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Josef von Storck (cover design)
(Festschrift for the 25-Year Anniversary of the Imperial Royal Austrian Museum of Art and Industry: The Vienna School of Arts and Crafts)
Vienna, 1889
Print: Rudolf von Waldheim
Execution: P. Pollack, enamel: K. Karger, figural part: S. Schwartz
Silver plates, enamel, semi-precious stones, velvet
Josef von Storck (Einbandentwurf)
Festschrift zum 25-jährigen Jubiläum des k.k. Österreichischen Museums. Die Kunstgewerbeschule
Wien, 1889
Druck: Rudolf von Waldheim
Ausführung: P. Pollack, Emailarbeiten: K. Karger
figuraler Teil: S. Schwartz
Silberplatten, Email, Halbedelsteine, Samt
BI 21482/1937, Tausch von trade with Major Anton Widitz-Ward
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.
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.
hello every one , my new photo ( Execution ) i edit this photo with : adobe light room + adobe photo shop , i hope u like it .
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!
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YOUTUBE: www.youtube.com/user/denofimagination
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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/
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.
Albert Black wished witnesses a merry Christmas and prosperous new year as he stood on the scaffold on 5 December 1955.
The 20 year old Irish immigrant had stabbed to death an acquaintance Alan Jacques. Jacques had severely beaten Black not long before and witnesses would say Black was frightened of him.
Jacques was selecting a song for the jukebox in 'Ye Old Barn Café' in Queens St in Auckland when Black stabbed him in the neck. In a climate of moral outrage over supposed youth delinquents the “jukebox murder”, as it was widely known, became a touchstone of all that all that was wrong with society. Albert Black, unskilled, poor and recently arrived from Belfast was the example the hard line moralists had been looking for and he was shown no mercy. Pro death penalty Prime Minister Jack Marshall blocked the attempts of Black’s mother Kathleen to travel from Ireland to visit her son before he was executed. She raised a petition of 12,000 signatures begging for clemency for Albert but it achieved nothing.
Black was led to the gallows where it was reported that he “died game” after delivering his message to those attending his execution. The story has gained new momentum with the publication of Fiona Kidman’s 'This Mortal Boy', a novel which draws heavily on her extensive research into the life and crime of Albert Black. Kidman is convinced he should have been convicted of manslaughter not murder and is campaigning for his sentence to be downgraded.
While this will be too late for Black it will be of comfort to his surviving family, including a daughter who was born several months after his death.
Shown here is the statement of Mount Eden Prison Superintendent Horace Haywood one of the witnesses to Albert Black’s execution.
Archives Reference: J46 1454 COR1955/1253
collections.archives.govt.nz/web/arena/search#/?q=R23847484
More information can be found here:
www.nzherald.co.nz/nz/news/article.cfm?c_id=1&objecti...
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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.
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.
This was the site of a number of executions by firing squad. It is the opposite end of the prison yard from the wall in photo 18.
Kilmainham Gaol is one of the largest unoccupied gaols in Europe, covering some of the most heroic and tragic events in Ireland's emergence as a modern nation from 1780s to the 1920s. Attractions include a major exhibition detailing the political and penal history of the prison and its restoration, though when we visited much of it was closed to visitors because of building works (Sep 2014 to Dec 2015). It is Located 3.5km from the centre of Dublin.
Extract from Wikipedia:
When it was first built in 1796, Kilmainham Gaol was called the 'New Gaol' to distinguish it from the old gaol it was intended to replace - a noisome dungeon, just a few hundred yards from the present site. It was officially called the County of Dublin Gaol, and was originally run by the Grand Jury for County Dublin.
Originally, public hangings took place at the front of the gaol. However, from the 1820s onward very few hangings, public or private, took place at Kilmainham. A small hanging cell was built in the gaol in 1891, on the first floor, between the West and East Wings.
There was no segregation of prisoners; men, women and children were incarcerated up to five in each cell. With only a single candle for light and heat, most of their time was spent in the cold and the dark. The candle had to last the prisoner for two weeks.
