunites ...
Town Showed Great Hart! A gritty comeback from 2 nil down midway through the first was started with a Tom Ince goal just before half time. Ridge came out strong in the 2nd and soon saw an equalizer from captain George Melling before a quick brace from Jay Hart put the game to bed. Town got one more through Richie Allen before AFC got a consolation. A great start to the new league with 3 points.
Steamtown Museum National Park Service # 4810 (former ACL Arsenal Tower) heavyweight Pullman car on display with a 6-wheel straight equalized (top equalized) type 242 truck is seen at Scranton, Pennsylvania, October 1996. This car was a former ACL 8 section, 1 drawing, 3 double bedroom car called Arsenal Tower built by Pullman in 1925. The 6 wheel straight equilzed style truck was an option provided by Pullman on the newer heavyweight built cars, and approximately 25% of their 3,000 car fleet utilized them prior to the streamlined era. The older designs were of the 6 wheel drop equalizer style, with the early ones (2410 & 2411) having individual pedestals and the later ones (2411A & 2426) with the pedestals cast integral as part of the truck frame. The pedestals are part of the truck frame on the straight eqalized style truck, however, they perform the same function on all styles of six wheel trucks to retain the journal bearings. You can observe the conventional clasp style of brakes and brake shoes applied to this truck, of which there is six per side as compared to only 4 on the earlier drop equalized trucks. Also notice that all three journal box lids are of a different design. These trucks also utilize coil springs mounted directly above the journal bearings that are located in a pocket and twin elleptical springs for the two bolsters.
Rockhill Trolley Museum view of traction drop equalized truck with a Fafnir roller journal bearing is seen in the EBT yard at Rockhill Furnace, Pennsylvania, October 1996. This truck is mounted beneath a Liberty Liner (former North Shore - Electro Liner) articulated interurban train set. If you notice the wood beam mounted to the truck, it's for mounting and insulating a third rail shoe when used.
Vintage rack gear in customj hand made Indigo wood rack boxes starting on the left with an Alted 436C tube limiter, then a Federal AM 864u tube limiter then and MXR rack size Flanger, then a DBX 3 band expander mounted with another Federal AM 864u tube limiter. then an original Pultec EQP1 tube Equalizer, then a rack size MXR Digital Delay - the king of early DDLs