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L'unité de l'Etat:
François Ier en empereur romain
Fontainebleau, 1540-1547
Francesco Primatice (1504-1570), dessin
Claude Baudouin
(prouvé 1535-1550), entre autres, carton
Jean et Pierre Le Bries (établie 1540-1559), tisserands
Laine, soie, fils d'or et d'argent (Gold- und Silberlahn)
La Galerie du palais de Fontainebleau, près de Paris, 1528-1530 fut équipée par des artistes italiens. Architecture, peinture et sculpture fusionnèrent en une scène pour les spectacles du roi français, qui est aussi thématiquement dans le centre de la décoration. Peu de temps après, l'équipement a été utilisé comme matrice pour une série de tapisseries, un procédé unique dans ce domaine.
Die Einheit des Staates:
König Franz I. als römischer Imperator
Fontainebleau, zwischen 1540 und 1547
Francesco Primaticcio (1504-1570);
Entwurf Claude Badouin
(nachgewiesen 1535-1550) u.a., Karton
Jean und Pierre Le Bries (nachgewiesen 1540-1559), Wirker
Wolle, Seide, Gold- und Silberlahn
Die Galerie des Schlosses Fontainebleau in der Nähe von Paris wurde zwischen 1528 und 1530 von italienischen Künstlern ausgestattet. Architektur, Malerei und Plastik verschmolzen dabei zu einer Bühne für die Auftritte des französischen Königs, der auch thematisch im Zentrum der Dekoration steht. Kurz darauf diente die Ausstattung als Vorlage für eine Serie von Wandbehängen, ein auf diesem Gebiet einzigartiger Vorgang.
Chamber of Art Vienna
The Chamber of Art of Vienna is a collection of the Kunsthistorisches Museum (Museum of Art History) in Vienna. It is the portrayal of the art and curiosities chambers of the late Middle Ages, the Renaissance and the Baroque period and it mainly goes back to the earlier collections of the Habsburgs.
Look into the Vienna Chamber of Art
Marble sculpture of the Giulia Albani degli Abati Olivieri by Camillo Rusconi (Rome, 1719 ) in the Chamber of Art of Vienna
Equipment for perspective drawing of Jost Bürgi (Kassel, 1604) in the Chamber of Art of Vienna
Ivory statuette "Apollo and Daphne" by Jakob Auer (Vienna, 1688/90) in the Chamber of Art of Vienna
Collection History
The Chamber of Art of Vienna grew out of several individual collections, which have been collected by various clients. The following collections are the foundation for today's Chamber of Art:
The Chamber of Art and Curiosities of Ferdinand II of Tyrol (1529-1595). It was originally housed at Schloss Ambras near Innsbruck. From this stems the larger part of the surviving pieces from older collections of Emperors Frederick III, Maximilian I and Ferdinand I.
The Kunstkammer of Rudolf II (1552-1612), which was compiled in Prague. Many of the treasures of Rudolph went lost in the Thirty Years War in the sack of the Prague Castle, but this were enriched from the previously to Vienna transported collections with works of the goldsmithing and gem carving art of the time around 1600 as well as to bronzes.
In the 17th century the collections from the Kunstkammer of Archduke Leopold Wilhelm (1614-1662) have been added. He is considered as one of the fathers of today in the Cultural History Museum housed paintings gallery, but also acquired Renaissance bronzes mostly of Italian origin and small sculptures made of stone and wood.
Into the Treasury Chamber in the Swiss Wing of the Vienna Hofburg in the 17th century also came at that time popular works of semi-precious stones, fine works of ivory, rhinoceros horn carvings and miniature-like wax models.
The collection at Ambras Castle in 1806 in front of Napoleon's troops was brought to Vienna in safety, where it initially in the Lower Belvedere Palace kept its independence. Only the under the reign of Emperor Franz Joseph I from 1875 tackled major reform of the imperial collections finally united all the Treasure Chamber collections in the 1891 opened Kunsthistorisches Museum and left only the objects with insignia character and those that are reminiscent of members of the imperial family in the Treasury Chamber.
The newly formed collection found its place on the mezzanine floor of the building and was initially referred to as "collection of art industrial objects". In 1919, it was named "collection for sculpture and arts and crafts". Since this collection but only to a small extent contains large sculptures and objects for a specific purpose of arts and crafts, this name was considered to be inappropriate and in 1990 it was decided to return to the naming of "Kunstkammer".
After the collapse of the monarchy in 1918 the collections of the sideline Austria-Este was affiliated to the Viennese Kunstkammer, in 1921 the Tapisseriensammlung (collection of tapestries) consisting of 800 tapestries was added, which originally had served the design of the imperial palaces. This collection is in addition to the one in possession of the Spanish crown one of the most important of its kind. In 1938 Gustav von Benda with a bequest the collection donated more important works of the Florentine Early Renaissance. The Second World War the art collection survived with very low losses. Only parts of the Tapisseriensammlung, which had to be given as a loan to Berlin and to the the facilities of Goering's hunting lodge Carin Hall, since the end of war are considered to be lost.
Since 1963, all stores of the collection are reunited in the Kunsthistorisches Museum in Vienna. 2002 the structural and technical conditions required the temporary closure of the Kunstkammer. This was followed by a major renovation and expansion of the premises as well as the restructuring and up-to-date presentation of the objects. To the artistically significant exhibits belong gold works like the famous Saliera by Benvenuto Cellini, sculptures such as the Madonna of Krumlov, bronze figures, ivory objects and stone vessels, but also watches, mechanical machines, scientific instruments, gadgets and much more.
After in December 2012 in a public premiere presentation the first room of the museum could be visited, the as one of the most important art collections of the world considered Vienna Chamber of Art on 1 March 2013 was reopened. In the future, on an area of around 2,700 m² more than 2,200 objects can be seen, which are presented in 20 theme rooms.
de.wikipedia.org/wiki/Kunstkammer_Wien
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
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
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Tealeaf ( twitter.com/tealeafraccoon )
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The punches for the types are cut around 1680 and where together with the matrices purchased by Genzsch & Heyse in 1838 from Lampesche Schriftgießerei, Hamburg. The face is only cut and cast in 14 & 16 pkt. – both sizes are represented in my collection and ready to be used with care in a contemporary context.
According to G.W. Ovink, Genzsch & Heyse in Hamburg acquired matrices of “‘Romain Ancien’, cut by the Aubert frères and by Huchot” for Deberny in Paris. Genzsch & Heyse expanded that typeface in-house, too, cutting matching fonts in the 14, 20, 24 and 32pt sizes. Seen here in E.J. Genzsch’s 1902 catalog.
Letterform Archive has a Genzsch & Heyse brochure for this family from a later date, which you can check out on their website.
L'unité de l'Etat:
François Ier en empereur romain
Fontainebleau, 1540-1547
Francesco Primatice (1504-1570), dessin
Claude Baudouin
(prouvé 1535-1550), entre autres, carton
Jean et Pierre Le Bries (établie 1540-1559), tisserands
Laine, soie, fils d'or et d'argent (Gold- und Silberlahn)
La Galerie du palais de Fontainebleau, près de Paris, 1528-1530 fut équipée par des artistes italiens. Architecture, peinture et sculpture fusionnèrent en une scène pour les spectacles du roi français, qui est aussi thématiquement dans le centre de la décoration. Peu de temps après, l'équipement a été utilisé comme matrice pour une série de tapisseries, un procédé unique dans ce domaine.
Die Einheit des Staates:
König Franz I. als römischer Imperator
Fontainebleau, zwischen 1540 und 1547
Francesco Primaticcio (1504-1570);
Entwurf Claude Badouin
(nachgewiesen 1535-1550) u.a., Karton
Jean und Pierre Le Bries (nachgewiesen 1540-1559), Wirker
Wolle, Seide, Gold- und Silberlahn
Die Galerie des Schlosses Fontainebleau in der Nähe von Paris wurde zwischen 1528 und 1530 von italienischen Künstlern ausgestattet. Architektur, Malerei und Plastik verschmolzen dabei zu einer Bühne für die Auftritte des französischen Königs, der auch thematisch im Zentrum der Dekoration steht. Kurz darauf diente die Ausstattung als Vorlage für eine Serie von Wandbehängen, ein auf diesem Gebiet einzigartiger Vorgang.
Chamber of Art Vienna
The Chamber of Art of Vienna is a collection of the Kunsthistorisches Museum (Museum of Art History) in Vienna. It is the portrayal of the art and curiosities chambers of the late Middle Ages, the Renaissance and the Baroque period and it mainly goes back to the earlier collections of the Habsburgs.
Look into the Vienna Chamber of Art
Marble sculpture of the Giulia Albani degli Abati Olivieri by Camillo Rusconi (Rome, 1719 ) in the Chamber of Art of Vienna
Equipment for perspective drawing of Jost Bürgi (Kassel, 1604) in the Chamber of Art of Vienna
Ivory statuette "Apollo and Daphne" by Jakob Auer (Vienna, 1688/90) in the Chamber of Art of Vienna
Collection History
The Chamber of Art of Vienna grew out of several individual collections, which have been collected by various clients. The following collections are the foundation for today's Chamber of Art:
The Chamber of Art and Curiosities of Ferdinand II of Tyrol (1529-1595). It was originally housed at Schloss Ambras near Innsbruck. From this stems the larger part of the surviving pieces from older collections of Emperors Frederick III, Maximilian I and Ferdinand I.
The Kunstkammer of Rudolf II (1552-1612), which was compiled in Prague. Many of the treasures of Rudolph went lost in the Thirty Years War in the sack of the Prague Castle, but this were enriched from the previously to Vienna transported collections with works of the goldsmithing and gem carving art of the time around 1600 as well as to bronzes.
In the 17th century the collections from the Kunstkammer of Archduke Leopold Wilhelm (1614-1662) have been added. He is considered as one of the fathers of today in the Cultural History Museum housed paintings gallery, but also acquired Renaissance bronzes mostly of Italian origin and small sculptures made of stone and wood.
Into the Treasury Chamber in the Swiss Wing of the Vienna Hofburg in the 17th century also came at that time popular works of semi-precious stones, fine works of ivory, rhinoceros horn carvings and miniature-like wax models.
The collection at Ambras Castle in 1806 in front of Napoleon's troops was brought to Vienna in safety, where it initially in the Lower Belvedere Palace kept its independence. Only the under the reign of Emperor Franz Joseph I from 1875 tackled major reform of the imperial collections finally united all the Treasure Chamber collections in the 1891 opened Kunsthistorisches Museum and left only the objects with insignia character and those that are reminiscent of members of the imperial family in the Treasury Chamber.
The newly formed collection found its place on the mezzanine floor of the building and was initially referred to as "collection of art industrial objects". In 1919, it was named "collection for sculpture and arts and crafts". Since this collection but only to a small extent contains large sculptures and objects for a specific purpose of arts and crafts, this name was considered to be inappropriate and in 1990 it was decided to return to the naming of "Kunstkammer".
