equalizer photos on Flickr

"Cobra has come to deploy a number of air assets, and G.I.Joe ground forces need to be able to sweep the skies of airborne threats. Enter the Equalizer. Based on the venerable Mauler tank, the Equalizer is armed with a pair of 30 mm autocannons and six SAMs built around a search and tracking radar system. Optimized for short-to-medium range air defense, the Equalizer can track multiple targets, including helicopters, low flying planes, and even missiles, and attack them in order of threat level.

Its 30mm autocannons can also be directed in the direct fire role against ground targets. They are fearsome weapons against any light or medium armored opponent, and their high elevation makes them useful in urban combat and mountain operations. The Equalizer has a crew of three - a driver, commander, and weapons operator."

The G.I.Joe Equalizer www.yojoe.com/vehicles/89/equalizer/ was clearly inspired by Cold War era SPAAGs such as the German Flakpanzer Gepard. I loved the unusually realistic camouflage, and always thought this looked like an absolutely badass toy. The turret on the original seems a little outsize to me, so I redesigned it to be a little smaller, while still keeping the same weapons and radars. My version also has space for the weapons operator to take cover in a "hatches down" position. The hull is simply a recolored rebuild of my Mauler hull, which is a little fragile, but has a nice, low profile. Building new versions of existing vehicles saves a lot on design (R&D) time, and many Joe vehicles were recolored over the years, so I might be doing more of this, including some more personal takes on old designs.

••• Equalizer by Kiem Tang

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•••

The great equalizer by nadja #

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Took a trip up to schiphol airport yesterday. Amsterdams airport, and this is what i found, There are still some flights and travellers and a part of the shops are also still operational. However there are vast swatches of airport that are totally deserted. Like here economy and buisnessclass, we´re all grounded now for the most part.

Sky Sweeper, radar deployed by Magnus-L

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"G.I.Joe fields several multirole armored vehicles that can be relied on to provide close-in air defense - most notably the Equalizer and the Mean Dog, both of which are also ferocious in the ground combat role. Unlike these weapons systems, the Sky Sweeper is a dedicated air defense platform, with limited uses against ground targets.

It carries a radar-guided double 25mm cannon and four short range Surface-to-Air Missiles that are transported horizontally, but typically rotated 90 degrees and launched vertically. But the Sky Sweeper's most potent contribution to air defense comes in the form of a large search radar that it can unfold and rotate in 360 degrees from its roof. This radar gives much longer range warning of air threats, including aircraft and missiles, and the information it collects is effectively used as a force multiplier, to increase the effectiveness of other anti aircraft weapons systems. The Sky sweeper carries basic short range air defense package of its own and it will enhance existing anti-aircraft capabilities of any G.I.Joe vehicles it operates in tandem with."

The Sky Sweeper was released as part of the futuristic themed BattleForce2000, back in 1987, when the 21st Century seemed like far away. BattleForce2000 had various separating and combining features that never worked very well in practice, and many Joe fans consider this subteam to be a bit of an embarrassment. But the basic vehicles had some pretty promising designs and one of the strongest IMO was the Sky Sweeper - a dedicated "anti aircraft tank."

www.yojoe.com/vehicles/87/skysweeper/

I've done away with the separating bunker that becomes part of a larger "Future Fortress" gestalt, and focused on the basic design and function. Between the role and the name of the Sky Sweeper, I wanted to give it the best possible air defense capabilities I could, so I imagined it as a long-range radar carrier. I even considered giving it no weapons at all, but in the end the side missiles and rear turret won out because it is just more fun that way.

equalizer by ImpossibleColor.

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time equalizes itself by kiha581523

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sigma DP2s

Toycamera Standalone XP

blogs.yahoo.co.jp/kiha58_1523/45141276.html

Vintage Hi Fi by Nik Chatou

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Technics SA-5350 receiver and Pioneer SG9800 graphic equalizer

@_electriclotus_ #Equalizer lemon meringue, cream brulee cheesecake is perfectly balanced with candied coconut, sweet Boston cream, and rich banana cream for a smooth and silky vape that is equal parts decadent and delicious.🍰🍋🌴:bana by pandora Blue

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Baby Christmas Tree Farm in the Snow by Pixel Packing Mama ~ 50 Million Views

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I lightened this, gave it an equalization technique, a maximum technique and light sharpening. These trees are where I live. My neighborhood is likely the second largest Christmas Tree Capital of the World, Monroe & Alpine area of Oregon.

