View allAll Photos Tagged influence
Youtubere støtter Redningsselskapet i forbindelse med Giving Tuesday 2017 - www.ntbinfo.no/pressemelding/youtubere-hjelper-redningsse...
Luca Giordano (1634-1705), active in Naples, Florence and Madrid
St. Michael Vanquishing the Devils, around 1664
When some of the angels rose up against God, the Archangel Michael cast them into the abyss of hell. The distorted faces of the defeated angels (now become devils) crying out in desperation demonstrate the crass realism of the Spanish-Neapolitan court painter Jusepe de Ribera. Ribera's palette, in turn, was influenced by Venetian painting, and this can be seen in the subtle coloration of St. Michael. It is not known for which church the altarpiece was originally intended. In the late 18th century it was taken from Vienna's Minorite Church to the imperial picture gallery.
Luca Giordano (1634-1705), tätig in Neapel, Florenz und Madrid
Der Erzengel Michael stürzt die abtrünnigen Engel, um 1664
Als sich ein Teil der Engel gegen Gott empörte, wurden diese vom Erzengel Michael in den Abgrund der Hölle gestürzt. Die verzweifelt schreienden, verzerrten Gesichter der besiegten Engel - nun zu Teufeln geworden - zeugen vom krassen Realismus des spanisch-neapolitanischen Hofmalers Jusepe de Ribera. Auch in der raffinierten Farbigkeit des Michael ist das Werk von der venezianisch beeinflussten Palette Riberas bestimmt. Das Altarbild, dessen ursprünglicher Bestimmungsort unbekannt ist, wurde im späten 18. Jahrhundert aus der Wiener Minoritenkirche in die kaiserliche Gemäldegalerie gebracht.
Saal VI
Italian Baroque Painting I
Guido Reni and Guercino (Francesco Barbieri) are representatives of the Bolognese School and among Italy's foremost in the 17th century. Reni favoured a classical style that became highly influential throughout Europe, but Guercino is today celebrated for the expressive use of dramatic contrasts of light and dark in his early works (here represented by his Return of the Prodigal Son).
A number of the pictures in this Gallery were painted for or in Vienna. In 1657 Guido Cagnacci became count-painter to Emperor Leopold I; his exquisite nudes clearly denote both his Bolognese training and the influence of Caravaggio. The Dowager-Empress Eleonore Gonzaga commissioned an altarpiece (Death of Saint Joseph) for the chapel in Hofburg Palace in Vienna from the celebrated Roman artist Carlo Maratta. A few decades later Prince Eugene of Savoy commissioned a number of Bolognese painters to decorate his winter palace in Vienna's Himmelpfortgasse. Giuseppe Maria Crespi, the most creative and innovative among them, painted Centaur Chiron and Achilles and Aeneas, Sybil and Charon, both of which were originally displayed above a door. But the imperial court and the Austrian nobility patronized not only artists from Bologna but also from Naples, especially during the years the kingdom was ruled by an Austrian Viceroy (1707-1734): Prince Eugene also commissioned Francesco Solimena's large Deposition, which was intended for the high altar of his hunting lodge, Schlosshof, in Lower Austria.
Guido Reni und Guercino (Francesco Barbieri), die beide der Schule von Bologna zugerechnet werden, zählen zu den prominentesten italienischen Malern des 17. Jahrhunderts. Während Reni einen in ganze Europa einflussreichen klassizierenden Stil prägte, ist Guercino vor allem wegen der expressiv-unruhigen Helldunkelmalerei seines Frühwerks berühmt (hier vertreten durch die Heimkehr des verlorenen Sohnes).
Mehrere der in diesem Saal präsentierten Gemälde wurden für Wien oder in Wien gemalt. 1657 berief Kaiser Leopold I. Guido Cagnacci als Hofmaler, der eine exquisite Form von Aktmalerei - sie verrät seine Ausbildung in Bologna - mit dem Erbe Caravaggios verband. Im Auftrag der Kaiserin-Witwe Eleonora Gonzaga schuf der berühmte Carlo Maratta aus Rom ein Altargemälde für die Kapelle der Wiener Hofburg (Tod des Heiligen Joseph). Einige Jahrzehnte später beauftragte Prinz Eugen von Savoyen eine Gruppe von Künstlern aus Bologna mit der malerischen Ausstattung seines Winterpalais in der Wiener Himmelpfortgasse. Der originellste von ihnen, Giuseppe Maria Crespi, schuf die beiden Supraporten Kentaur Chironund Achill sowie Aeneas, Sibylle und Charon. Doch nicht nur nach Bologna, auch nach Neapel pflegten der Wiener Hof und seine Aristokratie ausgezeichnete Kontakte, insbesondere während der Regierungsjahre der Österreichischen Vizekönige (1707-1734): Ebenfalls im Auftrag Prinz Eugens malte Francesco Solimena die große Kreuzabnahme. Sie sollte den Altar der Kapelle des Jagdschlosses des Prinzen, Schlosshof (Niederösterreich), schmücken.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made ​​the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
2009-2019: Sabine Haag as general director
2019– : Eike Schmidt (art historian, designated)
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
One of the most extraordinary tombs in an English church, the monumental tomb of John Harford (d.1559) fills the wall on the north side of the altar. This unforgettable display of Renaissance ornamentation includes some surprisingly medieval influence, such as the large Green Man heads in the spandrels of the arch. Either side stand figures identified as Eve and Adam, while the deceased and his wife recline as rather stiff effigies below. Both this monument to the Harfords and the less ornate one opposite to their son Richard appear to be the work of John Guldo of Hereford, whose signature was found on one of the tombs (both are clearly by the same hand).