After the collapse of the monarchy in 1918 the collections of the sideline Austria-Este was affiliated to the Viennese Kunstkammer, in 1921 the Tapisseriensammlung (collection of tapestries) consisting of 800 tapestries was added, which originally had served the design of the imperial palaces. This collection is in addition to the one in possession of the Spanish crown one of the most important of its kind. In 1938 Gustav von Benda with a bequest the collection donated more important works of the Florentine Early Renaissance. The Second World War the art collection survived with very low losses. Only parts of the Tapisseriensammlung, which had to be given as a loan to Berlin and to the the facilities of Goering's hunting lodge Carin Hall, since the end of war are considered to be lost.
Since 1963, all stores of the collection are reunited in the Kunsthistorisches Museum in Vienna. 2002 the structural and technical conditions required the temporary closure of the Kunstkammer. This was followed by a major renovation and expansion of the premises as well as the restructuring and up-to-date presentation of the objects. To the artistically significant exhibits belong gold works like the famous Saliera by Benvenuto Cellini, sculptures such as the Madonna of Krumlov, bronze figures, ivory objects and stone vessels, but also watches, mechanical machines, scientific instruments, gadgets and much more.
After in December 2012 in a public premiere presentation the first room of the museum could be visited, the as one of the most important art collections of the world considered Vienna Chamber of Art on 1 March 2013 was reopened. In the future, on an area of around 2,700 m² more than 2,200 objects can be seen, which are presented in 20 theme rooms.
de.wikipedia.org/wiki/Kunstkammer_Wien
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
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
L'unité de l'Etat:
François Ier en empereur romain
Fontainebleau, 1540-1547
Francesco Primatice (1504-1570), dessin
Claude Baudouin
(prouvé 1535-1550), entre autres, carton
Jean et Pierre Le Bries (établie 1540-1559), tisserands
Laine, soie, fils d'or et d'argent (Gold- und Silberlahn)
La Galerie du palais de Fontainebleau, près de Paris, 1528-1530 fut équipée par des artistes italiens. Architecture, peinture et sculpture fusionnèrent en une scène pour les spectacles du roi français, qui est aussi thématiquement dans le centre de la décoration. Peu de temps après, l'équipement a été utilisé comme matrice pour une série de tapisseries, un procédé unique dans ce domaine.
Die Einheit des Staates:
König Franz I. als römischer Imperator
Fontainebleau, zwischen 1540 und 1547
Francesco Primaticcio (1504-1570);
Entwurf Claude Badouin
(nachgewiesen 1535-1550) u.a., Karton
Jean und Pierre Le Bries (nachgewiesen 1540-1559), Wirker
Wolle, Seide, Gold- und Silberlahn
Die Galerie des Schlosses Fontainebleau in der Nähe von Paris wurde zwischen 1528 und 1530 von italienischen Künstlern ausgestattet. Architektur, Malerei und Plastik verschmolzen dabei zu einer Bühne für die Auftritte des französischen Königs, der auch thematisch im Zentrum der Dekoration steht. Kurz darauf diente die Ausstattung als Vorlage für eine Serie von Wandbehängen, ein auf diesem Gebiet einzigartiger Vorgang.
Chamber of Art Vienna
The Chamber of Art of Vienna is a collection of the Kunsthistorisches Museum (Museum of Art History) in Vienna. It is the portrayal of the art and curiosities chambers of the late Middle Ages, the Renaissance and the Baroque period and it mainly goes back to the earlier collections of the Habsburgs.
Look into the Vienna Chamber of Art
Marble sculpture of the Giulia Albani degli Abati Olivieri by Camillo Rusconi (Rome, 1719 ) in the Chamber of Art of Vienna
Equipment for perspective drawing of Jost Bürgi (Kassel, 1604) in the Chamber of Art of Vienna
Ivory statuette "Apollo and Daphne" by Jakob Auer (Vienna, 1688/90) in the Chamber of Art of Vienna
Collection History
The Chamber of Art of Vienna grew out of several individual collections, which have been collected by various clients. The following collections are the foundation for today's Chamber of Art:
The Chamber of Art and Curiosities of Ferdinand II of Tyrol (1529-1595). It was originally housed at Schloss Ambras near Innsbruck. From this stems the larger part of the surviving pieces from older collections of Emperors Frederick III, Maximilian I and Ferdinand I.
The Kunstkammer of Rudolf II (1552-1612), which was compiled in Prague. Many of the treasures of Rudolph went lost in the Thirty Years War in the sack of the Prague Castle, but this were enriched from the previously to Vienna transported collections with works of the goldsmithing and gem carving art of the time around 1600 as well as to bronzes.
In the 17th century the collections from the Kunstkammer of Archduke Leopold Wilhelm (1614-1662) have been added. He is considered as one of the fathers of today in the Cultural History Museum housed paintings gallery, but also acquired Renaissance bronzes mostly of Italian origin and small sculptures made of stone and wood.
Into the Treasury Chamber in the Swiss Wing of the Vienna Hofburg in the 17th century also came at that time popular works of semi-precious stones, fine works of ivory, rhinoceros horn carvings and miniature-like wax models.
The collection at Ambras Castle in 1806 in front of Napoleon's troops was brought to Vienna in safety, where it initially in the Lower Belvedere Palace kept its independence. Only the under the reign of Emperor Franz Joseph I from 1875 tackled major reform of the imperial collections finally united all the Treasure Chamber collections in the 1891 opened Kunsthistorisches Museum and left only the objects with insignia character and those that are reminiscent of members of the imperial family in the Treasury Chamber.
The newly formed collection found its place on the mezzanine floor of the building and was initially referred to as "collection of art industrial objects". In 1919, it was named "collection for sculpture and arts and crafts". Since this collection but only to a small extent contains large sculptures and objects for a specific purpose of arts and crafts, this name was considered to be inappropriate and in 1990 it was decided to return to the naming of "Kunstkammer".
After the collapse of the monarchy in 1918 the collections of the sideline Austria-Este was affiliated to the Viennese Kunstkammer, in 1921 the Tapisseriensammlung (collection of tapestries) consisting of 800 tapestries was added, which originally had served the design of the imperial palaces. This collection is in addition to the one in possession of the Spanish crown one of the most important of its kind. In 1938 Gustav von Benda with a bequest the collection donated more important works of the Florentine Early Renaissance. The Second World War the art collection survived with very low losses. Only parts of the Tapisseriensammlung, which had to be given as a loan to Berlin and to the the facilities of Goering's hunting lodge Carin Hall, since the end of war are considered to be lost.
Since 1963, all stores of the collection are reunited in the Kunsthistorisches Museum in Vienna. 2002 the structural and technical conditions required the temporary closure of the Kunstkammer. This was followed by a major renovation and expansion of the premises as well as the restructuring and up-to-date presentation of the objects. To the artistically significant exhibits belong gold works like the famous Saliera by Benvenuto Cellini, sculptures such as the Madonna of Krumlov, bronze figures, ivory objects and stone vessels, but also watches, mechanical machines, scientific instruments, gadgets and much more.
After in December 2012 in a public premiere presentation the first room of the museum could be visited, the as one of the most important art collections of the world considered Vienna Chamber of Art on 1 March 2013 was reopened. In the future, on an area of around 2,700 m² more than 2,200 objects can be seen, which are presented in 20 theme rooms.
de.wikipedia.org/wiki/Kunstkammer_Wien
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
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
See the video here: zerodriftmedia.com/dji-%d0%bf%d1%80%d0%b5%d0%b4%d1%81%d1%...
DJI предлага първата инфрачервена камера за дрони. Тя до голяма степен ще улесни работата на пожарникарите, ще намери приложение в земеделието и други области. Може да бъде монтирана върху дроновете Inspire 1 и Matrice 100. За проектирането на камерата DJI си партнират с FL...
zerodriftmedia.com/dji-%d0%bf%d1%80%d0%b5%d0%b4%d1%81%d1%...
If you want your statistic students taught, or your donuts eaten, Tealeaf can get it done!
Tealeaf ( twitter.com/tealeafraccoon )
The Französische Antiqua typeface that Genzsch & Heyse and their E.J. Genzsch subsidiary sold was cast from matrices acquired from Paris. The French name for the original typeface is Série 16, produced at Laurent et Deberny. The original Série 16 punches were cut by Constant Aubert and Auguste Aubert. The site showing Berthe, ABYME’s revival of Série 16 mentions Jan Tschichold’s recommendation of the typeface in Die Neue Typografie:
“To my mind, looking at the modern romans, it is the unpretentious work of the anonymous type-designers that have best served the spirit of their age: Sorbonne, Nordische Antiqua, Französische Antiqua, and so on. These three typefaces and their derivatives are the best designs from the pre-war period. They are easily legible; they are also above all in a technical sense useful and free from personal idiosyncrasies – in the best sense of the word, uninteresting.”
Jan Tschichold, The New Typography: A Handbook for Modern Designers [1928] (Berkeley/Los Angeles/London: University of California Press, 1998), p 76.
As an aside, I find it rather funny that none of the typefaces Tschichold named in that passage are anonymous works. We know the designers for each of them.
These Französische Antiqua pages are scanned from E.J. Genzsch’s 1902 catalog. In the 1920s, Genzsch & Heyse reissued their Französische Antiqua under the name Fridericus-Antiqua. Letterform Archive has two Fridericus-Antiqua brochures in its online archive, which you can see here and here.
L'unité de l'Etat:
François Ier en empereur romain
Fontainebleau, 1540-1547
Francesco Primatice (1504-1570), dessin
Claude Baudouin
(prouvé 1535-1550), entre autres, carton
Jean et Pierre Le Bries (établie 1540-1559), tisserands
Laine, soie, fils d'or et d'argent (Gold- und Silberlahn)
La Galerie du palais de Fontainebleau, près de Paris, 1528-1530 fut équipée par des artistes italiens. Architecture, peinture et sculpture fusionnèrent en une scène pour les spectacles du roi français, qui est aussi thématiquement dans le centre de la décoration. Peu de temps après, l'équipement a été utilisé comme matrice pour une série de tapisseries, un procédé unique dans ce domaine.
Die Einheit des Staates:
König Franz I. als römischer Imperator
Fontainebleau, zwischen 1540 und 1547
Francesco Primaticcio (1504-1570);
Entwurf Claude Badouin
(nachgewiesen 1535-1550) u.a., Karton
Jean und Pierre Le Bries (nachgewiesen 1540-1559), Wirker
Wolle, Seide, Gold- und Silberlahn
Die Galerie des Schlosses Fontainebleau in der Nähe von Paris wurde zwischen 1528 und 1530 von italienischen Künstlern ausgestattet. Architektur, Malerei und Plastik verschmolzen dabei zu einer Bühne für die Auftritte des französischen Königs, der auch thematisch im Zentrum der Dekoration steht. Kurz darauf diente die Ausstattung als Vorlage für eine Serie von Wandbehängen, ein auf diesem Gebiet einzigartiger Vorgang.
Chamber of Art Vienna
The Chamber of Art of Vienna is a collection of the Kunsthistorisches Museum (Museum of Art History) in Vienna. It is the portrayal of the art and curiosities chambers of the late Middle Ages, the Renaissance and the Baroque period and it mainly goes back to the earlier collections of the Habsburgs.