Children were sometimes arrested for petty theft, the youngest said to be a seven year-old child, while many of the adult prisoners were transported to Australia.
At Kilmainham the poor conditions in which women prisoners were kept provided the spur for the next stage of development. Remarkably, for an age that prided itself on a protective attitude for the 'weaker sex', the conditions for women prisoners were persistently worse than for men. As early as his 1809 report the Inspector had observed that male prisoners were supplied with iron bedsteads while females 'lay on straw on the flags in the cells and common halls.' Half a century later there was little improvement: the women's section, located in the West Wing, remained overcrowded.
Kilmainham Gaol was decommissioned as a prison by the Irish Free State government in 1924. Seen principally as a site of oppression and suffering, there was at this time no declared interest in its preservation as a monument to the struggle for national independence. The gaol's potential function as a location of national memory was also complicated by the fact that the first four republican prisoners executed by the Free State government during the Irish Civil War were shot in the prison yard.
The Irish Prison Board contemplated reopening it as a prison during the 1920s but all such plans were finally abandoned in 1929. In 1936 the government considered demolition but the cost of this was seen as prohibitive. Republican interest in the site began to develop from the late 1930s, most notably with the proposal by the National Graves Association, a republican organisation, to preserve the site as both a museum and memorial to the 1916 Easter Rising. However, with the advent of the Emergency the proposal was shelved for the duration of the war.
An architectural survey after World War II revealed that the gaol was in a ruinous condition. The Commissioners of Public Works proposed only the prison yard and those cell blocks deemed to be of national importance should be preserved and that the rest of the site should be demolished. This proposal was not acted upon.
From the late 1950s a grassroots movement for the preservation of Kilmainham Gaol began to develop. Lorcan C.G. Leonard, a young engineer, along with a small number of like-minded nationalists, formed the Kilmainham Jail Restoration Society in 1958. A scheme was devised whereby the prison would be restored and a museum built using voluntary labour and donated materials.
By 1962 the symbolically important prison yard where the leaders of the 1916 rising were executed had been cleared of rubble and weeds and the restoration of the Victorian section of the prison was nearing completion. The final restoration of the site was completed in 1971 when the prison chapel was re-opened to the public having been reroofed and refloored and its altar reconstructed.
An art gallery on the top floor exhibits paintings, sculptures and jewelry of prisoners incarcerated in prisons all over contemporary Ireland.
Kilmainham Gaol has aptly been described as the 'Irish Bastille'.
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)
Hermann Herdtle (1848-1926)
Chest for the Imperial Royal Austrian Museum of Art and Industry
Vienna, 1894
Execution: Kölbl and Threm, oil painting by Prof. Rudolf Rössler
Limewood, softwood
Executed for the Imperial Royal Austrian Museum of Art and Industry, at the expense of the Hoftiteltaxfonds endowwnment
Hermann Herdtle (1848-1926)
Truhe für das k. k. Österreichische Museum für Kunst und Industrie
Wien, 1894
Ausführung: Kölbl und Threm, Ölgemälde von Prof. Rudolf Rössler
Lindenholz, Weichholz
H 854/1895, ausgeführt für das k. k. Österreichische Museum für Kunst und Industrie, zu Kosten des Hoftiteltaxfonds
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.
Ticket To The Execution of Victor Forunier & Edward LaBelle YUKON TERRITORY, CANADA 1903.
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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.
Konrad Vorlauf Bürgermeister von Wien und die Ratsherren Hanns Rock und Konrad Ramppersdorfer wurden Mitwoch den 11. Juli 1408 auf diesem Platze enthauptet. Sie fielen als Opfer ihrer Pflichttreue im Widerstande gegen ungerechte Forderungen Herzogs Leopold IV.
Criminal history
Execution on the pig market
In 1408 the mayor of Vienna, Konrad Vorlauf and two councilors were beheaded on the pig market. They had become victims of political conflicts.