I've visited Bosbury church at least three or four times in recent years and it never disappoints, a church full of interest and remarkable in appearance, the first indication of this being the massive detached red sandstone tower that stands like a fortress at the edge of the churchyard beside the roadside, some distance from the main body of the church. It is a huge great block, like the keep of some ancient castle had been planted in a rural Herefordshire churchyard as a sentinel to watch over it, and indeed being border territory in medieval times that was largely the thinking behind it.
Holy Trinity church itself is a substantial building even without an attached tower, and dates mostly from the Transitional period, being a mix of late Norman and early Gothic styles. The only part that clearly does not belong to this phase is the Morton chantry on the south side, which erupts from the south aisle in a burst of Perpendicular traceried windows and battlements.
Inside the church feels uncommonly large for a parish church, and the nave arcades clearly evoke the stylistic cusp of the Transitional 1200s, being pointed arches but springing from Norman-style capitals. The ancient font has recently been reinstated at the west end of the nave, having been in the south aisle on my previous visits. The Morton Chantry is a delight inside, replete with a delicate late medieval vaulted ceiling with pendant bosses including a rebus of the deceased.
The most memorable features inside Bosbury church however aren't revealed until one progresses to the chancel, where this great dark space is dominated by two huge Renaissance style monuments flanking the sanctuary. They are the work of one John Guldo of Hereford, who may have been of continental origin as the style of these tombs is of a type not commonly seen here but more so in Northern Europe. The tombs of the Harford family commemorate father and son respectively, and of the two that on the north side is by far the richest in terms of its exuberant detail. There is a rustic quality to the carving, but it is nevertheless a florid and impressive display like no other.
This is one of those churches one shouldn't miss if exploring the area as it is rather special, and happily is normally open and welcoming to visitors (even on this my most recent visit, when other churches nearby were still reluctant to reopen after Lockdown).
www.britainexpress.com/counties/hereford/churches/bosbury...
We are Viral Nation, a global influencer marketing, and talent agency. Our influencer talent agency represents top social media influencers on Vine, Instagram, YouTube, Twitter & Snapchat. See this and know more about social media influencer marketing. Know more about viral nation at viralnation.com/
Color easily influences the mood. And with so many colors, these dichroic windows set the tone that this is a fun space, making it the perfect entrance to this IT'SUGAR store in Boston!
Interested in using this material in your space? Contact us to learn more.
Learn more about C2 Imaging and our print services at: www.c2imaging.com
This is the garden of an office suite in downtown Albuquerque. At one time this was a very stylish Spanish influenced style house and gardens. Now offices, but wonderful they have kept the beautiful tiles.
Someone who affects or changes the mind of other people’s behavior or thoughts.
Someone who inspires or guides other people.
Someone who has the ability or power to influence many people, as through social media like Instagram, Facebook, Youtube, TikTok, Snapchat, etc, or traditional media also.
myinfluencerjourney.com/everything-you-need-to-know-about...
Social Media Influencers on YouTube, Instagram, Blogs & Snapchat. Execute YouTubevideo influencer marketing campaigns & programs. Any type of Brands and Agencies would contact us because we’re the pioneers of influencer marketing and are the best with what we do. For more info reach us here: viralnation.com/influencer-marketing/ or drop us an e-mail at info@viralnation.com.
Nimrud was an Assyrian city on the Tigris (modern Iraq) which lasted for about 1000 years. You can tell that they were incorporating a lot of Egyptian iconography into their art and making it their own.
North Sumatra: old Dutch colonial buildings rubbing shoulders with Moghul architecture; decrepit vehicles crowding the dirty, littered streets; political posters and billboards competing for attention; heat, dust and smells - and smiling faces.
Dutch colonialists were significant in developing the Medan area from the 1860s, and the buildings in Medan reflect this.
For the story that accompanies these pictures, please visit my PhotoBlog:
www.ursulasweeklywanders.com/travel/smiling-faces-and-col...
Choreography: Jenny Barreca Performed by: Emily Anderson, Christine Barreca, Jenny Barreca, Lauren Bunke, Niki Jones, and Nicole Nordman
Source: @vivid. 💕 The Best Fashion #Deals For Women. Clothing Deals You Need To Know About💕Click here 👉 ift.tt/2N79cje . #fashionideas