kellermann photos on Flickr

by Peter Behrens (1912) and was the first skeleton high-rise in Germany. The skeleton consisted of circular tube supports, at the time the Mannesmann Group’s most important product (Mannesmann-Röhrenwerke).

Edgewise it points toward the riverbank and with its grid facade made of glass and blue-enamelled

steel plate elements radiates lightness and elegance. The white and blue panels draw upon the Group’s colours. The opposite side accommodates the two-storey main entrance hall. On the north side, we find a reinforced concrete core accommodating the lifts and supply lines along all floors. The building has been listed since 1997. After Mannesmann had been taken over by Vodafone, the building was turned in to the Vodafone Group’s European HQ and fully renovated in 2001 till Vodafone left the building in 2012. 2014 the NRW Economics Ministry moved into the former Mannesmann headquarters. The high-rise is still an outstanding part of the city’s townscape.-- Editorial baukunst-nrw

Designer:

RKW Rhode Kellermann Wawrowsky Architektur + Städtebau

Architekt Prof. Dr. Egon Eiermann

Architekt Prof. Dr. Paul Schneider von Esleben

P1040853 by Markus60

Ladakh Landscapes - The Light Fantastic - 66 by Mathias Kellermann

More description in French & English will follow on the album page : www.flickr.com/photos/matkeller-as-titus1st/sets/72157630...

P1040898 by Markus60

Ladakh Landscapes - The Light Fantastic - 50 by Mathias Kellermann

More description in French & English will follow on the album page : www.flickr.com/photos/matkeller-as-titus1st/sets/72157630...

Rizieres Pays Mangarrai & Waerebo - Flores 80 by Mathias Kellermann

1

Pays Ngada 48 by Mathias Kellermann

1

Mica#10 by Mathias Kellermann

Fisherman - Komodo islands by Mathias Kellermann

CIMG8865 by Markus60

Pays Ngada 6 (1) by Mathias Kellermann

Elsa#7 by Mathias Kellermann

la poterne des peuplier, le jardin de la poterne et le boulevard Kellermann en 1999 avant l'installation du tramway sur le coté gauche by Crescendix

Ceremonie funeraire Toraja Web 23 by Mathias Kellermann

Ladakh Landscapes - The Light Fantastic - 9 by Mathias Kellermann

Description on : www.flickr.com/photos/matkeller-as-titus1st/sets/72157630...

PK8_Kellermann by Trux Photo (4 Million views Thks!)

CIMG8864 by Markus60

CIMG8805 by Markus60

CIMG8750 by Markus60

Ladakh Landscapes - The Light Fantastic - 51 by Mathias Kellermann

More description in French & English will follow on the album page : www.flickr.com/photos/matkeller-as-titus1st/sets/72157630...

Susan Done 3 by douginator2000

Photo Credit: Dave Kellermanns

Elsa#1 by Mathias Kellermann

Fan and in Painting by B

Éventail: La Bergère et l'Oiseleur, 1760-80

Carved ivory, gouache and/or on paper

The [fan] once belonged to Berthe Morisot. The centre of each fan features a galant scene, Éventail: La Bergère et l'Oiseleur, illustrated by François Boucher. Symmetrically surrounded by medallions featuring grisaille putti, these decorations are reminiscent of the so-called "alentours" (border) tapestries from the Manufacture des Gobelins.*

Au bal, 1875

Berthe Morisot

Oil on canvas

Morisot took a model whose identity is unknown and adorned her with some of her own finery. This is the case with the fan from La Bergère et l'Oiseleur, a work produced in the second half of the 18th century, which is shown here wide open. In this way, Morisot provides essential information about her tastes.