Look into the Vienna Chamber of Art
Marble sculpture of the Giulia Albani degli Abati Olivieri by Camillo Rusconi (Rome, 1719 ) in the Chamber of Art of Vienna
Equipment for perspective drawing of Jost Bürgi (Kassel, 1604) in the Chamber of Art of Vienna
Ivory statuette "Apollo and Daphne" by Jakob Auer (Vienna, 1688/90) in the Chamber of Art of Vienna
Collection History
The Chamber of Art of Vienna grew out of several individual collections, which have been collected by various clients. The following collections are the foundation for today's Chamber of Art:
The Chamber of Art and Curiosities of Ferdinand II of Tyrol (1529-1595). It was originally housed at Schloss Ambras near Innsbruck. From this stems the larger part of the surviving pieces from older collections of Emperors Frederick III, Maximilian I and Ferdinand I.
The Kunstkammer of Rudolf II (1552-1612), which was compiled in Prague. Many of the treasures of Rudolph went lost in the Thirty Years War in the sack of the Prague Castle, but this were enriched from the previously to Vienna transported collections with works of the goldsmithing and gem carving art of the time around 1600 as well as to bronzes.
In the 17th century the collections from the Kunstkammer of Archduke Leopold Wilhelm (1614-1662) have been added. He is considered as one of the fathers of today in the Cultural History Museum housed paintings gallery, but also acquired Renaissance bronzes mostly of Italian origin and small sculptures made of stone and wood.
Into the Treasury Chamber in the Swiss Wing of the Vienna Hofburg in the 17th century also came at that time popular works of semi-precious stones, fine works of ivory, rhinoceros horn carvings and miniature-like wax models.
The collection at Ambras Castle in 1806 in front of Napoleon's troops was brought to Vienna in safety, where it initially in the Lower Belvedere Palace kept its independence. Only the under the reign of Emperor Franz Joseph I from 1875 tackled major reform of the imperial collections finally united all the Treasure Chamber collections in the 1891 opened Kunsthistorisches Museum and left only the objects with insignia character and those that are reminiscent of members of the imperial family in the Treasury Chamber.
The newly formed collection found its place on the mezzanine floor of the building and was initially referred to as "collection of art industrial objects". In 1919, it was named "collection for sculpture and arts and crafts". Since this collection but only to a small extent contains large sculptures and objects for a specific purpose of arts and crafts, this name was considered to be inappropriate and in 1990 it was decided to return to the naming of "Kunstkammer".
After the collapse of the monarchy in 1918 the collections of the sideline Austria-Este was affiliated to the Viennese Kunstkammer, in 1921 the Tapisseriensammlung (collection of tapestries) consisting of 800 tapestries was added, which originally had served the design of the imperial palaces. This collection is in addition to the one in possession of the Spanish crown one of the most important of its kind. In 1938 Gustav von Benda with a bequest the collection donated more important works of the Florentine Early Renaissance. The Second World War the art collection survived with very low losses. Only parts of the Tapisseriensammlung, which had to be given as a loan to Berlin and to the the facilities of Goering's hunting lodge Carin Hall, since the end of war are considered to be lost.
Since 1963, all stores of the collection are reunited in the Kunsthistorisches Museum in Vienna. 2002 the structural and technical conditions required the temporary closure of the Kunstkammer. This was followed by a major renovation and expansion of the premises as well as the restructuring and up-to-date presentation of the objects. To the artistically significant exhibits belong gold works like the famous Saliera by Benvenuto Cellini, sculptures such as the Madonna of Krumlov, bronze figures, ivory objects and stone vessels, but also watches, mechanical machines, scientific instruments, gadgets and much more.
After in December 2012 in a public premiere presentation the first room of the museum could be visited, the as one of the most important art collections of the world considered Vienna Chamber of Art on 1 March 2013 was reopened. In the future, on an area of around 2,700 m² more than 2,200 objects can be seen, which are presented in 20 theme rooms.
de.wikipedia.org/wiki/Kunstkammer_Wien
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
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
The association “Friends of the Palatina Library and the Bodoni
Museum” have created the initiative “Adopt a Bodoni alphabet” whose
aim is to restore the full set of more than 600 alphabets, their punches
and matrices.
Read more here: typophile.com/node/63339
I've been working on my Finite Element assignment since morning, so yeah, that's all I had to take a shot of for today.
L'unité de l'Etat:
François Ier en empereur romain
Fontainebleau, 1540-1547
Francesco Primatice (1504-1570), dessin
Claude Baudouin
(prouvé 1535-1550), entre autres, carton
Jean et Pierre Le Bries (établie 1540-1559), tisserands
Laine, soie, fils d'or et d'argent (Gold- und Silberlahn)
La Galerie du palais de Fontainebleau, près de Paris, 1528-1530 fut équipée par des artistes italiens. Architecture, peinture et sculpture fusionnèrent en une scène pour les spectacles du roi français, qui est aussi thématiquement dans le centre de la décoration. Peu de temps après, l'équipement a été utilisé comme matrice pour une série de tapisseries, un procédé unique dans ce domaine.
Die Einheit des Staates:
König Franz I. als römischer Imperator
Fontainebleau, zwischen 1540 und 1547
Francesco Primaticcio (1504-1570);
Entwurf Claude Badouin
(nachgewiesen 1535-1550) u.a., Karton
Jean und Pierre Le Bries (nachgewiesen 1540-1559), Wirker
Wolle, Seide, Gold- und Silberlahn
Die Galerie des Schlosses Fontainebleau in der Nähe von Paris wurde zwischen 1528 und 1530 von italienischen Künstlern ausgestattet. Architektur, Malerei und Plastik verschmolzen dabei zu einer Bühne für die Auftritte des französischen Königs, der auch thematisch im Zentrum der Dekoration steht. Kurz darauf diente die Ausstattung als Vorlage für eine Serie von Wandbehängen, ein auf diesem Gebiet einzigartiger Vorgang.
Chamber of Art Vienna
The Chamber of Art of Vienna is a collection of the Kunsthistorisches Museum (Museum of Art History) in Vienna. It is the portrayal of the art and curiosities chambers of the late Middle Ages, the Renaissance and the Baroque period and it mainly goes back to the earlier collections of the Habsburgs.
Look into the Vienna Chamber of Art
Marble sculpture of the Giulia Albani degli Abati Olivieri by Camillo Rusconi (Rome, 1719 ) in the Chamber of Art of Vienna
Equipment for perspective drawing of Jost Bürgi (Kassel, 1604) in the Chamber of Art of Vienna
Ivory statuette "Apollo and Daphne" by Jakob Auer (Vienna, 1688/90) in the Chamber of Art of Vienna
Collection History
The Chamber of Art of Vienna grew out of several individual collections, which have been collected by various clients. The following collections are the foundation for today's Chamber of Art:
The Chamber of Art and Curiosities of Ferdinand II of Tyrol (1529-1595). It was originally housed at Schloss Ambras near Innsbruck. From this stems the larger part of the surviving pieces from older collections of Emperors Frederick III, Maximilian I and Ferdinand I.
The Kunstkammer of Rudolf II (1552-1612), which was compiled in Prague. Many of the treasures of Rudolph went lost in the Thirty Years War in the sack of the Prague Castle, but this were enriched from the previously to Vienna transported collections with works of the goldsmithing and gem carving art of the time around 1600 as well as to bronzes.
In the 17th century the collections from the Kunstkammer of Archduke Leopold Wilhelm (1614-1662) have been added. He is considered as one of the fathers of today in the Cultural History Museum housed paintings gallery, but also acquired Renaissance bronzes mostly of Italian origin and small sculptures made of stone and wood.
Into the Treasury Chamber in the Swiss Wing of the Vienna Hofburg in the 17th century also came at that time popular works of semi-precious stones, fine works of ivory, rhinoceros horn carvings and miniature-like wax models.
The collection at Ambras Castle in 1806 in front of Napoleon's troops was brought to Vienna in safety, where it initially in the Lower Belvedere Palace kept its independence. Only the under the reign of Emperor Franz Joseph I from 1875 tackled major reform of the imperial collections finally united all the Treasure Chamber collections in the 1891 opened Kunsthistorisches Museum and left only the objects with insignia character and those that are reminiscent of members of the imperial family in the Treasury Chamber.
The newly formed collection found its place on the mezzanine floor of the building and was initially referred to as "collection of art industrial objects". In 1919, it was named "collection for sculpture and arts and crafts". Since this collection but only to a small extent contains large sculptures and objects for a specific purpose of arts and crafts, this name was considered to be inappropriate and in 1990 it was decided to return to the naming of "Kunstkammer".
After the collapse of the monarchy in 1918 the collections of the sideline Austria-Este was affiliated to the Viennese Kunstkammer, in 1921 the Tapisseriensammlung (collection of tapestries) consisting of 800 tapestries was added, which originally had served the design of the imperial palaces. This collection is in addition to the one in possession of the Spanish crown one of the most important of its kind. In 1938 Gustav von Benda with a bequest the collection donated more important works of the Florentine Early Renaissance. The Second World War the art collection survived with very low losses. Only parts of the Tapisseriensammlung, which had to be given as a loan to Berlin and to the the facilities of Goering's hunting lodge Carin Hall, since the end of war are considered to be lost.
Since 1963, all stores of the collection are reunited in the Kunsthistorisches Museum in Vienna. 2002 the structural and technical conditions required the temporary closure of the Kunstkammer. This was followed by a major renovation and expansion of the premises as well as the restructuring and up-to-date presentation of the objects. To the artistically significant exhibits belong gold works like the famous Saliera by Benvenuto Cellini, sculptures such as the Madonna of Krumlov, bronze figures, ivory objects and stone vessels, but also watches, mechanical machines, scientific instruments, gadgets and much more.
After in December 2012 in a public premiere presentation the first room of the museum could be visited, the as one of the most important art collections of the world considered Vienna Chamber of Art on 1 March 2013 was reopened. In the future, on an area of around 2,700 m² more than 2,200 objects can be seen, which are presented in 20 theme rooms.
de.wikipedia.org/wiki/Kunstkammer_Wien
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
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
On Thursday, December 14th, the Los Angeles Fire Department provided a media demonstration of the UAVs, better known as drones. The LAFD drone fleet consists of two DJI Matrice 100s and two DJI Phantom 4 Pros. One Matrice 100 is equipped with a HD camera for area survey and the second Matrice 100 has Forward Looking Infrared Radar (FLIR) to assess hotspots. For more information and to view the footage from the demonstration, go to: bit.ly/lafdUAV
Date: 12.14.2017
Photo Use Permitted via Creative Commons - Credit: LAFD Photo | Harry Garvin
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk
Available now in a limited casting here.
More info on our website.
See also russellmaret.blogspot.com/2011/09/finishing-specimens.html
First sketch for Menhart broadside. London - Jan/08
Broadside designed by Marina Chaccur with type cast by Gerry Drayton and Howard Bratter, set by Berry Ffelstead. 'Monotype' Menhart (Series 397) Display Matrices graciously loaned by Offizin Parnassia Vattis-Switzerland. Printed at Whittington Press.
