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ift.tt/2gupwdO #Medal podium from the 1984 Sarajevo Olympics that was used as execution platform for prisoners during the Siege of Sarajevo by troops from the Army of the Republika Srpska, 1996 [2000x1000] . #history #retro #vintage #dh #HistoryPorn ift.tt/2h6Q5FI via Histolines
Koloman Moser (1868-1918)
Sliding Table for the Dressing Room of the Home of Eisler von Terramare
Vienna, 1902/03
Execution: Caspar Hrazdil (?)
Maple, partially stained dark, solid and veneered; nickel
Koloman Moser (1868-1918)
Schiebetisch für das Toilettezimmer der Wohnung Eisler von Terramare
Wien, 1902/03
Ausführung: Caspar Hrazdil (?)
Ahornholz, z.T. dunkel gebeizt, massiv und furniert; Nickel
H 2630/1981, Schenkung donation Gudrun von Webern
The history of the Austrian Museum of Applied Art/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.
1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.
1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.
1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.
1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director.
1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag concludes his directorate.
1932 / Richard Ernst is new director.
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the directorate of Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.
1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director.
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria
1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.
2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.
2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.
2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /
Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.
2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.
2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein
2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.
2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.
The execution notices for two prominent traitors:
en.wikipedia.org/wiki/John_Amery
en.wikipedia.org/wiki/William_Joyce
On display in the small museum at Wandsworth Prison in London. I was particularly pleased to locate the one for 'Lord Haw Haw' (Willian Joyce).I couldn't believe my eyes when I first saw it a few years ago hanging in the corridor leading to the gents toilet in the pub nearest to the prison. But when I returned to photograph it, it had gone - and the pub had been turned into another soulless gastropub.
According to the warder who runs the museum it had been offered to someone who then passed it to the museum. It was clearly stolen, but doubtless the manager of the gastropub would have had no idea who Lord Haw Haw was and would have cared even less!
Henry van de Velde (1863-1957)
Writing Desk Presented at the XIVth Secession Exhibition, 1900
Brussels, 1898
Execution: unknown
Solid ash; brass
Henry van de Velde (1863-1957)
Schreibtisch, präsentiert auf der XIV. Secessionsausstellung 1900
Brüssel, 1898
Ausführung: unbekannt
Eschenholz: massiv; Messing
H 2039/1954, Widmung zum Andenken an den Präsidenten des Vereines der Museumsfreunde
dedication in memory of the president of the Association of Friends of the Museum, Dr. Felix Freiherr von Oppenheimer
The history of the Austrian Museum of Applied Art/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.
1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.
1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.
1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.
1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director.
1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag concludes his directorate.
1932 / Richard Ernst is new director.
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the directorate of Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.
1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director.
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria
1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.
2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.
2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.
2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /
Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.
2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.
2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein
2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.
2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.
hello every one , my new photo ( Execution ) i edit this photo with : adobe light room + adobe photo shop , i hope u like it .
Two police officers were shot "execution-style" in their car in Brooklyn's Bedford-Stuyvesant neighborhood at around 3 p.m. today. The New York Post reports that both officers have died, as has the shooter.
"The perp came out of the houses, walked up behind the car and lit them up," a high-ranking police official told the New York Daily News.
"It looks like they were shot in the upper body," Deputy Chief Kim Royster told the New York Times. The suspect then fled to the nearby Myrtle-Willoughby subway station where he shot himself in the head. "They were, quite simply, assassinated," police commissioner Bill Bratton said.
Edouard Manet - Execution of emperor Maximilian [1868] - Lithograph - NYC MET, AN 21.48
Who wants to know more about the historical background, why archduke Maximilian of Hapsburg entered in the Mexican adventure may read the following article:
www.holocaustianity.com/hysteria/maximilian.html
More about the history of Manet's paintings:
1) en.wikipedia.org/wiki/The_Execution_of_Emperor_Maximilian
2) www.moma.org/interactives/exhibitions/2006/Manet/
or
www.moma.org/interactives/exhibitions/2006/Manet/detail_f...
On August 15th, 2004 a 16-year-old girl was hanged in a public square in Neka, Iran, a small industrial town by the Caspian Sea. Her death ... all » sentence was for crimes against chastity. Her name was Atefah Sahaaleh. The only evidence against Atefah was her own forced confession.
Atefah railed against her judge in court for its unfairness, but this was her undoing. Judge Haji Rezai, who was also the local mullah, prosecutor and head of the city administration, personally obtained permission from Iran's Supreme Court to execute her, and put the noose around her neck himself before she was hoisted on a crane jib arm to her death.
Using undercover footage, eyewitness accounts and drama recontruction, this film tells an unforgettable story of the life and tragic death of an ordinary teenage girl under Iran's mullahs.
El campo de concentración de Auschwitz-Birkenau (en alemán Konzentrationslager Auschwitz-Birkenau escuchar (?·i). Se trata de nombres traducidos al alemán de los originales en polaco Oświęcim [ɔɕvʲ 'ɛnʦim] y Brzezinka [bʐɛˈʑinka], localidades junto a las que se construyó el campo). Fue un complejo formado por diversos campos de concentración, de experimentación médica1 y de exterminio en masa de prisioneros, construido por el régimen de la Alemania nazi tras la invasión de Polonia de 1939, exactamente el 1 de septiembre, al principio de la Segunda Guerra Mundial.
Situado a unos 43 km al oeste de Cracovia, fue el mayor centro de exterminio de la historia del nazismo, donde se calcula que fueron asesinados entre 1,5 millones y 2,5 millones de personas, la gran mayoría de ellas judías, además de eslavos, prisioneros de guerra, etc,1 y también otro medio millón por hambre y enfermedades.1
En la puerta de entrada a uno de los diversos campos que componían el complejo (Auschwitz I) se puede leer el lema en alemán Arbeit macht frei (el trabajo hace libre), donde se puede apreciar el detalle de la "B" de "ARBEIT" puesta boca abajo como muestra de protesta hecha por la persona que fabricó dicho cartel (muy probablemente alguno de los prisioneros),[cita requerida] con el que recibían a los deportados las fuerzas de las SS que estaban a cargo del centro durante su periodo de funcionamiento, desde su apertura en mayo de 1940 hasta el 27 de enero de 1945, cuando fue liberado por el ejército soviético.