The larger brothers and sisters of these trees have already been heading out to other parts of the nation by huge truckloads. Seems early to me, but some people buy their tree right after Thanksgiving.

If you are tempted to criticize the size, resolution or quality of this image ~ please don't ~ I used a Sony Mavica Digital (sub-megapixel) camera, which was State of the Art in 1999 ~ Digital Cameras have since come a long way

(810babychristmastrees&snoweqlmaxresamltshpadj)

(MVC-810 most likely file number)

The *soul* for this photo is it made my soul feel good to see all these adorable baby Christmas Trees, and rather than being harmed by the winter snow, they seemed to be thriving on it.

May 16 2019 One of the most beautiful rainbows I've ever seen, the colors were so very rich, I decided to strip the color from it this particular image I'm just a mystic in accordance as such time proposes a great deal in purpose of one's life. Secon by Andrew Myatt

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DAW 334 by Boy de Haas

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Heroic Fantasy.

Edited by Gerald W. Page and Hank Reinhardt.

DAW Books 1979.

Cover art by Jad (a.k.a. Jose Antonio Domingo).

The Equalizer by Roger Johnson

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The theme for Macro Mondays is Wise Old Sayings. This is an image of the nose of a .44 caliber bullet, which is peeking out of the cylinder of my Colt 1873 SAA revolver, which is the revolver that inspired the following saying:

Be not afraid of any man
No matter what his size,
When trouble threatens, call on me
And I will Equalize.

Here's another saying inspired by Samuel Colt's six guns:
God made men, but Sam Colt made them equal.

Check the first comment below for a photo of the Equalizer that inspired the sayings.

PianoPlayer3 by Jonathan Gilbert

13 2

This is my latest machine, just finished yesterday.

I am calling it The Piano Player. It was made for my father's 75th birthday party which is tomorrow. He taught himself to play piano when I was a kid, and I remember him sitting with his earphones on playing away with no music to hear. I thought it would be fitting for me to make this for him since I am a self taught woodworker.

When the handle is turned, the keys that the fingers rest on move up and down and the corresponding equalizer bars in the back move with them. It is made from Cherry (frame), Maple (keys and mechanical parts), walnut (black keys and finishing dowels), Padauk (equalizer bars), and Yellowheart (hands). The final machine took close to 60 hours to finish, including having to make a custom box to transport it in. That does not include the concept and study models I started with. Dimensions are approx. 22"x16"x10"

I hope to have video edited and ready for upload sometime this coming week, along with a bunch more pictures

Urban Equalizer by Andy Brandl

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© Andy Brandl (2014) // PhotonMix Photography // Andy Brandl @ Getty Images

Don´t redistribute - don´t use on webpages, blogs or any other media without my explicit written permission.

See my "profile" page for my portfolio´s web address and information regarding licensing of this image for personal or commercial use.

ArchesAndAngles - Architectural Photography

Love is in the air! by Ahmed Fathallah

6

Had to equalize to check for some dust spots, but i found the rendering rather pleasant, so i kept it...

New Haven Railroad Parlor Plymouth, built in 1924 to Pullman Parlor plan 3917, is seen in the yard at South Boston, Massachusetts 10-12-1946 by Mike Robbins

8

New Haven Railroad Parlor Plymouth, built in 1924 to Pullman Parlor plan 3917, is seen in the yard at South Boston, Massachusetts 10-12-1946. This car was air conditioned and rode on six wheel straight equalized trucks. The car had 32 parlor chairs and one drawing room. In 1945 the New Haven Railroad purchased this car and leased it back to Pullman, and eventually it received the newer two tone gray paint scheme. The New Haven utilized these heavyweight parlor cars long after the new lightweight parlor cars arrived on the property, but as parlor car usage demand was reduced, some parlor car were converted to coaches.

The name of the photographer that captured this image on film is Col. T.S. Martorano. This photo came from my personal collection.