Pig market in Vienna, 11 July 1408: Three prominent delinquents are led to the place of execution. Shortly after the heads fall of the bodies of the Mayor of Vienna Konrad Vorlauf and his council colleagues Hans Rock and Konrad Rampersdorfer. The city 's leading politicians were victims of the conflict on the one hand between the Habsburg Dukes Leopold IV. and Ernst on the other between the emerging Viennese craftsmen and the "patricians", the urban landowners - the elite of Vienna.
After the death of the childless Hapsburg Rudolf IV, his younger brothers Albrecht III. and Leopold III. ruled Austria for the time being together. In the partition treaty of Neuberg Mürz 1379 Albrecht got the Austria above and below the Enns (Upper and Lower Austria) and the Salzkammergut (Albertine line); Leopold got the other dominions of the Habsburgs: Styria, Carinthia, Carniola, the Tyrol and the Swabian territories (Leopoldinische line). In 1395 Duke Albrecht III. of Austria died. His son Albrecht IV. and his nephew Wilhelm thereupon agreed to a reciprocal reign in the Habsburg lands and thus in the Duchy of Austria. Vienna they issued 1396 Council Election privilege. It included, among other things, the annual election of the Mayor and Council and the equal representation of the alderman college from among the Erbbürger (patricians), merchants and craftsmen. To the craftsmen was given a third of the council. This marked the end of the dominance of the patricians.
The Viennese craftsmen and citizens council Konrad Vorlauf was a follower of Duke Wilhelm. Vorlauf was a member of that delegation which in 1400 William sent for courtship to Naples. His council colleague Konrad Rampersdorfer had a close relationship with Wilhelm.
When Albrecht IV. died in 1404 , Wilhelm took over the guardianship of the heir Albrecht V., who was then seven years old. Wilhelm died in 1406, whereupon his brothers Leopold IV. and Ernst (" the Iron") argued about the guardianship of Albert V, which was associated with power and income. Finally, the brothers agreed under pressure from the Austrian Estates: Leopold IV. became the sole guardian but he ruined his relations with the established layers so they offered in November 1407 regency in Austria to his brother Ernst. This led to hostilities.
At the same time, the conflict escalated in Vienna between the craftsmen who supported Leopold and the Erbbürger (Civil upper stratum in the Council), which provided the mayor and sympathized with Leopold's brother Ernst.
Beheading on Hohen Markt
On 5 January 1408, Duke Ernst had five craftsmen from the Vienna "common" beheaded on the Hoher Markt (chief market). Nine days concluded the two dukes a truce, Leopold invited the Viennese Council to enter into negotiations, first in Wiener Neustadt (Lower Austria), afterwards in St. Pölten (today the capital of Lower Austria). On the way back from St. Pölten, the delegation of the Vienna Council on 9 April 1408 was ambushed at Gablitz by Ritter Hans Laun and his companions, a councilor was killed; Mayor Konrad Vorlauf, the councilors Hans Rock, Rudolf Angerfelder, Stefan Poll and Friedrich von Dorfen and two other people were in the castles Kogel, Kreuzenstein and Dürnberg incarcerated.
With the assualt Knight Laun wanted money claims against the City of Vienna enforce. The city of Vienna paid 10,000 florins to Laun and Heinrich von Kranichberg for the release of the Council delegation, but was able to deduct the sum from the state tax as Duke Leopold had the delegation members assured safe conduct, but he could not prevent their capture. On 16 June 1408 were released Vorlauf and the other hostages. During the captivity of Vorlauf Konrad Rampersdorfer had kept the mayor's office.