Calascibetta is a comune in Sicily, Italy in the Province of Enna.Calascibetta is a small town in Sicily. The town Calascibetta is located 7 kilometres north of Enna and can be seen from the provincial capital. Although once inhabited by Siculi, the town was seized in 841 by the Arabs and used as a base for the conquest of Enna. The Arabs gave the new town the name Kala Scibet. The Norman king Roger I also besieged Enna from Calascibetta. Only the bell tower of the present church of San Pietro remains from the former Norman castle. The Chiesa Matrice from the 14th Century houses a Bible in Gothic script in the treasury of the church.A number of necropolis of the 9th and 5th century BC show that the area was inhabited at least since that time. The present town was however founded in 851 by the Saracens, who named it Kalat Schibet (meaning castle on the Xibet mountain in a quiet place) it was fortified with walls and a castle which Count Roger had built in 1062, along with the church to St. Peter and Santa Maria Assunta. King Pietro of Aragona died here on 15 august 1532, though his body was then buried in Palermo, in the Palazzo dei Normanni. In 1428 king Alphonse gave to a Jewish community the quarter that still today is called "Giudea". Under Carles V in 1535 Calascibetta was given as a fiefdom to Ludovico Vernagallo, but the town collected the funds necessary to buy back its independence, which the emperor granted, along with exemption from custom duties. Again in 1668 the town had to ransom its independence with Charles II of Spain, who granted Calascibetta the title of "Fidelissima". The parish church of San Pietro and Santa Maria Maggiore, with an inscription along the left side of the main portal, declaring the origin of the town: "Rogerius comes et templi fundator et urbis" (=count Roger founder of both the church and the town). The church hosts an invaluable collection of art works, as well as a treasury with ancient items and relic holders. The church of Maria Santissima del Carmelo, inside which there is a fine marble sculpture, The Annunciation, the work of Antonello Gagini.
Calascibetta è un comune italiano di 4.629 abitanti della provincia di Enna in Sicilia.Calascibetta dista 6 km da Enna, 39 km da Caltanissetta e 111 km da Agrigento. È situata sui monti Erei, in una zona collinare interna; sullo spartiacque fra i bacini dei fiumi Simeto e Imera Meridionale. È posta a 619 metri sopra il livello del mare.Il nome Calascibetta deriva dall'arabo "Qalat-sciabat" che significa "il castello sulla vetta" a sottolineare la particolare posizione geografica del paese. Fu abitata già in epoca antichissima, come testimoniano le necropoli della Calcarella (XI-X secolo a.C.), di Realmese (con tombe dei secoli IX e VIII secolo a.C.), di valle coniglio (sec. X-VII a.C.) e di Malpasso (età del rame).Frequentata in epoca bizantina come attestano documenti ottocenteschi relativi a grotte basiliane affrescate, abitata in periodo arabo, come lo stesso nome suggerisce, Calascibetta, dopo la conquista normanna dell'isola appare menzionata nel 1062, quando fu fortificata da Ruggero I, che fece costruire il primo borgo, durante l'assedio di Castrogiovanni, e il grande duomo dedicandolo alla Vergine e San Pietro. In seguito rimasta città demaniale, conosce un periodo di ineguagliato splendore, favorita e preferita come fu dai re aragonesi, tra cui Pietro II che durante un soggiorno vi spirò, che la dotarono, sull'esempio dei normanni, di templi e monumenti.La Necropoli di Realmese è un sito archeologico presso Calascibetta. Questo sito è una necropoli con circa trecento tombe a "grotticella" molto particolari, risalenti al periodo compreso tra il IX e l'VIII secolo a.C.Per trovarlo ci sono molte indicazioni stradali però non è molto facile raggiungerlo a causa dell'orografia del territorio circostante.
Nº 38.
Volkswagen Golf GTI Mk2 (1984).
Escala 1/43.
"Les Classiques de L´Automobile" - Editions Hachette / Auto Plus (France).
Ixo.
Año 2011.
More info: cntrois.over-blog.com/article-kiosques-doc-classiques-de-...
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Les Classiques de L´Automobile
Hachette-Auto Plus
(...) "La série a commencée a être distribuée à partir de février 2010, c'est la Citroën DS 19 Pallas de 1965 produite par Ixo Models qui commence le défilé des automobiles classique de cette collection.
Les miniatures sont réalisées en métal et matière plastique, les moules et matrices de productions proviennent du fond d'Ixo Models déjà mainte fois utilisé, ce qui fait que l'on retrouve dans cette collection de nombreuses miniatures identiques à celles déjà proposées dans d'autres collections distribuées en france, avec leurs qualités, mais aussi et surtout avec leurs défauts non corrigés." (...)
Source: genieminiature.com/Les%20classiques%20automobile%20%20Aut...
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Volkswagen Golf GTI Mk II (1984)
"Este modelo bautizado como Golf GTI Mk II, seguía las mismas líneas de su predecesor con un motor de 112 CV y la ya famosa insignia GTI en la parrilla.
Con solo ocho años de vida, había pasado de ser un recién llegado, a ser todo un icono en el mundo de los coches.
Más tarde Volkswagen introdujo un catalizador para reducir la emisión de gases iba a perjudicar al GTI, haciéndole descender de 112 a 107 CV.
Dos años más tarde, Volkswagen compensó la potencia reducida en el Mk II con un nuevo propulsor de 16 válvulas que entregaba 129 CV aún con catalizador.
Ya en 1990, se presentó el Golf GTI G60, que incluía un sobrecargador G-Lader que aumentaba la potencia hasta los 160 CV."
Fuente: www.revistadelmotor.es/2016/05/06/volkswagen-golf-gti-gen...
Cronología VW Golf GTI II
"1984. Segunda generación del Volkswagen Golf GTI. Motor 1.8 de 112 CV.
1984. Introducción del motor 1.8 de 107 CV con catalizador. No estuvo a la venta en España.
1985. Actualización. Doble faro y doble salida de escape.
El primer GTI II, con faro simple y muy similar a la primera generación, no llegó al mercado español (únicamente estuvo a la venta esta segunda versión).
1986. Lanzamiento del Volkswagen Golf GTI 16V. Motor 1.8 de 129 ó 139 CV. La versión menos potente, que llevaba catalizador, no estuvo a la venta en España.
1990. Lanzamiento del Volkswagen Golf GTI G60. Motor 1.8 de 160 CV."
Fuente: www.km77.com/reportajes/historia/volkswagen/golfgti/t01.asp
More info:
noticias.coches.com/noticias-motor/la-historia-del-exitos...
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Volkswagen Golf Mk2
From Wikipedia, the free encyclopedia
"The Volkswagen Golf Mk2 is a compact car, the second generation of the Volkswagen Golf and the successor to the Volkswagen Golf Mk1.
It was Volkswagen's volume seller from 1983 and remained in (German) production until late 1992.
The Mk2 was larger than the Mk1; its wheelbase grew slightly (+ 75 mm (3.0 in)), as did exterior dimensions (length + 180 mm (7.1 in), width + 55 mm (2.2 in), height + 5 mm (0.2 in)). Weight was up accordingly by about 120 kg (260 lb). Exterior design, developed in-house by VW design director Schäfer, kept the general lines of its Giugiaro-designed predecessor, but was slightly more rounded.
All told, about 6.3 million second-generation Golfs were built."
(...)
"The second-generation Volkswagen Golf (also known as the Typ 19E until the 1991 model year, and Typ 1G thereafter) was launched in Europe at the Frankfurt Motor Show in September 1983, with sales beginning in its homeland and most other left-hand drive markets soon after.
It debuted in March 1984 on the right-hand drive British market, and it was introduced as a 1985 model in the US.
It featured a larger bodyshell, and a wider range of engine options, including a GTD turbodiesel (in Euro markets, later using the 1.6 "umwelt" (ECO) diesel engine), a DOHC 1781 cc (1.8) 16-valve version of the straight-four GTI (as well as the tried and tested 1781cc (1.8) 8v GTI), the supercharged 8v "G60" with front- and four-wheel drive options, and a racing homologated variant of this, the "Rallye Golf".
(...)
"In 1985, British motoring magazine What Car? awarded the Golf Mk2 1985 "Car of the Year". It sold well in Britain, peaking in 1989 with well over 50,000 sales as the 11th best selling car, and most popular foreign car.
However, the Golf was overshadowed in the 1984 European Car of the Year contest, finishing third but being heavily outscored by the victorious Fiat Uno and runner-up Peugeot 205, which were similar in size to Volkswagen's smaller Polo.[
During the life of the Golf MK2, there were a number of external style revisions.
Notable changes to the looks of the Golf MK2 included the removal of quarterlight windows in the front doors, and the introduction of larger grille slats with the August 1987 facelift. The most notable was the introduction of so-called "Big Bumpers", which were introduced in the European market with an August 1989 facelift. They were available in the US from August 1989 as well, as part of the "Wolfsburg Edition" package. They were not standardized until January 1990."
(...)
"The MK2 Golf remained in production until the launch of the MK3 model in August 1991. Continental sales began that autumn, but the MK3 did not take over from the MK2 on the right-hand drive British market until February 1992."
(...)
Golf GTI & GTI 16v
"The successful Golf GTI (or, in the USA, simply "GTI") was continued with the Mk2 as a sporty 3- or 5-door hatchback.
Like late Mk1 GTIs, it featured a fuel-injected 1.8 litre four developing 112 PS (82 kW; 110 hp).
In 1986 (1987 for North America) a Golf GTI 16V was introduced; here the 1.8 litre engine put out 139 PS (102 kW; 137 hp) (or 129 PS (95 kW; 127 hp) for the catalyst version) and the model was marked by discreet red and black "16v" badges front and rear.
US/Canadian GTIs were later equipped with 2.0 16 valve-engines, available in the Passat and Corrado outside North America.
In 1990, like the Golf, the GTI was given a facelift, and the "Big Bumper" became standard on all GTIs. This was maintained through the rest of the Mk2 model era.
In 1990 the GTi G60 was also introduced featuring the 8v 1.8 with a G60 supercharger this version is not to be confused with the very rare G60 Limited."
(...)
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Volkswagen Golf Mk2 (19E)
Manufacturer
Volkswagen
Production
6.3 million units
1983-1992
Assembly
Wolfsburg, Germany,
Brussels, Belgium,
TAS Sarajevo, Yugoslavia,
New Stanton, Pennsylvania, United States
Puebla, Puebla, Mexico
Uitenhage, South Africa,
Graz, Austria, ( Golf Country only),
Class
Small family car (C)
Body style
3-door hatchback,
5-door hatchback
Layout
Front engine, front-wheel drive / four-wheel drive
Platform
Volkswagen Group A2 platform
Related
Volkswagen Jetta
Volkswagen Corrado
SEAT Toledo Mk1
Engine
1.3 L EA111 I4
1.6L EA827 I4
1.8L EA827 I4
1.8L G60 I4
2.0L EA827 I4
1.6L EA827 I4 diesel
1.6L EA827 I4 turbodiesel
Electric motor
Transmission
4-speed manual
5-speed manual
3-speed automatic
Dimensions
Wheelbase
2,470 mm (97.2 in)
Length
3,985 mm (156.9 in)−4,054 mm (159.6 in)
Width
1,665–1,700 mm (65.6–66.9 in)
Height
1,415 mm (55.7 in)
Curb weight
910–1,245 kg (2,006–2,745 lb)
Chronology
Predecessor
Volkswagen Golf Mk1
Successor
Volkswagen Golf Mk3
Nº 38.