Bajo la supervisión de Heinrich Himmler, estuvo dirigido por el oficial de las SS Obersturmbannführer Rudolf Höss hasta el verano de 1943, siendo reemplazado por Arthur Liebehenschel y Richard Baer. Höss, capturado por los aliados, daría testimonio en los Procesos de Núremberg antes de que lo procesaran y condenaran a muerte por ahorcamiento en 1947 delante del crematorio de Auschwitz I. Liebehenschel fue también juzgado por un tribunal polaco y ejecutado en 1948. Baer logró evadirse y vivir bajo una identidad falsa en Hamburgo, hasta que fue reconocido y arrestado. Se suicidó en la prisión poco antes de iniciarse su proceso en 1963.
Como es uno de los lugares de mayor simbolismo del Holocausto o Shoah, la Unesco lo declaró Patrimonio de la Humanidad en 1979.
Auschwitz I fue el centro administrativo de todo el complejo. Fue fundado el 20 de mayo de 1940, a partir de barracas de ladrillo del ejército polaco. Los primeros prisioneros del campo fueron 728 prisioneros políticos polacos de Tarnów. El campo fue utilizado inicialmente para internar miembros de la resistencia e intelectuales polacos; más adelante llevaron allí también prisioneros de guerra soviéticos, prisioneros comunes alemanes, elementos antisociales y homosexuales. Desde el primer momento llegaron asimismo prisioneros judíos. El campo albergaba generalmente entre 13.000 y 16.000 prisioneros, alcanzando la cifra de 20.000 en 1942.
La entrada de Auschwitz I tenía las palabras Arbeit macht frei, "el trabajo hace libre". Los prisioneros del campo salían a trabajar durante el día para las construcciones o el campo, con música de marcha tocada por una orquesta. Dicha inscripción fue robada por cinco desconocidos el viernes 18 de diciembre de 2009 y recuperada por la policía apenas cuatro días después.2
Las SS generalmente seleccionaban prisioneros, llamados kapos, para supervisar al resto. Todos los prisioneros del campo realizaban trabajos, y excepto en las fábricas de armas, el domingo se reservaba para limpieza, duchas, y no se asignaba trabajo. Las durísimas condiciones de trabajo, unidas a la desnutrición y poca higiene, hacían que la tasa de mortalidad entre los prisioneros fuera muy grande.
El bloque 11 de Auschwitz I era «la prisión dentro de la prisión»; allí se aplicaban los castigos. Algunos de ellos consistían en encierro por varios días en una celda demasiado pequeña para sentarse, existen 4 celdas de un metro cuadrado las cuales llegaban a ser ocupadas hasta por cinco prisioneros a la vez. Otros eran ejecutados, colgados o dejados morir de hambre.
En septiembre de 1941, las SS realizaron en el bloque 11 las pruebas del gas Zyklon B en las que murieron 850 prisioneros polacos y rusos. Las pruebas fueron consideradas exitosas y en consecuencia se construyeron una cámara de gas y un crematorio. Esta cámara de gas fue utilizada entre 1941 y 1942, para luego ser convertida en un refugio antiaéreo.
La primera mujer llegó al campo el 26 de marzo de 1942. Entre abril de 1943 y mayo de 1944 se llevaron a cabo experimentos de esterilización sobre mujeres judías en el bloque 10 de Auschwitz I. El objetivo era desarrollar un método sencillo que funcionara con una simple inyección para ser utilizado con la población esclava. El Dr. Josef Mengele experimentó con gemelos en este mismo complejo. Cuando un prisionero no se recobraba rápidamente, solía ser ejecutado aplicándole una inyección letal de fenol.
El campo burdel se creó el verano de 1943 por órdenes de Himmler. Estaba ubicado en el bloque 29, llamado Frauenblock, y se utilizaba para premiar a prisioneros privilegiados. Los guardias seleccionaban prisioneras polacas para este campo, pero podían aceptar «voluntarias» atraídas por las mejores condiciones alimentarias.
uschwitz" and "Auschwitz-Birkenau" redirect here. For the town, see Oświęcim. Distinguish from Austerlitz. Or see Auschwitz (disambiguation)
Auschwitz
German Nazi Concentration and Extermination camp (1940-1945).
The main entrance to Auschwitz-Birkenau extermination camp
Location of Auschwitz in contemporary Poland
Coordinates50°02′09″N 19°10′42″ECoordinates: 50°02′09″N 19°10′42″E
Other namesBirkenau
LocationAuschwitz, Nazi Germany
Operated bythe Nazi Schutzstaffel (SS), the NKVD (after World War II)
Original useArmy barracks
OperationalMay 1940 – January 1945
Inmatesmainly Jews, Poles, Roma, Soviet soldiers
Killed1.1 million (estimated)
Liberated bySoviet Union, January 27, 1945
Notable inmatesViktor Frankl, Primo Levi, Witold Pilecki, Rudolf Vrba, Elie Wiesel, Maximillian Kolbe
Notable booksIf This Is a Man, Night, Man's Search for Meaning
WebsiteAuschwitz-Birkenau State Museum
Auschwitz concentration camp (German: Konzentrationslager Auschwitz [ˈaʊʃvɪts] ( listen)) was a network of concentration and extermination camps built and operated by the Third Reich in Polish areas annexed by Nazi Germany during World War II. It was the largest of the Nazi concentration camps, consisting of Auschwitz I (the Stammlager or base camp); Auschwitz II–Birkenau (the Vernichtungslager or extermination camp); Auschwitz III–Monowitz, also known as Buna–Monowitz (a labor camp); and 45 satellite camps.[1]
Auschwitz had for a long time been a German name for Oświęcim, the town by and around which the camps were located; the name "Auschwitz" was made the official name again by the Nazis after they invaded Poland in September 1939. Birkenau, the German translation of Brzezinka ("birch forest"), referred originally to a small Polish village that was destroyed by the Nazis to make way for the camp.