A short time later, the city of Vienna raised a special tax on wine to settle debts. In response, the "public" complained to Duke Leopold and demanded the dismissal of councilors. On 7 July 1408, Duke Leopold had mayor Konrad Vorlauf arrested, as well as the councilors Konrad Rampersdorfer, Hans Rock, Rudolf Angerfelder, Hans Mossbrunner and Hans Stichel the elder and Stefan Schröfel. Although influential personalities intervened for the imprisoned, were Vorlauf, Rock and Rampersdorfer on 11 in July 1408 beheaded, and not on the usual place of execution at the Hoher Markt, but on the pig market, today Lobkowitzplatz. Which was considered a special disgrace. The "common" voted on the same day the craftsman Hans Feldsberger to mayor and some new aldermen. The others arrested were released on payment of a large sum of money, the goods of the three executed confiscated Duke Leopold.
Bruderzwist (fraternal strife)
The execution of the mayor of the largest city in the Habsburg lands and the other two Council members led to a general consternation. The newly elected Council informed the brother of Leopold, Duke Ernst, who was in Graz, that the executions were carried out under the pressure of the "common" and for compelling reasons. In letters dated 27 and 29 July 1408 Ernst demanded an explanation as to the reasons why the executions took place and whether the trial was set correctly. The response is not known.
The Habsburg fraternal quarrel was revived and was only on 13 March 1409 terminated by a ruling of the Hungarian king Sigmund: According to this saying should the Dukes Ernst and Leopold - as guardians of Albrecht V. - Austria govern jointly. Albrecht V. was taken after the outbreak of the plague in the summer of 1410 to Starhemberg Castle, from where at the instigation of the estates to Eggenburg "kidnapped" and on 2 June 1411 by the estates declared "in shape to govern". Leopold IV. then suffered a stroke and died. King Sigmund, now elected Roman-German king sanctioned the coup, the new Duke Albrecht V. confirmed the privileges of Vienna in 1412.
Read and learn...
Konrad Vorlauf, Konrad Rampersberger and Hans Rock were rehabilitated. In 1430 they were exhumed from their graves on the north side of St. Stephen and buried inside the cathedral. "Stay where you are, crying, wailing, sigh O mortal, read and learn .." was in Latin letters on the grave stone of the three executed at Vienna's St. Stephen's Cathedral". See three people buried under a small stone... highly valued, in fact, more excellent than all in this city, known for their work; virtue them has directed to services about the sense of honor, but the wheel of the deceptive Fortuna they with a single act of madness has made to beheaded... " The grave plate was destroyed by bombings in 1945.
Today in Vienna remember street names to the three executed for political reasons; the Vorlaufstraße and the Rockhgasse in the first district and the Ramperstorfferstraße across the Fifth District. On Lobkowitzplatz 3, the execution site is since 1868 a commemorative plaque.
Konrad Vorlauf was not the only mayor of Vienna in the 15th Century which was shamefully executed. The mint master and councillor Wolfgang Holzer was arrested, expelled from the city, he returned to Vienna, and stood in the recent Habsburg 'fraternal quarrel, this time between Frederick III. and Albrecht VI., on the side of Albrecht. The citizens of Vienna supported initially Friedrich, who in 1460 confirmed the privileges of the city, and fended off an attack from Albrecht before the Stubentor. The craftsmen later turned against Friedrich, who demanded the dismissal of Holzer and of the Council and the Viennese defied the emperor and besieged him in his castle. Georg Friedrich of Podiebrad came to the rescue and after a ruling of the Bohemian King Albrecht was appointed to govern Vienna and Austria below the Enns for eight years.
Thereupon Friedrich provided Krems with the staple right (obligation, transit traders offer their goods for a certain time in the city to buy) and affected as a result the trade in Vienna. Wolfgang Holzer was accused of betrayal on Albrecht and he was quartered in 1463, and six co-conspirators were beheaded.
Werner Sabitzer
Wikipedia: Sir Edward Seymour, 1st Baron Beauchamp of Hache and 1st Earl of Hertford, KG (22 May 1539 – 6 April 1621) was the son of Edward Seymour, 1st Duke of Somerset, by his second wife Anne Stanhope.