Volkswagen Golf GTI Mk2 (1984).
Escala 1/43.
"Les Classiques de L´Automobile" - Editions Hachette / Auto Plus (France).
Ixo.
Año 2011.
More info: cntrois.over-blog.com/article-kiosques-doc-classiques-de-...
--------------------------------------------------------------------------------------
Les Classiques de L´Automobile
Hachette-Auto Plus
(...) "La série a commencée a être distribuée à partir de février 2010, c'est la Citroën DS 19 Pallas de 1965 produite par Ixo Models qui commence le défilé des automobiles classique de cette collection.
Les miniatures sont réalisées en métal et matière plastique, les moules et matrices de productions proviennent du fond d'Ixo Models déjà mainte fois utilisé, ce qui fait que l'on retrouve dans cette collection de nombreuses miniatures identiques à celles déjà proposées dans d'autres collections distribuées en france, avec leurs qualités, mais aussi et surtout avec leurs défauts non corrigés." (...)
Source: genieminiature.com/Les%20classiques%20automobile%20%20Aut...
------------------------------------------------------------------------------------------------
Volkswagen Golf GTI Mk II (1984)
"Este modelo bautizado como Golf GTI Mk II, seguía las mismas líneas de su predecesor con un motor de 112 CV y la ya famosa insignia GTI en la parrilla.
Con solo ocho años de vida, había pasado de ser un recién llegado, a ser todo un icono en el mundo de los coches.
Más tarde Volkswagen introdujo un catalizador para reducir la emisión de gases iba a perjudicar al GTI, haciéndole descender de 112 a 107 CV.
Dos años más tarde, Volkswagen compensó la potencia reducida en el Mk II con un nuevo propulsor de 16 válvulas que entregaba 129 CV aún con catalizador.
Ya en 1990, se presentó el Golf GTI G60, que incluía un sobrecargador G-Lader que aumentaba la potencia hasta los 160 CV."
Fuente: www.revistadelmotor.es/2016/05/06/volkswagen-golf-gti-gen...
Cronología VW Golf GTI II
"1984. Segunda generación del Volkswagen Golf GTI. Motor 1.8 de 112 CV.
1984. Introducción del motor 1.8 de 107 CV con catalizador. No estuvo a la venta en España.
1985. Actualización. Doble faro y doble salida de escape.
El primer GTI II, con faro simple y muy similar a la primera generación, no llegó al mercado español (únicamente estuvo a la venta esta segunda versión).
1986. Lanzamiento del Volkswagen Golf GTI 16V. Motor 1.8 de 129 ó 139 CV. La versión menos potente, que llevaba catalizador, no estuvo a la venta en España.
1990. Lanzamiento del Volkswagen Golf GTI G60. Motor 1.8 de 160 CV."
Fuente: www.km77.com/reportajes/historia/volkswagen/golfgti/t01.asp
More info:
noticias.coches.com/noticias-motor/la-historia-del-exitos...
-----------------------------------------------------------------------------------------------
Volkswagen Golf Mk2
From Wikipedia, the free encyclopedia
"The Volkswagen Golf Mk2 is a compact car, the second generation of the Volkswagen Golf and the successor to the Volkswagen Golf Mk1.
It was Volkswagen's volume seller from 1983 and remained in (German) production until late 1992.
The Mk2 was larger than the Mk1; its wheelbase grew slightly (+ 75 mm (3.0 in)), as did exterior dimensions (length + 180 mm (7.1 in), width + 55 mm (2.2 in), height + 5 mm (0.2 in)). Weight was up accordingly by about 120 kg (260 lb). Exterior design, developed in-house by VW design director Schäfer, kept the general lines of its Giugiaro-designed predecessor, but was slightly more rounded.
All told, about 6.3 million second-generation Golfs were built."
(...)
"The second-generation Volkswagen Golf (also known as the Typ 19E until the 1991 model year, and Typ 1G thereafter) was launched in Europe at the Frankfurt Motor Show in September 1983, with sales beginning in its homeland and most other left-hand drive markets soon after.
It debuted in March 1984 on the right-hand drive British market, and it was introduced as a 1985 model in the US.
It featured a larger bodyshell, and a wider range of engine options, including a GTD turbodiesel (in Euro markets, later using the 1.6 "umwelt" (ECO) diesel engine), a DOHC 1781 cc (1.8) 16-valve version of the straight-four GTI (as well as the tried and tested 1781cc (1.8) 8v GTI), the supercharged 8v "G60" with front- and four-wheel drive options, and a racing homologated variant of this, the "Rallye Golf".
(...)
"In 1985, British motoring magazine What Car? awarded the Golf Mk2 1985 "Car of the Year". It sold well in Britain, peaking in 1989 with well over 50,000 sales as the 11th best selling car, and most popular foreign car.
However, the Golf was overshadowed in the 1984 European Car of the Year contest, finishing third but being heavily outscored by the victorious Fiat Uno and runner-up Peugeot 205, which were similar in size to Volkswagen's smaller Polo.[
During the life of the Golf MK2, there were a number of external style revisions.
Notable changes to the looks of the Golf MK2 included the removal of quarterlight windows in the front doors, and the introduction of larger grille slats with the August 1987 facelift. The most notable was the introduction of so-called "Big Bumpers", which were introduced in the European market with an August 1989 facelift. They were available in the US from August 1989 as well, as part of the "Wolfsburg Edition" package. They were not standardized until January 1990."
(...)
"The MK2 Golf remained in production until the launch of the MK3 model in August 1991. Continental sales began that autumn, but the MK3 did not take over from the MK2 on the right-hand drive British market until February 1992."
(...)
Golf GTI & GTI 16v
"The successful Golf GTI (or, in the USA, simply "GTI") was continued with the Mk2 as a sporty 3- or 5-door hatchback.
Like late Mk1 GTIs, it featured a fuel-injected 1.8 litre four developing 112 PS (82 kW; 110 hp).
In 1986 (1987 for North America) a Golf GTI 16V was introduced; here the 1.8 litre engine put out 139 PS (102 kW; 137 hp) (or 129 PS (95 kW; 127 hp) for the catalyst version) and the model was marked by discreet red and black "16v" badges front and rear.
US/Canadian GTIs were later equipped with 2.0 16 valve-engines, available in the Passat and Corrado outside North America.
In 1990, like the Golf, the GTI was given a facelift, and the "Big Bumper" became standard on all GTIs. This was maintained through the rest of the Mk2 model era.
In 1990 the GTi G60 was also introduced featuring the 8v 1.8 with a G60 supercharger this version is not to be confused with the very rare G60 Limited."
(...)
---------------------------------------
Volkswagen Golf Mk2 (19E)
Manufacturer
Volkswagen
Production
6.3 million units
1983-1992
Assembly
Wolfsburg, Germany,
Brussels, Belgium,
TAS Sarajevo, Yugoslavia,
New Stanton, Pennsylvania, United States
Puebla, Puebla, Mexico
Uitenhage, South Africa,
Graz, Austria, ( Golf Country only),
Class
Small family car (C)
Body style
3-door hatchback,
5-door hatchback
Layout
Front engine, front-wheel drive / four-wheel drive
Platform
Volkswagen Group A2 platform
Related
Volkswagen Jetta
Volkswagen Corrado
SEAT Toledo Mk1
Engine
1.3 L EA111 I4
1.6L EA827 I4
1.8L EA827 I4
1.8L G60 I4
2.0L EA827 I4
1.6L EA827 I4 diesel
1.6L EA827 I4 turbodiesel
Electric motor
Transmission
4-speed manual
5-speed manual
3-speed automatic
Dimensions
Wheelbase
2,470 mm (97.2 in)
Length
3,985 mm (156.9 in)−4,054 mm (159.6 in)
Width
1,665–1,700 mm (65.6–66.9 in)
Height
1,415 mm (55.7 in)
Curb weight
910–1,245 kg (2,006–2,745 lb)
Chronology
Predecessor
Volkswagen Golf Mk1
Successor
Volkswagen Golf Mk3
A double sided supplement, printed on card and inserted into the July 1934 issue of the British Printer, a trade journal. Monotype were frequent advertisers in such journals and magazines.
This one deals with the economics of upgrading to Monotype machines following the Chancellor's, Neville Chamberlain, lowering of income tax. The reverse side looks at the versatility, such as in large size composition, available on the Monotype machine and the display matrices 'lending library' of typefaces the company maintained.
The cool thing about these ancient dot matrices is that they don't have diffusers. The dot “silos” are clear and you can see the somewhat crude construction, LED crystals and interconnects. Each dot is approx 1mm dia.
These LED's, unlike modern green LED's that emit green light directly, use GaAs infrared LEDs covered with anti-Stokes phosphor to produce green colour.
Nº 38.
Volkswagen Golf GTI Mk2 (1984).
Escala 1/43.
"Les Classiques de L´Automobile" - Editions Hachette / Auto Plus (France).
Ixo.
Año 2011.
More info: cntrois.over-blog.com/article-kiosques-doc-classiques-de-...
--------------------------------------------------------------------------------------
Les Classiques de L´Automobile
Hachette-Auto Plus
(...) "La série a commencée a être distribuée à partir de février 2010, c'est la Citroën DS 19 Pallas de 1965 produite par Ixo Models qui commence le défilé des automobiles classique de cette collection.
Les miniatures sont réalisées en métal et matière plastique, les moules et matrices de productions proviennent du fond d'Ixo Models déjà mainte fois utilisé, ce qui fait que l'on retrouve dans cette collection de nombreuses miniatures identiques à celles déjà proposées dans d'autres collections distribuées en france, avec leurs qualités, mais aussi et surtout avec leurs défauts non corrigés." (...)
Source: genieminiature.com/Les%20classiques%20automobile%20%20Aut...
------------------------------------------------------------------------------------------------
Volkswagen Golf GTI Mk II (1984)
"Este modelo bautizado como Golf GTI Mk II, seguía las mismas líneas de su predecesor con un motor de 112 CV y la ya famosa insignia GTI en la parrilla.
Con solo ocho años de vida, había pasado de ser un recién llegado, a ser todo un icono en el mundo de los coches.
Más tarde Volkswagen introdujo un catalizador para reducir la emisión de gases iba a perjudicar al GTI, haciéndole descender de 112 a 107 CV.
Dos años más tarde, Volkswagen compensó la potencia reducida en el Mk II con un nuevo propulsor de 16 válvulas que entregaba 129 CV aún con catalizador.
Ya en 1990, se presentó el Golf GTI G60, que incluía un sobrecargador G-Lader que aumentaba la potencia hasta los 160 CV."
Fuente: www.revistadelmotor.es/2016/05/06/volkswagen-golf-gti-gen...
Cronología VW Golf GTI II
"1984. Segunda generación del Volkswagen Golf GTI. Motor 1.8 de 112 CV.
1984. Introducción del motor 1.8 de 107 CV con catalizador. No estuvo a la venta en España.
1985. Actualización. Doble faro y doble salida de escape.
El primer GTI II, con faro simple y muy similar a la primera generación, no llegó al mercado español (únicamente estuvo a la venta esta segunda versión).