Auschwitz II–Birkenau was designated by Reichsführer-SS Heinrich Himmler, the Third Reich's Minister of the Interior, as the place of the "final solution of the Jewish question in Europe". From early 1942 until late 1944, transport trains delivered Jews to the camp's gas chambers from all over German-occupied Europe.[2] The camp's first commandant, Rudolf Höss, testified after the war at the Nuremberg Trials that up to three million people had died there (2.5 million gassed, and 500,000 from disease and starvation).[3] Today the accepted figure is 1.3 million, around 90 percent of them Jewish.[4][5] Others deported to Auschwitz included 150,000 Poles, 23,000 Roma and Sinti, 15,000 Soviet prisoners of war, some 400 Jehovah's Witnesses and tens of thousands of people of diverse nationalities.[6][7] Those not killed in the gas chambers died of starvation, forced labor, infectious diseases, individual executions, and medical experiments.[8]
On January 27, 1945, Auschwitz was liberated by Soviet troops, a day commemorated around the world as International Holocaust Remembrance Day. In 1947, Poland founded a museum on the site of Auschwitz I and II, which by 2010 had seen 29 million visitors—1,300,000 annually—pass through the iron gates crowned with the infamous motto, Arbeit macht frei ("work makes [you] free").[3]
Auschwitz I
Auschwitz I entrance
50.027606°N 19.203088°E
Map of Auschwitz I, shows Polish Tobacco Monopoly building; 1940
Auschwitz I was the original camp, serving as the administrative center for the whole complex. The site for the camp (16 one-story buildings) had earlier served as Austrian army and later Polish army artillery barracks. It was first suggested as a site for a concentration camp for Polish prisoners by SS-Oberführer Arpad Wigand, an aide to Higher SS and Police Leader for Silesia, Erich von dem Bach-Zelewski. Bach-Zelewski had been searching for a site to house prisoners in the Silesia region as the local prisons were filled to capacity. Richard Glücks, head of the Concentration Camps Inspectorate, sent former Sachsenhausen concentration camp commandant, Walter Eisfeld, to inspect the site. Glücks informed SS- Reichsführer Heinrich Himmler that a camp would be built on the site on February 21, 1940.[10] Rudolf Höss would oversee the development of the camp and serve as the first commandant, SS-Obersturmführer Josef Kramer was appointed Höss's deputy.[11]
Local residents were evicted, including 1,200 people who lived in shacks around the barracks, creating an empty area of 40 km2, which the Germans called the "interest area of the camp". 300 Jewish residents of Oświęcim were brought in to lay foundations. From 1940 to 1941 17,000 Polish and Jewish residents of the western districts of Oświęcim town, from places adjacent to Auschwitz Concentration Camp, were expelled. Germans ordered also expulsions from the villages of Broszkowice, Babice, Brzezinka, Rajsko, Pławy, Harmęże, Bór, and Budy.[12] The expulsion of Polish civilians was a step towards establishing the Camp Interest Zone, which was set up to isolate the camp from the outside world and to carry out business activity to meet the needs of the SS. German and Volksdeutsche settlers moved into some buildings whose Jewish population had been deported to the ghetto.
Main article: First mass transport to Auschwitz concentration camp
The first prisoners (30 German criminal prisoners from the Sachsenhausen camp) arrived in May 1940, intended to act as functionaries within the prison system. The first transport of 728 Polish prisoners, which included 20 Jews, arrived on June 14, 1940 from the prison in Tarnów, Poland. They were interned in the former building of the Polish Tobacco Monopoly adjacent to the site, until the camp was ready. The inmate population grew quickly, as the camp absorbed Poland's intelligentsia and dissidents, including the Polish underground resistance. By March 1941, 10,900 were imprisoned there, most of them Poles.[11]
The SS selected some prisoners, often German criminals, as specially privileged supervisors of the other inmates (so-called kapos). Although involved in numerous atrocities, only two Kapos were ever prosecuted for their individual behavior; many were deemed to have had little choice but to act as they did.[13] The various classes of prisoners were distinguishable by special marks on their clothes; Jews and Soviet prisoners of war were generally treated the worst. All inmates had to work in the associated arms factories, except on Sundays, which were reserved for cleaning and showering. The harsh work requirements, combined with poor nutrition and hygiene, led to high death rates among the prisoners.
Block 11 of Auschwitz was the "prison within the prison", where violators of the numerous rules were punished. Some prisoners were made to spend the nights in "standing cells". These cells were about 1.5 m2 (16 sq ft), and four men would be placed in them; they could do nothing but stand, and were forced during the day to work with the other prisoners. In the basement were located the "starvation cells"; prisoners incarcerated here were given neither food nor water until they were dead.[14]
Block 11
In the basement were the "dark cells"; these cells had only a very tiny window, and a solid door. Prisoners placed in these cells would gradually suffocate as they used up all of the oxygen in the cell; sometimes the SS would light a candle in the cell to use up the oxygen more quickly. Many were subjected to hanging with their hands behind their backs for hours, even days, thus dislocating their shoulder joints.[15]
On September 3, 1941, deputy camp commandant SS-Hauptsturmführer Fritzsch experimented on 600 Russian POWs and 250 Polish inmates by gathering them in the basement of Block 11 and gassing them with Zyklon B, a highly lethal cyanide-based pesticide.[16] This paved the way for the use of Zyklon B as an instrument for extermination at Auschwitz, and a gas chamber and crematorium were constructed by converting a bunker. This gas chamber operated from 1941 to 1942, during which time some 60,000 people were killed therein; it was then converted into an air-raid shelter for the use of the SS. This gas chamber still exists, together with the associated crematorium, which was reconstructed after the war using the original components, which remained on-site.[17][18]
Il campo di concentramento di Auschwitz fu uno dei tre campi principali che formavano il complesso concentrazionario situato nelle vicinanze di Auschwitz (in polacco Oświęcim), in Polonia. Facevano parte del complesso anche il campo di sterminio di Birkenau, situato a Birkenau (in polacco Brzezinka), il campo di lavoro di Monowitz, situato a Monowitz, (in polacco Monowice) ed i restanti 45 sottocampi costruiti durante l'occupazione tedesca della Polonia[1].
Il complesso dei campi di Auschwitz[2] svolse un ruolo fondamentale nei progetti di "soluzione finale del problema ebraico" - eufemismo con il quale i nazisti indicarono lo sterminio degli ebrei (nel campo, tuttavia, trovarono la morte anche molte altre categorie di internati) - divenendo rapidamente il più grande ed efficiente centro di sterminio nazista. Auschwitz, nell'immaginario collettivo, è diventato il simbolo universale del lager.