Following Somerset's disgrace and execution, his son was also created 1st Earl of Hertford in its second creation, the earldom being recreated for him in 1559 by Queen Elizabeth I, but he lost it again shortly afterwards for secretly marrying Lady Catherine Grey, sister of Lady Jane Grey, a potential claimant to Elizabeth's throne, and law established that it was a penal offence for her to marry without notifying the Sovereign. They were married by an anonymous clergyman at Hertford House, Canon Row, before 25 December 1560. The marriage was kept secret until August nearly a year later when Catherine became visibly pregnant and she confided the reason to Lord Robert Dudley. Each was ordered to confinement in the Tower; Catherine was confined immediately, and Seymour imprisoned upon his return. While in custody, they were questioned about every aspect of their marriage, but they both claimed to have forgotten the date.
A commission was begun, headed by Archbishop Parker in February 1562. Under this pressure, Lady Catherine finally declared that they had waited for Elizabeth to quit the capital for Eltham Palace. Servants were questioned, and none of them could remember the exact date either. John Fortescue said it was 'in November'. The priest could not be located, but by consulting the accounts of the Cofferer of the Household the marriage date was decided to be 27 November. His son Edward was declared illegitimate and the father was fined 15,000 pounds in Star Chamber for "seducing a virgin of the blood royal."
Despite all this, the Earl apparently found a way to continue marital relations with his wife in the Tower. In February 1563, Thomas Seymour was born. Lady Catherine died in 1568, and Seymour was finally allowed out of the Tower and allowed to re-appear at court. Officially his sons remained bastards.
His eldest son was Edward Seymour, Viscount Beauchamp (1561–1612) whose son William Seymour, 2nd Duke of Somerset was imprisoned for secretly marrying Arbella Stuart. In fact, Edward, William, and William's elder brother, another Edward, were all, at various times, considered possible matches for Arbella.
In 1582, he married his second wife, Frances Howard. Their union was in secret, and remained a secret for nearly a decade, with Frances serving as a gentlewoman of the Privy Chamber. Hertford attempted to have this marriage set aside in 1595 (hoping to clear his still illegitimate sons' claim to the throne). He was arrested again, and Frances died in 1598.
May 1601, he secretly married once more, to the wealthy widow Frances Prannell, also born Frances Howard, the daughter of Thomas Howard, 1st Viscount Howard of Bindon. The marriage was performed by Thomas Montfort without banns or license, for which Monfort was suspended for three years by Archbishop John Whitgift.
taken with Nokia N73 during international festival of programmes for children and youth - Prix Danube 2007 - that took place in the art museum Danubiana
An increasing number of death penalty is enforced in Indonesia – a crime against the international trend. The number of executions worldwide fell last year to 607, 22 percent fewer than in 2013. At the same time imposed 28 percent more death penalty in the world in 2014 than the year...
www.broadleak.com/2015/04/24/indonesia-breaks-execution-t...
Alfred "Jake" Lingle was a reporter for the Chicago Tribune who liked to mingle with cops and gangsters alike. In June of 1930, Lingle had just walked down these subway steps when he was shot in the head from behind and killed. Despite the conviction of Leo Vincent Brothers for the murder it's probable that he was taking the rap for the real killer. Lingle had made enemies of Al Capone and had threatened Bugs Moran 2 weeks prior over his share of the Sheridan Wave nightclub. The hit could have been ordered by either side of the Beer War.
Located at the southwest corner of Michigan Ave. and Randolph St.
Business Books That Matter is a new Book Club program co-organized by White & Lee and the Software Development Forum (SDForum) and sponsored by Microsoft.
The conversation centered on Execution: The Discipline of Getting Things Done by Larry Bossidy and Ram Charan.
Moderator:
Mark Cameron White
Partner, White & Lee LLP
Panelists:
J. Peter Herz
Former CEO of 3ware, Inc. and Board Chairman, IPextreme, Inc.
Bruce Lichorowic
CEO, Intalio, Inc.
General consensus was that the book was good for large company process execution with a Midwest mentality. But in the Silicon Valley, emphasis is on innovation and practice.