1986. Lanzamiento del Volkswagen Golf GTI 16V. Motor 1.8 de 129 ó 139 CV. La versión menos potente, que llevaba catalizador, no estuvo a la venta en España.
1990. Lanzamiento del Volkswagen Golf GTI G60. Motor 1.8 de 160 CV."
Fuente: www.km77.com/reportajes/historia/volkswagen/golfgti/t01.asp
More info:
noticias.coches.com/noticias-motor/la-historia-del-exitos...
-----------------------------------------------------------------------------------------------
Volkswagen Golf Mk2
From Wikipedia, the free encyclopedia
"The Volkswagen Golf Mk2 is a compact car, the second generation of the Volkswagen Golf and the successor to the Volkswagen Golf Mk1.
It was Volkswagen's volume seller from 1983 and remained in (German) production until late 1992.
The Mk2 was larger than the Mk1; its wheelbase grew slightly (+ 75 mm (3.0 in)), as did exterior dimensions (length + 180 mm (7.1 in), width + 55 mm (2.2 in), height + 5 mm (0.2 in)). Weight was up accordingly by about 120 kg (260 lb). Exterior design, developed in-house by VW design director Schäfer, kept the general lines of its Giugiaro-designed predecessor, but was slightly more rounded.
All told, about 6.3 million second-generation Golfs were built."
(...)
"The second-generation Volkswagen Golf (also known as the Typ 19E until the 1991 model year, and Typ 1G thereafter) was launched in Europe at the Frankfurt Motor Show in September 1983, with sales beginning in its homeland and most other left-hand drive markets soon after.
It debuted in March 1984 on the right-hand drive British market, and it was introduced as a 1985 model in the US.
It featured a larger bodyshell, and a wider range of engine options, including a GTD turbodiesel (in Euro markets, later using the 1.6 "umwelt" (ECO) diesel engine), a DOHC 1781 cc (1.8) 16-valve version of the straight-four GTI (as well as the tried and tested 1781cc (1.8) 8v GTI), the supercharged 8v "G60" with front- and four-wheel drive options, and a racing homologated variant of this, the "Rallye Golf".
(...)
"In 1985, British motoring magazine What Car? awarded the Golf Mk2 1985 "Car of the Year". It sold well in Britain, peaking in 1989 with well over 50,000 sales as the 11th best selling car, and most popular foreign car.
However, the Golf was overshadowed in the 1984 European Car of the Year contest, finishing third but being heavily outscored by the victorious Fiat Uno and runner-up Peugeot 205, which were similar in size to Volkswagen's smaller Polo.[
During the life of the Golf MK2, there were a number of external style revisions.
Notable changes to the looks of the Golf MK2 included the removal of quarterlight windows in the front doors, and the introduction of larger grille slats with the August 1987 facelift. The most notable was the introduction of so-called "Big Bumpers", which were introduced in the European market with an August 1989 facelift. They were available in the US from August 1989 as well, as part of the "Wolfsburg Edition" package. They were not standardized until January 1990."
(...)
"The MK2 Golf remained in production until the launch of the MK3 model in August 1991. Continental sales began that autumn, but the MK3 did not take over from the MK2 on the right-hand drive British market until February 1992."
(...)
Golf GTI & GTI 16v
"The successful Golf GTI (or, in the USA, simply "GTI") was continued with the Mk2 as a sporty 3- or 5-door hatchback.
Like late Mk1 GTIs, it featured a fuel-injected 1.8 litre four developing 112 PS (82 kW; 110 hp).
In 1986 (1987 for North America) a Golf GTI 16V was introduced; here the 1.8 litre engine put out 139 PS (102 kW; 137 hp) (or 129 PS (95 kW; 127 hp) for the catalyst version) and the model was marked by discreet red and black "16v" badges front and rear.
US/Canadian GTIs were later equipped with 2.0 16 valve-engines, available in the Passat and Corrado outside North America.
In 1990, like the Golf, the GTI was given a facelift, and the "Big Bumper" became standard on all GTIs. This was maintained through the rest of the Mk2 model era.
In 1990 the GTi G60 was also introduced featuring the 8v 1.8 with a G60 supercharger this version is not to be confused with the very rare G60 Limited."
(...)
---------------------------------------
Volkswagen Golf Mk2 (19E)
Manufacturer
Volkswagen
Production
6.3 million units
1983-1992
Assembly
Wolfsburg, Germany,
Brussels, Belgium,
TAS Sarajevo, Yugoslavia,
New Stanton, Pennsylvania, United States
Puebla, Puebla, Mexico
Uitenhage, South Africa,
Graz, Austria, ( Golf Country only),
Class
Small family car (C)
Body style
3-door hatchback,
5-door hatchback
Layout
Front engine, front-wheel drive / four-wheel drive
Platform
Volkswagen Group A2 platform
Related
Volkswagen Jetta
Volkswagen Corrado
SEAT Toledo Mk1
Engine
1.3 L EA111 I4
1.6L EA827 I4
1.8L EA827 I4
1.8L G60 I4
2.0L EA827 I4
1.6L EA827 I4 diesel
1.6L EA827 I4 turbodiesel
Electric motor
Transmission
4-speed manual
5-speed manual
3-speed automatic
Dimensions
Wheelbase
2,470 mm (97.2 in)
Length
3,985 mm (156.9 in)−4,054 mm (159.6 in)
Width
1,665–1,700 mm (65.6–66.9 in)
Height
1,415 mm (55.7 in)
Curb weight
910–1,245 kg (2,006–2,745 lb)
Chronology
Predecessor
Volkswagen Golf Mk1
Successor
Volkswagen Golf Mk3
Campanile della Chiesa Madre ha due ordini di bifore gotiche di tipo chiaramontano e coronato da merli.
Si suppone sia stato fatto originariamente costruire come torre vedetta da Federico d'Aragona nel 1312 e solo successivamente sia stato adibito a campanile.
" Trapani group "
St Andrew, Westhall, Suffolk
I'm currently preparing a new page for Westhall at suffolkchurches.co.uk - I'm parking the old one here so it doesn't get lost forever.
Listen: come with me. We’ll set off from the Queen’s Head at Blyford, a fine and welcoming pub across the road from that village’s little church. Perhaps we’ll have just had lunch, and we’ll be sitting outside with a couple of pints of Adnams. You’d like to stay there in the sunshine for the rest of the afternoon, but I’m going to take you somewhere special, so stir yourself. You are probably thinking it is Holy Trinity at Blythburgh, Suffolk’s finest church a couple of miles away on the main A12. But it isn’t.
Nor is it St Andrew at Wenhaston, a mile away across the bridge, and home of the Doom, one of Suffolk’s greatest medieval art treasures. You’ve already seen that.
No. Within a few miles of the pub sign (notice that it features St Etheldreda, whose father King Anna was killed in battle on the Blyth marshes) there is a third of Suffolk’s finest churches. It is the least known of the three, partly because it is so carefully hidden, so secreted away, and partly because Simon Jenkins, inconceivably, unforgivably, missed it out of his book England’s Thousand Best Churches.This may yet have serious consequences, as we shall see.
Blyford is on the main road between Halesworth and Dunwich, but we are going to take a narrow lane that you might almost miss if you weren’t with me. It leads northwards, and is quickly enveloped by oak-buttressed hedgerows, beyond which thin fields spread. Pheasants scuttle across the road in front of us; a hare watches warily for a moment before kicking sulkily back into the ditch (we are on foot perhaps, or bicycle). Occasional lanes thread off towards the woods and the sea.
After a couple of miles, we reach the obscenity of a main road, and cross it quickly, leaving it behind us. Now, the lane narrows severely, the banks steepening, trees arching above us. They guard the silence, until our tunnel doglegs suddenly, and an obscure stream appears beyond the hedgerow. Once, on a late winter afternoon, my dream was disturbed here by a startled heron rising up, its bony legs clacking dryly as it took flight over my head. I felt the rush of its wings.
This road was not designed for cars. Instead, it traces the ancient field pattern, cutting across the ends of strips and then along the sides, connecting long-vanished settlements. The lane splits (we take the right fork) and splits again (the left) and suddenly we are descending steeply into a secret glade shrouded in ancient tree canopies. The lane curves, narrows and opens – and here we are. Still, you might not notice it, because the church is still camouflaged by the trees, and the absurdity of the neighbouring bungalow with its kitschy garden may distract you; but to your right, in a silent velvet graveyard sits St Andrew, Westhall. It has been described in one book as Suffolk’s best kept secret.
I hope that I can convey to you something of why this place is so special. Firstly, notice the unusual layout of the building as you walk around it. That fine late 13th century tower, not too high despite its post-Reformation bell-stage, organic and at one with the trees; the breathtaking little Norman church that spreads to the east of it. And then, to the north, a large 13th century nave, thatched and rustic. It was designed for this graveyard, for this glade. Neither has changed much. Beyond it, the grand 14th century chancel, rudely filling almost the entire east end of the graveyard. Perhaps as we step around to the north side the same thing will happen as happened to me one muggy Saturday afternoon in July 2003 – a tawny owl sat watching me on a headstone, and then threw itself furiously into the air and away.
Your first thought may be that here we have two churches joined together – and this is almost exactly right. You can see the same thing on a similar timescale at Ufford, although the development there is rather more subtle than it is here.
Here at Westhall, there was a Norman church – an early one. Several hundred years later a tower was built to the west of it, and then the vast new nave to the north. A hundred years later came the chancel. Perhaps the east end of the Norman church was rebuilt at this time. Mortlock thinks that there was once a Norman chancel, and this may be so. The old church became a south aisle, the particular preserve perhaps of the Bohun family. They married into the famous Coke family, who we have already met at nearby Bramfield.
And so, we step inside. We may do so through the fine north porch; it is a wide, open one, clearly intended for the carrying out of parish business. It was probably the last substantial part of the church to be built, on the eve of the Reformation. The door appears contemporary. Or, I might send you round to step in through the Norman doorway on the south side, into the body of the original church.
You expect dust and decay, perhaps, in such a remote place. But this is a well-kept church, lovingly maintained and well-used. Although there are a couple of old benches scattered about, most of the seating is early 19th century, with that delightful cinema curve to the western row which was fashionable immediately before the Oxford Movement and the Camden Society sent out their great resacramentalising waves, and English churches were never the same again.
If you step in from the south, then you are immediately confronted with something so stunning, so utterly wonderful, that we are going to pretend you cannot believe your eyes, and you pass it by. Instead, draw back the curtain, and step into the space beneath the tower. Walk to the western wall, and turn back.
You are confronted with the main entrance of a grand post-conquest church, probably about 1100. Surviving faces in the unfinished ranges look like something out of Wallace and Grommit. Above, an arcade of windows, the central one open. Almost a thousand years ago, it would have thrown summer evening light on the altar.
As you step back into the aisle, it is now easy to see it as the nave it once was. The northern wall has now gone, replaced by a low arcade, and you step through into the wideness of the modern (it is only 600 years old!) nave.
Here, then, let us at last allow ourselves an exploration of Suffolk’s other great medieval art survival. This is Westhall’s famous font, one of the seven sacrament series, but more haunting than all the others because it still retains almost all its original colour.