Dal 1979, ciò che resta di quel luogo è patrimonio dell'umanità dell'UNESCO[3] ed è visitabile dal pubblico.
Auschwitz
Era il Konzentrationslager (campo di concentramento). È stato reso operativo dal 14 giugno 1940 e centro amministrativo dell'intero complesso. Il numero di prigionieri rinchiusi costantemente in questo campo fluttuò tra le 15.000 e le oltre 20.000 unità. Qui furono uccise, nella camera a gas ricavata nell'obitorio del Crematorio N.1, o morirono a causa delle impossibili condizioni di lavoro, di esecuzioni, per percosse, torture, malattie, fame, criminali esperimenti medici, circa 70.000 persone, per lo più intellettuali polacchi e prigionieri di guerra sovietici. Nei sotterranei del Block 11 di Auschwitz, la prigione del campo, il 3 settembre 1941 venne sperimentato per la prima volta dal vicecomandante del campo Karl Fritzsch, per l'uccisione di 850 prigionieri, il gas Zyklon B, normalmente usato come antiparassitario, poi impiegato su vasta scala per il genocidio ebraico.
KZ Auschwitz bezeichnet einen Lagerkomplex, der aus dem größten Vernichtungslager Auschwitz-Birkenau, dem Stammlager sowie dem KZ Auschwitz–Monowitz im damals deutsch besetzten Polen bestand. Diese drei Konzentrationslager wurden von 1940 bis 1945 während der Zeit des Nationalsozialismus bei Kraków (deutsch: Krakau) am Westrand der polnischen Stadt Oświęcim (deutsch: Auschwitz) errichtet. Zu dem Lagerkomplex gehörten auch eine Vielzahl von Neben- oder Außenlagern in der Region. Die europaweit gefangen genommenen Menschen wurden per Bahn in das KZ Auschwitz transportiert. Es handelte sich um die räumlich größte Ansammlung von Konzentrationslagern des Deutschen Reichs, in denen über 1,1 Millionen Menschen ermordet wurden (siehe Opferzahlen der Konzentrationslager Auschwitz). Die Lager wurden am 27. Januar 1945 von der Roten Armee befreit. In der Nachkriegszeit ist "Auschwitz" zu einem Symbol für die Shoa bzw. den Holocaust geworden.
Die noch vorhandenen Teile der drei Konzentrationslager bei Oświęcim sind seit 1947 staatliches polnisches Museum bzw. Gedenkstätte. Seit dem 27. Juni 2007 trägt das Museumsgelände als UNESCO-Weltkulturerbe die Bezeichnung Auschwitz-Birkenau – deutsches nationalsozialistisches Konzentrations- und Vernichtungslager. Damit soll die damalige deutsche Verantwortlichkeit für die in Polen eingerichteten Stätten des Massenmordens auch für die Zukunft verdeutlicht werden.
Das deutsche Stammlager des KZ Auschwitz (oder Auschwitz I), von der SS K.L. Auschwitz genannt, war das erste Konzentrationslager am Ort und diente als Verwaltungszentrum des gesamten Lagerkomplexes (das war die Bedeutung der von der SS benutzten Bezeichnung Stammlager). Die Errichtung dieses ersten Konzentrationslagers war von Reichsführer-SS Heinrich Himmler am 27. März 1940 angeordnet worden. Der erste Häftlingstransport traf am 20. Mai 1940 ein.
Ursprünglich war das Konzentrationslager in einer ehemaligen polnischen Kaserne wegen seiner „günstigen verkehrstechnischen Lage“ als Quarantäne- und Durchgangslager für verhaftete polnische Staatsangehörige aus dem neu gebildeten Oberschlesien geplant worden. Sie sollten als Zwangsarbeiter weiter nach Deutschland verschleppt werden. Die SS übernahm später Reparaturaufträge für die Wehrmacht und vermietete „ihre“ Häftlinge an Privatunternehmen, die sie als Zwangsarbeiter in zahlreichen Nebenlagern und Außenkommandos in der räumlichen Nähe einsetzten. An der Planung war auch der Vorstand der I.G. Farben, beteiligt, der einen geeigneten Standort für die Buna-Produktion mit den dafür erforderlichen Rohstoffen Wasser, Kalk, Salz und Kohle suchte.
Bereits im März 1941 ordnete Himmler eine Vergrößerung des Lagers an. Im Oktober 1941 begann der Bau des Vernichtungslagers Auschwitz II–Birkenau. Auch für dessen Verwaltung war es als „Stammlager“ im organisatorischen Rahmen der SS-internen Verwaltung aller Konzentrationslager durch das Wirtschafts- und Verwaltungshauptamt (WVHA, zuvor die IKL) zuständig.
Den of Imagination - Your Miniature Painting Service
We are a registered studio in Torun, Poland. We have been in line of work since 2008. Our still growing staff of painters and sculptors is ready to work on any project you can imagine!
We are credible, solid and reliable. We work best with large commissions and we guarantee fast service.
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WEBSITE: denofimagination.com/
YOUTUBE: www.youtube.com/user/denofimagination
SHOP: shop.denofimagination.com/
TWITTER: Twitter.com/doiStudio
FLICKER: www.flickr.com/photos/97996892@N07/
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Another 5 young Iranians executed last day in the city of Ahvaz . this is a clear message of the ruling rejim (which late grand ayatollah montazeri told about : " this rejim is not islamic nor a republic." although he died very soon after these words but his braveness told enough.)
The message that rejim is trying to send is not only prove its knowledge of the death of the rejim but it is direct message that they are battling with the god.
We will wait and see what they have got as respond from the almighty god.
Den of Imagination - Your Miniature Painting Service
We are a registered studio in Torun, Poland. We have been in line of work since 2008. Our still growing staff of painters and sculptors is ready to work on any project you can imagine!
We are credible, solid and reliable. We work best with large commissions and we guarantee fast service.