Copyright Disclaimer under Section 107 of the Copyright Act of 1976, allowance is made for “fair use” for the purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.

May 16 2019 One of the most beautiful rainbows I've ever seen, the colors were so very rich, I decided to strip the color from it this particular image I'm just a mystic in accordance as such time proposes a great deal in purpose of one's life. Secon by Andrew Myatt

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equalize_022_gb62cu1-1_x7_gb0-5x1_horizonfilter_fi_gb0.3_gb0.6_croped by succession

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I tried the Rockstar Editor.. by modd3r86

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I tried to edit a couple of clips and made a sort of short movie, it's not incredible but it's a first attempt at the Rockstar Editor.

And I didn't use the Director Mode, so this was actual gameplay during a random event.

At the restaurant Concorde / 佐久間駿 Susumu Sakuma by silver_night 300b

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Phono equalizer dedicated to crystal cartridge by Mr. Susumu Sakuma

The Equalizer FullMoviE by Maria sharapova unyu

P_L_A_Y~N_O_W_:][[ j.mp/1PNx5JR

]] The Equalizer FullMoviE

What to Expect When You're Expecting __undefined__

Synopsis : In The Equalizer, Denzel Washington plays McCall, a man who believes he has put his mysterious past behind him and dedicated himself to beginning a new, quiet life. But when McCall meets Teri (Chloë Grace Moretz), a young girl under the control of ultra-violent Russian gangsters, he can’t stand idly by – he has to help her. Armed with hidden skills that allow him to serve vengeance against anyone who would brutalize the helpless, McCall comes out of his self-imposed retirement and finds his desire for justice reawakened. If someone has a problem, if the odds are stacked against them, if they have nowhere else to turn, McCall will help. He is The Equalizer.

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For the latest movie, news, trailers & exclusive interviews visit our official website www.starcinema.com.ph

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This IS A such Great Movie. Love it so much.

NO COPYRIGHT INTENDED.

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The Equalizer Full Movie ,The Equalizer Full Movie ,

The Equalizer FullMoviE

The Equalizer fullmovie HD

audiophile_imac by carlosgp1

22 7

This is a great audiophile setup focused in headphone audio. You can see:

- iMac 20"

- ultra-curve pro deq2496 digital equalizer (below iMac)

- Singlepower mpx3 tube headphone amplifier (customized)

- Marantz cd player (below the tube amplifier)

- Aqvox USB D/A MkI DAC (in silver below the cd player)

The iMac is connected to the DAC through an optical cable and amplified in the singlepower. You can see some of the headphones of my collection to the left, a Grado HF-1 (http://en.wikipedia.org/wiki/Grado_Labs) and (half) sennheiser HD650 with setefan audioart equinox cable. Note the cheap blue headphone stands made with plastic mineral water bottles and cd spindles :)

Equalizer quilt top by Lindsay Conner

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Blogged at Lindsay Sews

Henry Hokes self equalizing wheelbarrow by Geoff Nowak

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Henry Hoke was one of South Australia's most prolific yet mainly unknown inventors.. A while ago I found some drawings of one of his inventions and made one as close as I could. The result is well balanced with little weight on the front wheels on handlebars, but as a wheelbarrow it is bloody useless!

Equalizing in the Quantum © by Yusuf Alioğlu

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Equalizing in the Quantum © <---- My blog. Do you want to see?

Youtube: Dream Factory

Photograph by Yusuf Alioglu

A new series. A new dream. A new planet. A new world.

Large Milkweed Bug (Oncopeltus fasciatus, Lygaeidae, Heteroptera, Hemiptera) - adult and nymphs by Marc Kummel

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Trip photos are nice, but today's photos from home are always the best!

Here are an adult Large Milkweed Bug (Oncopeltus fasciatus or kin) on the left, with nymphs on the right. Both are in the family Lygaeidae, order Heteroptera of the Hemiptera. I found them today on Narrow-leaved Milkweed (Asclepias fascicularis) in the Asclepiadaceae plant family. Both photos show the bugs on the narrow seed heads of the plant, with aphid husks on the left and milkweed seed-fluff on the right. I had to do an errand in the valley today, and this was my reward. (Santa Ynez Valley, 2 September 2014)

I have the usual problem after a trip - too many photos! I still have many trip photos and I'm still getting new photos every day. Well, it will equalize soon enough. It's better to have too many than not enough!