The Mass panel is the most familiar, because it is the cover of Eamonn Duffy’s majestic The Stripping of the Altars. The other panels, anti-clockwise from this, are Last Rites, Reconciliation, Matrimony, Confirmation, Baptism, Ordination, and the odd panel out, the Baptism of Christ.
The font asks more questions than it answers. How did it survive? Suffolk has 13 Seven Sacrament fonts in various states of repair. Those nearby at Blythburgh, Wenhaston and Southwold are clearly from the same group as this one, but have been completely effaced. Other good ones survive nearby at Weston and Great Glemham, at Monk Soham, at neighbours Woodbridge and Melton, neighbours Cratfield and Laxfield, at Denston in the south west and at Badingham. We don’t know how many others there might have been; probably not many, for most East Anglian churches have a surviving medieval font of another design. The surviving panels were probably plastered over during the long puritan night (the damage to the figures is probably a result of making the faces flush rather than any attempt at iconoclasm) but they were also all probably once coloured. So why has only this one survived in that state?
The other feature of the font that is quite, quite extraordinary is the application of gessowork for the tabernacled figures between the faces. This is plaster of Paris which is moulded on and allowed to dry – it can then be carved. It is sometimes used on wood to achieve fine details, but rarely on stone. Was it once found widely elsewhere? How has it survived here?
If it was just for the font, then St Andrew would still be an essential destination for anyone interested in medieval churches. But there are several other features that, in any other church, would be considered equally essential.
There is the screen. It is a bit of a curiosity. Firstly, the two painted ranges are clearly the work of different artists. On the south side are female Saints, very similar in style to those on the screen at Ufford. The artists helpfully labelled them, and they are St Etheldreda (the panel bearing her left half has been lost) St Sitha, St Agnes, St Bridget, St Catherine, St Dorothy, St Margaret of Aleppo and finally one of the most essential Saints in the medieval economy of grace, St Apollonia - she it was who could be asked to intercede against toothache. With the possible exception of St Margaret, modern Anglicans would think of all of these as peculiarly Catholic Saints, a reminder that St Andrew was built, after all, as a Catholic church.
The depictions on the northern part of the screen are much simpler (Pevsner thought them crude) and are probably painted by a local artist. Note the dedicatory inscription along the top on this side; it is barely legible, but the names Margarete and Tome Felton and Richard Lore and Margaret Alen are still discernible. I think the figures on this screen are equally fascinating, if not more so. They are all easily recognisable, and are fondly rendered. With one remarkable exception, they are familiar to us from many popular images.
The first is Saint James in his pilgrim's garb, as if about to set out for Santiago de Compostella. The power of such an image to medieval people in a backwater like north-east Suffolk should not be underestimated. Next comes St Leonard, associated with the Christian duty of visiting prisoners - perhaps this had a local resonance. Thirdly, there is a triumphant St Michael, one of the major Saints of the late medieval panoply, and then St Clement, the patron Saint of seafarers. This is interesting, because although Westhall is a good six miles from the sea, it is much closer to the Blyth river, which was probably much wider and faster in medieval times. It seems strange to think of Westhall as having a relationship with the sea, but it probably did.
Next comes the remarkable exception. The next three panels represent between them the Transfiguration; Christ on a mountain top between the two figures of Moses and Elijah. It is the only surviving medieval screen representation of the Transfiguration in England. Eamonn Duffy, in The Stripping of the Altars, argues that here at Westhall is priceless evidence of the emergence of a new cult on the eve of the Reformation, which would snuff it out. Another representation survived in a wall painting at Hawkedon, but has faded away during the last half century.
The last panel is St Anthony of Egypt, recognisable from the dear little pig at his feet. I wonder if it was painted from the life.
There is a fascinating wall painting against the north wall. It shows St Christopher, as you might expect. St Christopher was a special devotion in the hearts of medieval churchgoers, and usually sits opposite the main entrance so that they could look in at the start of the day and receive his blessing. As a surviving inscription at Creeting St Peter reminds us, anyone who looks on the image in the morning would be spared a sudden death that day. It is the other figures in the illustration that are remarkable, though, for one of them is clearly Moses, wearing his ‘horns of light’ (an early medieval mistranslation of ‘halo’).
There are a couple of other wall-paintings, including a beautiful flower-surrounded consecration cross beside the south door, and a painted image niche alcove in the eastern splay of a window in the south wall. This is odd; it should have a figure in it, but none appears to have been painted there. Perhaps it was intended to have a statue placed in front of it, but the window sill is very steep, and it is hard to see how a statue could have been positioned there. DD surmised that there had once been a stand, the base of which was canted in some manner, and that the sill had once been less steep (the base of the painting seems to suggest this). Whatever, it is very odd.
Between the painted niche and consecration cross there are surviving traces of a large painting; it seems to consist of the leafy surrounds of seven large roundels. Mortlock wondered if it might have been a sequence of the Seven Works of Mercy as at Trotton in Sussex, but there is insufficient remaining to tell.
Nicholas Bohun's tomb, in very poor repair, sits in the south-east corner; an associated brass gives you rather more information than you might think you need. A George III royal arms hangs above.
If you haven't lost your appetite for the extraordinary, come back up into the apparently completely Victorianised chancel. Chalice brasses are incredibly rare, because of their Catholic imagery. Westhall had two of them, although unfortunately only the matrices survive. Then, look up; on one of the roof beams is an image of the Holy Trinity, with God the Father holding the Crucified Christ between his knees. There is probably a dove as well, although that is not visible from the ground. Indeed, the whole thing is too small, as if the artist hadn't really thought about the scale needed for it to be seen from the chancel floor.
So there we are, I've let you in on Suffolk's best-kept secret. But I said earlier that I was afraid Simon Jenkins’s omission of this church might have serious consequences. Here is why: there is an ongoing programme of essential repairs, and the church has had to raise tens of thousands of pounds at fairly short notice. The parish has less than a hundred people living in it, and the congregation is barely in double figures. The church is clearly a national treasure, and its continued survival is essential; but it is difficult to convince people of this, because it has been missed out of what is increasingly being treated as a heritage wish-list. It was bad enough that Pevsner’s books were used as arbiters of what should survive when redundancies loomed in the 1970s; it would be appalling if the Jenkins book was used in the same way now.
Isabel Fernández Echavarría; Crossroad; 2016
Chile
Isabel’s work is marked by processes which involve a high level of manufacture. Those crafts that generate an oeuvre from a matrix move Isabel deeply; when touched, no result equals the other. Within the image generation, is a trait imposed by silence, intimacy and time; inviting the soul of people, things and places to emerge.
The theme inspired ideas of strong lines, coinciding with ongoing experimentation creating matrices without classic photographic negatives. Connection to the I Ching was immediate, as its strips were of fascination for their graphic impact and their enigmatic meanings. Aymara constellations were a way to reveal and hide, as life reveals and hides our possibilities.
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9 years ... (!) ... I had to wait nine years to relive the excitement of reviewing this imaginative very particular Sicilian popular feast of Fiumedinisi town (Messina): the Sicilian town celebrates it in honor of Her patron saint Virgin Mary Annunciated; Fiumedinisi celebrated it last time in 2007, fortunately I was there and I realized a small report I posted on Flickr. This is a report about the feast of August 14, 2016: it takes place in two stages along an almost straight path that joins two churches, road called precisely '' the road of float" (the same path is achieved by kneeling worshipers during the mystical procession called "of kneelings" or even understood as "travels", that this year, unlike the other editions, was made just the previous evening of this long-awaited edition, also this procession "of kneeling" I described here on Flickr). Initially the Float Feast was celebrated in Fiumedinisi on March 25, when there is the ricorrence of the religious feast of the Annunciation of the Lord, only towards the end of the nineteenth century the feast was moved to August to allow so many emigrants to took part to it. The living float of Fiumedinisi is a heavy votive machine built in wood and iron that is carried on the shoulders of about 150 men (Its curb weight is around 2.8 tons, 12 meters long and 8 meters high), three children take place on it, they personify the Eternal Father, the Archangel Gabriel and the Blessed Virgin Mary, in addition to the archpriest of Fiumedinisi, the bishop of Messina, and other devotees also they have the role of monitoring-reassure very young children who play the role of Angels. The feast of the Annunciation of the Virgin Mary, patron saint of Fiumedinisi, founded in the sixteenth century during the Spanish rule, then it consists of a first part with participants don't wear traditional clothes, which takes place starting around 11:00 am, begins from the square in front of the twelfth-century Sanctuary dedicated to the Virgin Mary Annunciated, to arrive in a little square in front of the church of St. Peter; then in the early afternoon, always along the same path, there is a second part with all devotees who wear the traditional dresses. When all have taken their places, three hammer blows kick off at the start, the very big-heavy float is carried on the shoulder of devotees, while people waving handkerchiefs as he passed; the representation finds its maximum intensity, and closes with a song dialect of great beauty and sweetness, in an atmosphere of complete silence, handed down for centuries, in the form of "dialogue" between the Blessed Virgin Mary and the Archangel Gabriel who is announcing to Mary with his sweet song about the mistery of Conception of Son of God, he is kneeling and gives Her the lily, in memory of the purity that Mary will not never lose (iconography that we find in Sacred Representations).
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9 anni…(!)… ho dovuto aspettare ben 9 anni per rivivere l’emozione di rivedere la immaginifica festa popolare e religiosa Siciliana che la cittadina di Fiumedinisi (Messina) celebra in onore della sua patrona Maria Santissima Annunziata: 9 anni infatti sono passati dall’ultima volta che Fiumedinisi celebrò questa sua festa, io c’ero e vi realizzai un piccolo report che postai qui su Flickr. Questo è un report della festa, realizzata quest’anno il 14 Agosto 2016: essa si svolge in due tempi con “una andata ed un ritorno” lungo un percorso quasi rettilineo che unisce due chiese, chiamata appunto “strada ‘a vara” (lo stesso percorso viene realizzato in ginocchio dai fedeli durante quella processione mistica chiamata “degli inginocchiati” od anche intesa come “i viaggi”, che quest’anno, a differenza delle altre edizioni, è stata realizzata proprio la sera precedente di questa tanto attesa edizione, anche questa processione “degli inginocchiati” ho descritto in un passato post qui su Flickr). Inizialmente la Festa della Vara veniva celebrata a Fiumedinisi il 25 marzo, proprio in concomitanza con la ricorrenza religiosa dell'Annunciazione del Signore, soltanto verso al fine del XIX secolo la Festa venne spostata ad agosto per consentire ai tanti emigrati di prendevi parte. La Vara di Fiumedinisi è una pesantissima macchina votiva costruita in legno e ferro che viene portata in spalla da circa 150 uomini (Il suo peso a vuoto si aggira intorno alle 2,8 tonnellate, lunga m 12 e alta m 8), su di essa prendono posto tre bambini tra i 10 e i 14 anni che impersonano il Padre Eterno, l'Arcangelo Gabriele e la Vergine Maria, oltre all'arciprete di Fiumedinisi, al vescovo di Messina, ed altri devoti che hanno anche il compito di sorvegliare-rassicurare i giovanissimi bimbi che rivestono il ruolo di Angioletti. La festività dell’Annunciazione di Maria Vergine, patrona di Fiumedinisi, istituita nel XVI secolo durante la dominazione spagnola, si compone quindi di una “andata” senza che i partecipanti indossano gli abiti tradizionali, partenza che avviene attorno alle ore 11,00, inizia dalla piazza antistante il Santuario del XII secolo dedicato alla Madonna Annunziata, per giungere nel largo posto davanti la chiesa di San Pietro; poi nel primo pomeriggio, sempre lungo lo stesso percorso vi è un “ritorno con tutti i devoti che, questa volta, indossano gli abiti tradizionali, i portatori sono completamente vestiti di bianco e scalzi, mentre Maria, l’Arcangelo Gabriele ed il Padre Eterno vestono i loro caratteristici costumi. Quando tutti hanno preso posto, ecco che tre colpi di martello danno il via alla partenza, l’enorme vara viene portata in spalla alla volta della chiesa Matrice, mentre la gente sventola fazzoletti al suo passaggio; la rappresentazione trova la sua massima intensità, e si chiude, con un canto dialettale di grande suggestione e dolcezza, in un contesto di assoluto silenzio, tramandato da secoli, in forma di “dialogo” tra la Beata Vergine Maria e l’Arcangelo Gabriele, il quale dopo aver annunciato a Maria col suo dolcissimo canto del concepimento del Figlio dell'Altissimo, inginocchiandosi le porge il giglio, in ricordo della purità che Maria non perderà (iconografia che ritroviamo nelle Sacre Rappresentazioni).