------------------------------------------------------------------------------------------
WEBSITE: denofimagination.com/
YOUTUBE: www.youtube.com/user/denofimagination
SHOP: shop.denofimagination.com/
TWITTER: Twitter.com/doiStudio
FLICKER: www.flickr.com/photos/97996892@N07/
PINTEREST: www.pinterest.com/denstudio/
INSTAGRAM: instagram.com/doiphoto/
Den of Imagination - Your Miniature Painting Service
We are a registered studio in Torun, Poland. We have been in line of work since 2008. Our still growing staff of painters and sculptors is ready to work on any project you can imagine!
We are credible, solid and reliable. We work best with large commissions and we guarantee fast service.
------------------------------------------------------------------------------------------
WEBSITE: denofimagination.com/
YOUTUBE: www.youtube.com/user/denofimagination
SHOP: shop.denofimagination.com/
TWITTER: Twitter.com/doiStudio
FLICKER: www.flickr.com/photos/97996892@N07/
PINTEREST: www.pinterest.com/denstudio/
INSTAGRAM: instagram.com/doiphoto/
Simon was dragged out to the front entrance of the Black Scar Gang's base. Many other gang members stood out there waiting.
I happily say it yet again ... Carl has out down himself in conception and execution.
But his backstory seals the deal, perhaps his best, and reproduced in full:
The Fridges of Toko Ri
Capt. A.M. “Fender” Bender of the 417th Fighter Squadron (VTOL) USAF was deep in thought while sitting on the alert pad at Osan AFB waiting for the call to launch. He glanced around the NVG compatible cockpit of his AV-8X to ensure nothing had changed since his last check about 10 minutes ago. Green monochrome helmet silhouettes in three the other AV-8X cockpits did the same. Outside it was another night of torrential rain mixed with sleet. Sucks to be ground crew tonight but bless their souls as they are ready to fix any last minute snag. Every AV-8X needs to serviceable. We cannot afford to have any broken A/C.
It was a very critical situation right now and the 417th was the only Squadron with the capability of handling the SEBF and SEZ missions on the peninsula. They tried A-10s but they didn’t have the right stuff. Off to his left were the afterburners from a pair F-30 Thunderjet IIs streaking off from 27R into the darkness for their CAP mission.
Before my squadron arrived everything was going very smoothly in Korea. It was supposed to be a low stress posting. Key word is “was”. This was supposed to be the initial field stress test of the AX-8X.
The unification of the two Korea’s was moving slowing but progressing. The slogan was: “One Kimchi, One Korea”.
But all hell broke loose when the damn Canadians and friends showed up about a month ago. Canadian Prime Minister, P. J. Pamplemousse decided that he needed to own the world’s primary supplier of Kimchi to supplement his existing global monopoly of Maple Syrup, Cheese Curds and Hawaiian pizza.
He executed a flawless covert takeover of what was once North Korea under the auspices of the holding simultaneously the World Cup of hockey tournament, Lacrosse tournaments, a cross country ski Loppet, a Curling Bonspiel, and a Pipe and Drum Tattoo in Pyongyang and surrounding areas. This resulted in lots of athletes and musicians over here, soldiers really in disguise, strategically located all over the peninsula.
They cut off / captured the northern Korean peninsula in 5 days. And now they are only 60 klicks north of Seoul and are pushing south at a rate of almost 5 Km per day. I read somewhere this is revenge for the hockey and curling losses during the 2018 Winter Olympics. Sore friggin’ losers. But strangely enough since 2018 they have built 100’s of ice and curling rinks. Now I know why.
They were quickly joined (coincidence or planned?) by other “disgruntled” countries. Now I have to fight them all: the Welsh, Irish, Swedish, Finish, Danish, and Scottish armies. By the way no one picked up on a Pipe and Drum Tattoo taking place in Korea? That should have set off alarm bells in every G-2 office. Idiots.
How do you fight and win against Hockey pucks, Lacrosse balls, Curling Rocks, Cross Country skis, Reindeer, Leprechauns and Haggis? What a strange bunch of bed fellows. But they are great fighters.
Now here’s where the AV-8X comes in. Remember those innocent looking Canadian beer fridges that appeared in 2014 at the Sochi Olympics that read your passport and gave you a beer? Well now they are the bane of our existence. Our job is to take out beer fridges and Zambonis. Yup. You heard me right. A beer fridge and a Zamboni are our primary targets.
The Intel types have identified and classified 5 types of fridges:
• Decoy. Filled with light American beer (adding insult to injury)
• Anti-Aircraft. They can hold up 4 SAMs.
• IEBFs (Improvised Exploding Beer Fridges). Filled with C-4 along with hockey pucks, Indian rubber balls or curling rocks.
• Passive Sensor array
• Active ECM
The IEBF may contain hockey pucks, or lacrosse Indian rubber balls or curling rocks. The pucks and rubber balls have a core made from depleted uranium. Where have I seen that before? No wonder Canada was ever worried about the disposal of their used uranium fuel bundles. The real nasty IBEFs have curling rocks. And yes Canada has no shortage of granite. Canadian Shield anyone.
And you do not want to be in FRAP when hit by a barrage of curling rocks traveling at just under the speed of sound. Our MRAPs have been modified to become FRAPs – Fridge Resistant Ambush Protection. The troops called them the Frappuccino.
And the the Zamboni’s look innocent enough but they are heavily armoured and capable of speeds up 80 Kph. We have yet to capture one in less than 1,000,000 pieces as they self-destruct when they know they are about to be taken hostage.
The boffins suspect the Zamboni’s are self-aware AI units which communicate via a yet-to-be-broken neural communication network and are here primarily to control and organize the fridges.
And to add insult to injury the Canadians also engaged in an unfair cyber warfare hijacking the major music streaming services such as Apple Music, Spotify, Deezer, Stingray, Google etc. All we can get now is Enya, Celina Dione, Anne Murray, Stompin’ Tom Connors, Walter Ostanek, Bagpipes, ABBA, Nickle Back, and Paul Anka. My playlist really sucks.
Do you know how hard it is to take out a fridge or a speeding Zamboni while travelling at 500 Kts and 500 Ft? And we still don’t know how many they are: 10,000, 100,000? And they don’t stop shooting at us.
But given the unique capabilities of the AV-8X, it was a no brainer that the SEBF (Suppression of Enemy Beer Fridges) and SEZ (Suppression of Enemy Zambonis) missions were ours.