Painted in 1875, this painting reminds us that Parisian social life that winter was marked by two balls given by the President of the Republic in the salons of the Élysée Palace, renovated in the style of the 18th century, Morisot, a young bride, had wanted to attend.*

From the exhibition

Berthe Morisot and the Art of the 18th Century

(18 October 2023 to 3 March 2024)

Morisot's work, which flourished mainly in the 19th century, reflects a fascination with modern life. However, many during her lifetime drew parallels between her work and that of the great French masters of the 18th century. It's no coincidence that Renoir described her as "the last elegant, feminine artist we've had since Fragonard". Paul Girard, at the artist's posthumous retrospective in 1896, had no hesitation in asserting: "This is the eighteenth century modernized".

The exhibition at the Musée Marmottan Monet focuses on this idea, presenting a series of carefully selected works. It invites us to discover the imprint of the eighteenth century on Morisot's work, juxtaposing her emblematic paintings with those of major figures such as Watteau, Boucher, Fragonard and Perronneau. A unique opportunity to understand the resonances between Impressionism and the Age of Enlightenment, and to plunge into the rich and complex world of Berthe Morisot.

[*Musée Marmottan Monet]

Taken in Musée Marmottan Monet

The mansion built for François Christophe Edmond Kellermann, duke of Valmy, who purchased the land (formerly a pleasure garden) in 1863; in 1882 it was sold to Jules Marmottan, inherited by his son Paul Marmottan in 1883. Marmottan decorated the building in the Empire style ("Le Style Empire"), bequeathing it and his collection to Académie des Beaux-Arts, on his death in 1932. Between 1940-7 Victorine Donop de Monchy donated her father's collection of Impressionist painting and then, in 1966, more than 100 Monets (including a number of large Water Lilies) were bequeathed by Michel Monet (son of Claude Monet).

In the 16th arrondissement

Village Wuring - Moni 4 by Mathias Kellermann

Jeune femme debout, en pied, vue de dos, c1762-65 by B

Jeune femme debout, en pied, vue de dos, c1762-65

Jean-Honoré Fragonard

Red chalk on heavyweight paper

This drawing was bequeathed to the Musée d'Orléans in 1878. On 28 July 1898, 19-year-old Julie Manet, who had inherited the taste of her parents, Berthe Morisot and Eugène Manet, recently deceased, visited the fine arts museum in Orléans and noted that it "contains several pastels by Perronneau, including a very pretty woman with a cockerel, a portrait of Mme de Pompadour with rosy cheeks [...], drawings by Boucher, Watteau, Fragonard and Delacroix. The paintings include some primitives, a very pretty procession by Natoire and a delightful riverside by Corot."*

From the exhibition

Berthe Morisot and the Art of the 18th Century

(18 October 2023 to 3 March 2024)

Morisot's work, which flourished mainly in the 19th century, reflects a fascination with modern life. However, many during her lifetime drew parallels between her work and that of the great French masters of the 18th century. It's no coincidence that Renoir described her as "the last elegant, feminine artist we've had since Fragonard". Paul Girard, at the artist's posthumous retrospective in 1896, had no hesitation in asserting: "This is the eighteenth century modernized".

The exhibition at the Musée Marmottan Monet focuses on this idea, presenting a series of carefully selected works. It invites us to discover the imprint of the eighteenth century on Morisot's work, juxtaposing her emblematic paintings with those of major figures such as Watteau, Boucher, Fragonard and Perronneau. A unique opportunity to understand the resonances between Impressionism and the Age of Enlightenment, and to plunge into the rich and complex world of Berthe Morisot.

[*Musée Marmottan Monet]

Taken in Musée Marmottan Monet

The mansion built for François Christophe Edmond Kellermann, duke of Valmy, who purchased the land (formerly a pleasure garden) in 1863; in 1882 it was sold to Jules Marmottan, inherited by his son Paul Marmottan in 1883. Marmottan decorated the building in the Empire style ("Le Style Empire"), bequeathing it and his collection to Académie des Beaux-Arts, on his death in 1932. Between 1940-7 Victorine Donop de Monchy donated her father's collection of Impressionist painting and then, in 1966, more than 100 Monets (including a number of large Water Lilies) were bequeathed by Michel Monet (son of Claude Monet).

In the 16th arrondissement

P1040906 by Markus60