La Real Chiesa Matrice Insigne Collegiata, better known as Real Duomo or Duomo di Erice. It was built in 1312.
But the interior of this 14C church was extensively remodeled in the neo-Gothic form in the 19C after a collapse of the roof.
Erice, Sicily. 2018
Nº 38.
Volkswagen Golf GTI Mk2 (1984).
Escala 1/43.
"Les Classiques de L´Automobile" - Editions Hachette / Auto Plus (France).
Ixo.
Año 2011.
More info: cntrois.over-blog.com/article-kiosques-doc-classiques-de-...
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Les Classiques de L´Automobile
Hachette-Auto Plus
(...) "La série a commencée a être distribuée à partir de février 2010, c'est la Citroën DS 19 Pallas de 1965 produite par Ixo Models qui commence le défilé des automobiles classique de cette collection.
Les miniatures sont réalisées en métal et matière plastique, les moules et matrices de productions proviennent du fond d'Ixo Models déjà mainte fois utilisé, ce qui fait que l'on retrouve dans cette collection de nombreuses miniatures identiques à celles déjà proposées dans d'autres collections distribuées en france, avec leurs qualités, mais aussi et surtout avec leurs défauts non corrigés." (...)
Source: genieminiature.com/Les%20classiques%20automobile%20%20Aut...
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Volkswagen Golf GTI Mk II (1984)
"Este modelo bautizado como Golf GTI Mk II, seguía las mismas líneas de su predecesor con un motor de 112 CV y la ya famosa insignia GTI en la parrilla.
Con solo ocho años de vida, había pasado de ser un recién llegado, a ser todo un icono en el mundo de los coches.
Más tarde Volkswagen introdujo un catalizador para reducir la emisión de gases iba a perjudicar al GTI, haciéndole descender de 112 a 107 CV.
Dos años más tarde, Volkswagen compensó la potencia reducida en el Mk II con un nuevo propulsor de 16 válvulas que entregaba 129 CV aún con catalizador.
Ya en 1990, se presentó el Golf GTI G60, que incluía un sobrecargador G-Lader que aumentaba la potencia hasta los 160 CV."
Fuente: www.revistadelmotor.es/2016/05/06/volkswagen-golf-gti-gen...
Cronología VW Golf GTI II
"1984. Segunda generación del Volkswagen Golf GTI. Motor 1.8 de 112 CV.
1984. Introducción del motor 1.8 de 107 CV con catalizador. No estuvo a la venta en España.
1985. Actualización. Doble faro y doble salida de escape.
El primer GTI II, con faro simple y muy similar a la primera generación, no llegó al mercado español (únicamente estuvo a la venta esta segunda versión).
1986. Lanzamiento del Volkswagen Golf GTI 16V. Motor 1.8 de 129 ó 139 CV. La versión menos potente, que llevaba catalizador, no estuvo a la venta en España.
1990. Lanzamiento del Volkswagen Golf GTI G60. Motor 1.8 de 160 CV."
Fuente: www.km77.com/reportajes/historia/volkswagen/golfgti/t01.asp
More info:
noticias.coches.com/noticias-motor/la-historia-del-exitos...
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Volkswagen Golf Mk2
From Wikipedia, the free encyclopedia
"The Volkswagen Golf Mk2 is a compact car, the second generation of the Volkswagen Golf and the successor to the Volkswagen Golf Mk1.
It was Volkswagen's volume seller from 1983 and remained in (German) production until late 1992.
The Mk2 was larger than the Mk1; its wheelbase grew slightly (+ 75 mm (3.0 in)), as did exterior dimensions (length + 180 mm (7.1 in), width + 55 mm (2.2 in), height + 5 mm (0.2 in)). Weight was up accordingly by about 120 kg (260 lb). Exterior design, developed in-house by VW design director Schäfer, kept the general lines of its Giugiaro-designed predecessor, but was slightly more rounded.
All told, about 6.3 million second-generation Golfs were built."
(...)
"The second-generation Volkswagen Golf (also known as the Typ 19E until the 1991 model year, and Typ 1G thereafter) was launched in Europe at the Frankfurt Motor Show in September 1983, with sales beginning in its homeland and most other left-hand drive markets soon after.
It debuted in March 1984 on the right-hand drive British market, and it was introduced as a 1985 model in the US.
It featured a larger bodyshell, and a wider range of engine options, including a GTD turbodiesel (in Euro markets, later using the 1.6 "umwelt" (ECO) diesel engine), a DOHC 1781 cc (1.8) 16-valve version of the straight-four GTI (as well as the tried and tested 1781cc (1.8) 8v GTI), the supercharged 8v "G60" with front- and four-wheel drive options, and a racing homologated variant of this, the "Rallye Golf".
(...)
"In 1985, British motoring magazine What Car? awarded the Golf Mk2 1985 "Car of the Year". It sold well in Britain, peaking in 1989 with well over 50,000 sales as the 11th best selling car, and most popular foreign car.
However, the Golf was overshadowed in the 1984 European Car of the Year contest, finishing third but being heavily outscored by the victorious Fiat Uno and runner-up Peugeot 205, which were similar in size to Volkswagen's smaller Polo.[
During the life of the Golf MK2, there were a number of external style revisions.
Notable changes to the looks of the Golf MK2 included the removal of quarterlight windows in the front doors, and the introduction of larger grille slats with the August 1987 facelift. The most notable was the introduction of so-called "Big Bumpers", which were introduced in the European market with an August 1989 facelift. They were available in the US from August 1989 as well, as part of the "Wolfsburg Edition" package. They were not standardized until January 1990."
(...)
"The MK2 Golf remained in production until the launch of the MK3 model in August 1991. Continental sales began that autumn, but the MK3 did not take over from the MK2 on the right-hand drive British market until February 1992."
(...)
Golf GTI & GTI 16v
"The successful Golf GTI (or, in the USA, simply "GTI") was continued with the Mk2 as a sporty 3- or 5-door hatchback.
Like late Mk1 GTIs, it featured a fuel-injected 1.8 litre four developing 112 PS (82 kW; 110 hp).
In 1986 (1987 for North America) a Golf GTI 16V was introduced; here the 1.8 litre engine put out 139 PS (102 kW; 137 hp) (or 129 PS (95 kW; 127 hp) for the catalyst version) and the model was marked by discreet red and black "16v" badges front and rear.
US/Canadian GTIs were later equipped with 2.0 16 valve-engines, available in the Passat and Corrado outside North America.
In 1990, like the Golf, the GTI was given a facelift, and the "Big Bumper" became standard on all GTIs. This was maintained through the rest of the Mk2 model era.
In 1990 the GTi G60 was also introduced featuring the 8v 1.8 with a G60 supercharger this version is not to be confused with the very rare G60 Limited."
(...)
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Volkswagen Golf Mk2 (19E)
Manufacturer
Volkswagen
Production
6.3 million units
1983-1992
Assembly
Wolfsburg, Germany,
Brussels, Belgium,
TAS Sarajevo, Yugoslavia,
New Stanton, Pennsylvania, United States
Puebla, Puebla, Mexico
Uitenhage, South Africa,
Graz, Austria, ( Golf Country only),
Class
Small family car (C)
Body style
3-door hatchback,
5-door hatchback
Layout
Front engine, front-wheel drive / four-wheel drive
Platform
Volkswagen Group A2 platform
Related
Volkswagen Jetta
Volkswagen Corrado
SEAT Toledo Mk1
Engine
1.3 L EA111 I4
1.6L EA827 I4
1.8L EA827 I4
1.8L G60 I4
2.0L EA827 I4
1.6L EA827 I4 diesel
1.6L EA827 I4 turbodiesel
Electric motor
Transmission
4-speed manual
5-speed manual
3-speed automatic
Dimensions
Wheelbase
2,470 mm (97.2 in)
Length
3,985 mm (156.9 in)−4,054 mm (159.6 in)
Width
1,665–1,700 mm (65.6–66.9 in)
Height
1,415 mm (55.7 in)
Curb weight
910–1,245 kg (2,006–2,745 lb)
Chronology
Predecessor
Volkswagen Golf Mk1
Successor
Volkswagen Golf Mk3
The Französische Antiqua typeface that Genzsch & Heyse and their E.J. Genzsch subsidiary sold was cast from matrices acquired from Paris. The French name for the original typeface is Série 16, produced at Laurent et Deberny. The original Série 16 punches were cut by Constant Aubert and Auguste Aubert. The site showing Berthe, ABYME’s revival of Série 16 mentions Jan Tschichold’s recommendation of the typeface in Die Neue Typografie:
“To my mind, looking at the modern romans, it is the unpretentious work of the anonymous type-designers that have best served the spirit of their age: Sorbonne, Nordische Antiqua, Französische Antiqua, and so on. These three typefaces and their derivatives are the best designs from the pre-war period. They are easily legible; they are also above all in a technical sense useful and free from personal idiosyncrasies – in the best sense of the word, uninteresting.”
Jan Tschichold, The New Typography: A Handbook for Modern Designers [1928] (Berkeley/Los Angeles/London: University of California Press, 1998), p 76.
As an aside, I find it rather funny that none of the typefaces Tschichold named in that passage are anonymous works. We know the designers for each of them.
These Französische Antiqua pages are scanned from E.J. Genzsch’s 1902 catalog. In the 1920s, Genzsch & Heyse reissued their Französische Antiqua under the name Fridericus-Antiqua. Letterform Archive has two Fridericus-Antiqua brochures in its online archive, which you can see here and here.
Peintre portugais (1887-1918) précurseur de l'art moderne.
Encre de Chine et gouache sur papier.
Expo du 20 avril au 18 juillet 2016