The AV-8X is a strange but a very useful aircraft for the missions we have to complete. In the early 2020s there were rumours of Harriers flying around Area 51. Why would a 1960s vintage chunker of an aircraft be flown in Area 51? Well now we know. They were testing the “X” tail. The X tail in conjunction with VIFFing gave the Harrier a new purpose: dodging SAMs and surviving.
Harrier VIFFing “Vectoring in Forward Flight" was used to great effect in the Falklands War. The Harrier is able to rotate its engine nozzles at any speed & power setting, making radically tight, controlled turns. In a dogfight, this can be used to out-turn an opponent despite the Harrier's relatively high wing loading. Now they added an “X” tail which along with a higher thrust Pegasus engine and state-of-the-art flight computers allows the Harrier the ability to avoid SAMs given sufficient warning. When the stick actuator (IE me the pilot) changes the nozzle position and moves the stick, the flight computer will move the four elevators in such a manner that you almost get a 90̊ turn. Of course you almost black out but hey that’s better than ejecting if you ask me.
So when a fridge tries to shoot you down you now have a chance to fight back. Take that Molson Canadian!
Okay. That’s enough Fender. You’re wandering off again. Now back to the business at hand of blowing up fridges and Zamboni’s. Icebox is our flight call sign. I am Icebox-2 for tonight’s mission. Also the wingman for the CO, LCol. “Mister“ Freeze. The whole plan was called Operation Humulus Lupulus. We shorten it to “Op Hops”.
Let’s review the attack plan. We are schedule to fly up Fridge Alley. It is almost due north of Seoul. Here is where there is there a major north-south highway but also the highest concentration of fridges.
Primary mission: Locate and destroy all fridges.
Secondary mission: Take out all untouched hockey and curling rinks as they are used as control centres, Zamboni garage and weapons storage. Don’t let the façade of Canadian sportsmanship stop you from creating a big hole in the ground.
Tertiary mission: Locate any Zamboni and notify the ground forces of location for possible capture
And the ROE is if a fridge fires at you, you get to fire back! No questions asked.
I was flying a minimal bomb load tonight: 2x AGM-123 Skipper II short-range laser-guided bomb, 2x AIM-120 AMRAAM and 2x AIM-9J+. Plus two 300 Gal drop tanks. There have been numerous Swedish JAS39 Griffin sightings so to protect our precious AV-8Xs, we carried a robust self-defence load in case they get passed our F-30 CAP. And of course there is the old standby, death by lead poisoning with the 25 mm cannon.
We found the Navy AGM-123s just the right size for a fridge. It is composed of a Mark 83 bomb fitted with a Paveway guidance kit and dual thrust Mk 78 solid propellant rocket that fires upon launch. The rockets adds a lot energy we can go with a smaller bomb. Anything bigger was a waste of Tritonal. If the target was a hockey or curling rink or a Zamboni, GBU-24 Paveway III or a GBU-31 JDAM could be carried.
I had the ground crew stencil each bomb with “Fridge magnet” and with a Canadian flag with a big “X” laid over it. Yup. I hate the Canucks with a passion. They ruined a nice easy posting.
There it is. The green “go” light from the tower. We maintained radio silence so the Zambonis don’t know we are coming. The CO was first out to the runway and I was right behind him. Set to engine nozzles 45°, push throttle to 100% and off we go. Roll for 500’ and positive rate of climb. Gear up. Flaps up. Line up on the slime lights and keep formation.
We flew to 5,000 Ft and headed north. About 5 KM from our IP into Fridge alley we dropped down to 1,000 Ft. Necks were set to full swivel mode.
Nothing from the AWACs. No fighters in the immediate area. Good. Wait! Number 4 picked up a SAM launch. He VIFF’d away from the SAM and did a quick 180° turn and launched an AGM-123 and took out a fridge. No secondary’s but some fireworks. Frig! He hit a decoy fridge. When the decoy senses an incoming bomb, it will try to send up red and white fireworks as a way of saying: “You wasted a bomb!” Smart Asses!
Another SAM! S**T! Pull back and right. The G meter just creeped past 9Gs. Do the squeeze! The G suit was squeezing my legs and abdomen real hard. The irony here is that the G suit was invented by a Canadian, Wilbur Rounding Franks, in 1940. So the Canadians are trying to kill me and save me as the same time. Make up your mind will ya!
The SAM passed by my left side about 100 meters away. My turn. Keep an eye on where it came from. Another SAM launch but not at me. I gotcha now you son of a Sleeman. Line up the pip. Steady. Press the weapons release button. Port AGM-123 away. I pulled up hard and to the right to avoid the light from the rocket and then back to the left to get a visual. There a large flash plus some secondary’s. Got ya you Labatt’s loser. I got a second opportunity but I missed. I think I hit someone’s Hyundai. Oops.
It was all over in 10 minutes. We got two AA fridges, two IEBFs (you know this because after you land you will be picking out pieces of hockey pucks or Indian rubber balls out of your fuselage or wings) and two decoys. Not bad. And it’s cool again to fly a Harrier.
I can now add one more beer fridge silhouette to my fuselage. That’s 4. One more and I’m a Fridge Ace. Off to get a quick shower then over to the officers club and take one beer from our Canadian prisoner of war. Yes we did capture a fridge. Only when you kill a compatriot of his can you take a beer out
When this is all over, I don’t think I will be able look at a fridge the same way. And the Canadians? No more Hawaiian Pizza for me. And the traditional “I’m sorry” won’t cut it this time.
In case you are wondering, our squadron name is the: “Fridged-airs”.
Jessica Charlesworth, Marei Wollersberger
Wandtafel "Citizen Evolution"
Großbritannien, Österreich, 2010
Ausführung: Viennaprint, Wien
Digitaldruck; PVC-Gewebeplane; Holzleiste; Textilschnur
Wallboard "Citizen Evolution"
Great Britain, Austria, 2010
Execution: Viennaprint, Vienna
Digital print; PVC tarpaulin; wooden strip; textile string
The history of the Austrian Museum of Applied Art/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.
1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.
1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.
1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.
1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director.
1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag concludes his directorate.