Memphis Skyline HDR [Mantiuk Contrast Equalization] by Exothermic

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Memphis skyline in the late afternoon sun viewed from across the Mississippi River.

Does anyone else find it ridiculous that it took around 5 or 6 hours to process these photos? I don't mean the software rendering time was that long, I mean that it took me 5 or 6 hours to play with settings in my software until I got a result I liked.

I uploaded 3 tonemapped versions of this HDR shot. This one looks like a watercolour, and has lots of detail and contrast. The other two look a more realistic, but with less definition. I could not decide which one I liked, I hope you will view all 3 and let me know which one you like the most.

This image is created from 13 exposures and is tonemapped using the Perceptual Framework for Contrast Processing of High Dynamic Range Images by Rafal Mantiuk, Karol Myszkowski, and Hans-Peter Seidel in QTPFSGUI with Contrast Equalization engaged.

Pregamma=0.6

Contrast equalization

Saturation factor=1

See a map depicting how I got to the location where I took this photo.

Some of the tall buildings that can be seen in the skyline.

100 North Main (tallest building in Memphis at 131m (430 ft) & 37 floors)

Morgan Keegan Tower

One Commerce Square (Sun Trust building)

1st Tennessee Bank Building

Sterick Building

99 Tower Place

88 Union Center (Memphis Business Journal Building)

AutoZone Corporate Headquarters

Equalizing in the shallows by Graham Gibson

5

Black Rock Sheraton Shore Dive, Maui

Equalizer by Randy Caldwell

8

The Perturbed Sanctum

This table is waiting for me by Tiigra

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Saiakang, or Bun lane.

"The street is and has always been pedestrian. Initially it was a path from the market on Town Hall Square to the Pühavaimu church, i.e. Holy Spirit. Since long ago on the left side of this short lane there were bakeries and pastry shops. 8 shops were mentioned as early as 1374. Imagine the smell of this narrow street when the doors of shops opened and the trade in bread and pastries began. All shops on the street were the property of the city and were leased. Moreover, the magistrate made sure to swap tenants from time to time. Immediately after entering the street from the square, on the left in the basement of one of the houses there used to be a one of the city prisons. Now it is a very cozy cafe. Naturally, the shops that were located next to the prison door were less readily visited, and the income from the bread and pastry merchants was less. So the magistrate changed tenants of the premises in order to equalize income."

Tallinn, Estonia, 2018

Equalizer <3 by Loli Luli

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Elctrostatic discharge by petros mitropoulos

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"The charged regions within the atmosphere temporarily equalize themselves through a lightning flash, commonly referred to as a strike if it hits an object on the ground."

I guess these lightnings were approximately 5 to 20 kilometres away, giving me a superb view. I was very lucky being there at dusk, safe from the thundercloud, trying to catch the golden light along with this unique and outstanding phenomena. It's a panoramic photo of two images, taken with 30-second exposure time at f22, iso 400.

It's my first attempt to capture lightnings.

"Lightning occurs approximately 40–50 times a second worldwide, resulting in nearly 1.4 billion flashes per year."

Docooler Car Sticker Music Rhythm LED Flash Light Lamp Sound Activated Equalizer (90x25cm) by carsau diousa

via WordPress ift.tt/1MdVWn7

Wien, 1. Bezirk, Burgring, Kunsthistorisches Museum, Museo di Storia dell'Arte, Museo de Historia del Arte de Viena, Musée d'Art Historique de Vienne, Museum of Art History, Muzeum Historii Sztuki w Wiedniu (Burgring/Maria-Theresien-Platz) - Kunstkammer! by Josef Lex (El buen soldado Švejk)

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12 Teller mit Monatsdarstellungen

Limoges, 2. Hälfte 16. Jahrhundert

Kupfer, Email

12 Plates with Depictions of the Months

Limoges, 2nd half 16th c.