1932 / Richard Ernst is new director.
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the directorate of Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.
1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director.
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria
1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.
2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.
2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.
2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /
Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.
2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.
2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein
2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.
2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.
An image dating to the mid nineteenth century entitled 'Anne Boleyn's last farewell of her ladies'. Part of my collection of nineteenth century depictions of Anne Boleyn.
Used by the Trujillo regime as one of many tools to torture, terrorize, and control his opposition.. This was one of the many tactis used by the regime, along with improsnment, brutal beatings, and killing of the accused family. Trujillo known for his ruthless tactics in his later years as dictator, used the electrical chair as an object to terrify the public and anyone who goes on his opposition. Trujillo was known for sitting in many of the electrecuations and invited press so that the country would know he is serious buissiness. Trujillo also at time gave punishment similar to this to his own men and his own regime so that any person in the regime would know not to go against him. The dictator showed no mercy. In his early years as ruler of the small Island Trujillo was known as a person who would take the country away from poverty and restore it to economical greatness. His ruthless acts began as soon as the country saw no need for him to be in power and his approval ratings soon went to a downward spiral. His fear of loosing his power sparked murders, rapes, beatings, and various unreasobable inprisonments.
Espaillat, Arturo R.. Trujillo: The Last Caesar. Chicago. IL: H. Regnery Co, 1963.
Picture taken by Otto Piron
for more Information visit en.wikipedia.org/wiki/Rafael_Le%c3%b3nidas_Trujillo
Delhi, commemoration of the Martyrdom of Guru Tegh Bahadur
Guru Tegh Bahadur (1 April 1621 – 24 November 1675), revered as the ninth Nanak, was the ninth of ten Gurus (Prophets) of the Sikh religion. Guru Tegh Bahadur carried forward the light of sanctity and divinity of the first Sikh Guru, Guru Nanak; his spiritual revelations dealing with varied themes such as the nature of God, human attachments, body, mind, sorrow, dignity, service, death and deliverance, are registered in the form of 115 poetic hymns in the sacred text Guru Granth Sahib.
Although a Guru of the Sikhs, Guru Tegh Bahadur was approached by Hindu Pandits from Kashmir in 1675, to seek his intercession against the forced conversions of Hindus to Islam by the Mughal rulers of India. For resisting these forced conversions and for himself refusing to convert to Islam, Guru Teg Bahadur was publicly executed via beheading at the imperial capital Delhi on the orders of the Mughal Emperor Aurangzeb. Along with Guru Teg Bahadur, three other Sikhs, Bhai Mati Das, Bhai Sati Das and Bhai Dayala, were also executed. Owing to this sacrifice, Guru Tegh Bahadur is revered as Hind-di-Chaadar (shield of Hind(India)). Gurudwara Sis Ganj Sahib and Gurdwara Rakab Ganj Sahib in Delhi mark the places of execution and cremation of the Guru's body.
(source: en.wikipedia.org/wiki/Guru_Tegh_Bahadur)
Late 20th century folk art mural, now sadly faded, on a gable end at the junction of Main Street and Chapel Street/Barrack Hill.
The left-hand part of the mural shows Fr Sweeney as prisoner, being driven into town in his own cart on the morning of his execution, on Fair Day, 8 June 1799. The right-hand side of the mural depicts him standing on a low table under the Market Crane or derrick from which he was about to be hanged.
Fr Manus Sweeney was executed by the British roughly a year after the abortive rising by the United Irishmen in 1798. It seems that he, as a Catholic priest who had received part of his religious education at the Irish College in France in the 1780s, supported the aims of the rebels as well as acting as interpreter for officers in General Humbert's small French invasion force. Around 1100 French army regulars had landed at Kilcummin near Killala in late August 1798 and, swelled by local Irish recruits, went on to inflict defeats on the Anglo-Irish forces at Castlebar and Collooney before being routed by a far stronger force at Ballinamuck, Co Longford, less than three weeks later. By late September 1798 the Rising was suppressed throughout Ireland and 'mopping up' operations were underway to round up those who had fought with or supported the rebels.
Fr Sweeney went on the run when the British returned to re-take key rebel towns in Co Mayo; he was not apprehended until May 1799, when betrayal by a former friend appears to have led to his capture on Achill Island. He was put on trial in Castlebar, where testimony from a local landowner and an influential Church of Ireland cleric helped to condemn him on the capital charge of treason during the 'year of the French'.
After his execution, Fr Sweeney's body was supposed to have been taken back to his native Achill for burial. However folk history relates that the horses drawing the cart with his body stopped dead a short distance outside Newport, near Burrishoole Abbey, and refused to go further. The carter decided to stop for the night, and by a strange coincidence a newly dug grave was discovered in the nave of the abandoned abbey. Taking this as a sign that Fr Sweeney was to be honoured with an abbey burial, local people duly interred him there. A memorial was later erected to him on the spot; there are several shots of this on Flickr.
Series of 6 postcards illustrating the death of Edith Cavell during World War 1.
Edith Louisa Cavell (4 December 1865 – 12 October 1915) was a British nurse. She is celebrated for saving the lives of soldiers from both sides without discrimination and in helping some 200 Allied soldiers escape from German-occupied Belgium during the First World War, for which she was arrested. She was subsequently court-martialled, found guilty of treason and sentenced to death. Despite international pressure for mercy, she was shot by a German firing squad. Her execution received worldwide condemnation and extensive press coverage.
Stefan Wewerka
Küchenbaum
Deutschland, 1984
Ausführung: Tecta
Stahl, diverse Materialien
Kitchen Tree
Germany, 1984
Execution: Tecta
Steel, div. materials
The history of the Austrian Museum of Applied Art/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.
1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.
1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.
1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.
1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director.
1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag concludes his directorate.
1932 / Richard Ernst is new director.
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the directorate of Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.
1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director.
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria
1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.
2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.
2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.
2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /
Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.
2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.
2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein
2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.
2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.
Series of 6 postcards illustrating the death of Edith Cavell during World War 1.
Edith Louisa Cavell (4 December 1865 – 12 October 1915) was a British nurse. She is celebrated for saving the lives of soldiers from both sides without discrimination and in helping some 200 Allied soldiers escape from German-occupied Belgium during the First World War, for which she was arrested. She was subsequently court-martialled, found guilty of treason and sentenced to death. Despite international pressure for mercy, she was shot by a German firing squad. Her execution received worldwide condemnation and extensive press coverage.
Ticket To The Execution of Victor Forunier & Edward LaBelle YUKON TERRITORY, CANADA 1903.
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Hergé, de son vrai nom Georges Prosper Remi (né le 22 mai 1907 à Etterbeek et mort le 3 mars 1983 à Woluwe-Saint-Lambert, en Belgique), est un auteur belge de bande dessinée, principalement connu pour Les Aventures de Tintin.
D'abord dessinateur amateur d'une revue scoute, il signe ses planches du pseudonyme « Hergé » à partir de 1924. Quelques mois plus tard, il entre au quotidien Le Vingtième Siècle, dont il devient rapidement l'homme providentiel grâce aux Aventures de Tintin. Celles-ci débutent le 10 janvier 1929 dans un supplément du journal destiné à la jeunesse, Le Petit Vingtième. Importateur de la bande dessinée américaine à bulles, il est souvent considéré comme « le père de la bande dessinée européenne ».
Durant les années 1930, Hergé diversifie son activité artistique (illustrations de journaux, de romans, de cartes et de publicités), tout en poursuivant la bande dessinée. Il crée tour à tour Les Exploits de Quick et Flupke (1930), Popol et Virginie au pays des Lapinos (1934) et enfin Les aventures de Jo, Zette et Jocko (1935). Après l'album les "aventures de Tintin en Russie" où il entraîne son personnage de jeune reporter à affronter les embûches du monde soviétique, il produit "Tintin au Congo" puis "Tintin en Amérique". Ces albums sont en noir et blanc. En 1934, il fait la rencontre de Tchang Tchong-Jen, jeune étudiant chinois venu étudier àl'académie des Beaux-Arts de Bruxelles. Cette rencontre bouleverse la pensée et son style d'Hergé. Il commence à se documenter sérieusement, ce qu'il ne faisait pas jusque là, et créée "le Lotus bleu" toujours en noir et blanc. Après la Seconde Guerre mondiale, le personnage de Tintin lui confère une renommée européenne, puis internationale, bien qu'il ait dû rendre compte d'accusations de collaboration avec l'ennemi pendant l'Occupation allemande pour des dessins jugés parfois racistes, uniquement pour avoir publié dans le journal belge "le Soir", alors contrôlé par l'occupant allemand, ce qui entache sérieusement sa réputation. Il sera cependant remis en selle par un ancien résistant, Raymond Leblanc, devenu éditeur qui lance, en 1946, le journal Tintin dans lequel Hergé crée un de ses meilleurs sujets "le temple du Soleil" qui est colorié au contraire des dessins parus dans "le Soir". C'est une brillante démonstration de la ligne claire, style propre à Hergé qui fera école et qui est déjà représenté, en 1943, par l'apparition der la couleur dans les albums "le Crabe aux pinces d'or", puis "le secret de la Licorne" et "le Crabe aux pînces d'or". Durant les années 1950 et 1960, perfectionniste et visionnaire, Hergé développe cette technique graphique dans le journal Tintin sans oublier de reprendre "Jo et Zette" et, surtout "Quick et Flupke", gamins de Bruxelles qui occupent dans l'imaginaire belge une place comparable à celle qu'ocupent, en France, les Poulbots. Hergé dirige alors un studio où travaillent Bob de Moor et Edgard P.Jacobs. Outre leur apport à l'exécution des aventures de Tintin, ces brillants créateurs continuent à développer leur production personnelle, "Bob et Bobette" pour le premier et les multiples aventures de "Blake et Mortimer" pour le second. Au fur et à mesure des années, des hommages internationaux monteront vers Hergé puis, en 1981, après d'ultimes retrouvailles avec Tchang, qui avait miraculeusement traversé guerres et révolution, il meurt d'une leucémie en 1983. Depuis sa mort, il est considéré comme l'un des plus grands artistes contemporains et a vendu plus de 230 millions d'albums, traduits dans une centaine de langues. Aujourd'hui, l'œuvre d'Hergé est gérée par sa veuve Fanny Rodwell via la société Moulinsart et la Fondation Hergé.
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Georges Prosper Remi (22 May 1907 – 3 March 1983), known by the pen name Hergé, was a Belgian comics writer and artist. His best known and most substantial work is the 23 completed comic books in The Adventures of Tintin series, which he wrote and illustrated from 1929 until his death in 1983, although he was also responsible for other well-known comic book series such as Quick & Flupke (1930–1940) and Jo, Zette and Jocko (1936–1957).
Born into a middle-class family in Etterbeek, Brussels, he took a keen interest in Scouting in early life, something that would prove highly influential on his later work. Initially producing illustrations for Belgian Scouting magazines, in 1927 he began working for the conservative newspaper Le XXe Siècle, where he adopted the pen name "Hergé" [ɛʁʒe], based upon the French pronunciation of "RG", his initials reversed. It was here, in 1929, that he began serialising the first of the Adventures of Tintin, Tintin in the Land of the Soviets.
The notable qualities of the Tintin stories include their vivid humanism, a realistic feel produced by meticulous and wide ranging research, and Hergé's ligne claire drawing style. Adult readers enjoy the many satirical references to the history and politics of the 20th century. The Blue Lotus, for example, was inspired by the Mukden incident that resulted in the Japanese invasion of Manchuria. King Ottokar's Sceptre could be read against the background of Hitler's Anschluss or in the context of the struggle between the Romanian Iron Guard and the King of Romania, Carol II, whereas later albums - for example, The Calculus Affair - depict the Cold War. Hergé has become one of the most famous Belgians worldwide and Tintin is still an international success.
Hergé is a prominent national hero in his native country, to the extent where he has been described as the actual "personification of Belgium". The long-awaited Hergé Museum was opened in Louvain-La-Neuve on 2 June 2009. Designed by Pritzker Prize-winning architect Christian de Portzamparc, the museum reflects Hergé's huge corpus of work which has, until now, been sitting in studios and bank vaults. His work remains a strong influence on comics, particularly in Europe. He was inducted into the Comic Book Hall of Fame in 2003.
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