Copper, enamel

Chamber of Art Vienna

The Chamber of Art of Vienna is a collection of the Kunsthistorisches Museum (Museum of Art History) in Vienna. It is the portrayal of the art and curiosities chambers of the late Middle Ages, the Renaissance and the Baroque period and it mainly goes back to the earlier collections of the Habsburgs.

Look into the Vienna Chamber of Art

Marble sculpture of the Giulia Albani degli Abati Olivieri by Camillo Rusconi (Rome, 1719 ) in the Chamber of Art of Vienna

Equipment for perspective drawing of Jost Bürgi (Kassel, 1604) in the Chamber of Art of Vienna

Ivory statuette "Apollo and Daphne" by Jakob Auer (Vienna, 1688/90) in the Chamber of Art of Vienna

Collection History

The Chamber of Art of Vienna grew out of several individual collections, which have been collected by various clients. The following collections are the foundation for today's Chamber of Art:

The Chamber of Art and Curiosities of Ferdinand II of Tyrol (1529-1595). It was originally housed at Schloss Ambras near Innsbruck. From this stems the larger part of the surviving pieces from older collections of Emperors Frederick III, Maximilian I and Ferdinand I.

The Kunstkammer of Rudolf II (1552-1612), which was compiled in Prague. Many of the treasures of Rudolph went lost in the Thirty Years War in the sack of the Prague Castle, but this were enriched from the previously to Vienna transported collections with works of the goldsmithing and gem carving art of the time around 1600 as well as to bronzes.

In the 17th century the collections from the Kunstkammer of Archduke Leopold Wilhelm (1614-1662) have been added. He is considered as one of the fathers of today in the Cultural History Museum housed paintings gallery, but also acquired Renaissance bronzes mostly of Italian origin and small sculptures made of stone and wood.

Into the Treasury Chamber in the Swiss Wing of the Vienna Hofburg in the 17th century also came at that time popular works of semi-precious stones, fine works of ivory, rhinoceros horn carvings and miniature-like wax models.

The collection at Ambras Castle in 1806 in front of Napoleon's troops was brought to Vienna in safety, where it initially in the Lower Belvedere Palace kept its independence. Only the under the reign of Emperor Franz Joseph I from 1875 tackled major reform of the imperial collections finally united all the Treasure Chamber collections in the 1891 opened Kunsthistorisches Museum and left only the objects with insignia character and those that are reminiscent of members of the imperial family in the Treasury Chamber.

The newly formed collection found its place on the mezzanine floor of the building and was initially referred to as "collection of art industrial objects". In 1919, it was named "collection for sculpture and arts and crafts". Since this collection but only to a small extent contains large sculptures and objects for a specific purpose of arts and crafts, this name was considered to be inappropriate and in 1990 it was decided to return to the naming of "Kunstkammer".

After the collapse of the monarchy in 1918 the collections of the sideline Austria-Este was affiliated to the Viennese Kunstkammer, in 1921 the Tapisseriensammlung (collection of tapestries) consisting of 800 tapestries was added, which originally had served the design of the imperial palaces. This collection is in addition to the one in possession of the Spanish crown one of the most important of its kind. In 1938 Gustav von Benda with a bequest the collection donated more important works of the Florentine Early Renaissance. The Second World War the art collection survived with very low losses. Only parts of the Tapisseriensammlung, which had to be given as a loan to Berlin and to the the facilities of Goering's hunting lodge Carin Hall, since the end of war are considered to be lost.

Since 1963, all stores of the collection are reunited in the Kunsthistorisches Museum in Vienna. 2002 the structural and technical conditions required the temporary closure of the Kunstkammer. This was followed by a major renovation and expansion of the premises as well as the restructuring and up-to-date presentation of the objects. To the artistically significant exhibits belong gold works like the famous Saliera by Benvenuto Cellini, sculptures such as the Madonna of Krumlov, bronze figures, ivory objects and stone vessels, but also watches, mechanical machines, scientific instruments, gadgets and much more.

After in December 2012 in a public premiere presentation the first room of the museum could be visited, the as one of the most important art collections of the world considered Vienna Chamber of Art on 1 March 2013 was reopened. In the future, on an area of around 2,700 m² more than 2,200 objects can be seen, which are presented in 20 theme rooms.

de.wikipedia.org/wiki/Kunstkammer_Wien

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

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