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This is a portrait of Professor Richard Wiseman from his 2014 Fringe show (with The Creative Martyrs) 'And the Goat Remained a Goat', at the Voodoo Rooms.
The show was about Harry Price: ghost hunter, psychic investigator, conjurer and debunker.
Here, Professor Wiseman is illuminated only by a small torch, he was holding underneath his face. In colour, it didn't look great as an image. It was VERY red and his nostrils and upper lip were pretty much blown out. Oh, and this was taken at 20,000 ISO. essentially "heart of darkness" in photographic terms.
I converted it to Black and White...and also processed the image in two different ways (one for the nostrils/upper lip...and one for the rest of his face)...and combined them with layer masking.
This is the second interesting (well, at least I think so!) black and white portrait I've taken of Professor Wiseman under "challenging" lighting conditions.
You can see the first (which is one of my all-time favourite portrait shots), here:
Professor Wiseman lectures in psychology at the University of Hertfordshire, is a successful author, a highly entertaining speaker, a YouTube sensation with many videos that go viral, and a magician.
You can find his website, here:
The Prof. started out life as a 21st Century Toys U-Boat Commander before being completely repainted, rebodied and redressed.
Professor Zamorra / Heft-Reihe
Christian Schwarz / Die 1000 Tode des Robert T.
Horrorroman
cover: Jürgen Speh
Bastei-Verlag
(Bergisch-Gladbach / Deutschland; 2013)
ex libris MTP
Professor Zamorra / Heft-Reihe
Robert Lamont / Oase der Verfluchten
Horrorroman
cover: Jad (Jose Antonio Domingo)
Bastei-Verlag
(Bergisch-Gladbach / Deutschland, 1977)
ex libris MTP
METU, Professors Apartements, detail from the sider facade, 1961-1980
#SALTResearch, Altuğ-Behruz Çinici Archive
ODTÜ, Profesör lojmanları, yan cephe detayı, 1961-1980
#SALTAraştırma, Altuğ-Behruz Çinici Arşivi
Repository: SALT Research
Rights Info: This material can be used under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) license.
Het domein Gerhagen situeert zich in het gehucht Schoot-Tessenderlo. Schoot is één van de vijf gehuchten (kerkdorpen) van Tessenderlo. De gemeente Tessenderlo bevindt zich helemaal in het westen, in de neus van de provincie Limburg. Eigenlijk ligt Tessenderlo geborgen tussen de provincie Antwerpen in het noorden en de provincie Vlaams-Brabant in het zuiden. Tessenderlo heeft een oppervlakte van 51,4 km² en telt meer dan 17.000 inwoners. Ten oosten van het centrum bevindt zich een grote industriezone en ten westen van de gemeente ligt er een “groene long”, Gerhagen genaamd, die een oppervlakte heeft van 945 hectare, en zich verder uitstrekt in de naburige gemeenten.
In het zuiden van Gerhagen ligt de Stad Diest op ongeveer 8 km, in het westen situeert zich Averbode op 5 km en het natuurreservaat “Averbode Heide” dat eigendom is van Natuurpunt. Averbode Heide, dat zich eveneens bevindt op het grondgebied van Tessenderlo, is gescheiden van Gerhagen door de Turnhoutsebaan. In het noorden ligt Geel op 12 km afstand. Het centrum van Tessenderlo ten slotte bevindt zich op ongeveer 4 km van het hart van Gerhagen, de Zandberg met zijn VVV-toren.
Het domein Gerhagen is sinds februari 2010 afgebakend als “stiltegebied”. Het ganse grondgebied is hoofdzakelijk eigendom van de Gemeente Tessenderlo, de Provincie, het Ministerie van de Vlaamse Gemeenschap (beheerd door het ANB), maar ook van tal van particulieren.
Meer dan de helft van Gerhagen is bebost. Het grootste gedeelte bestaat uit Grove den en Corsicaanse den, een ondersoort van de Zwarte den. Het oudste huidige bos met uitsluitend Grove dennen dateert uit 1915. Op een paar plaatsen vinden we ook nog enkele Zeedennen, zoals o.a. op de Zandberg in de buurt van de VVV-toren.
Dankzij een gewijzigd bosbeheer wordt er meer aandacht besteed aan het loofhout. Op verscheidene plaatsen begint dat loofhout zich dan ook te manifesteren. Bovendien is aan de rand van het broedgebied Pinnekenswijer een prachtig gemengd bos gecreëerd, dat vooral uit Eiken, Berken en Grove dennen bestaat.
In het lager gelegen gedeelte en in de omgeving van het beekje “de Gerhagenloop” komen, omwille van een wat rijkere bodem, weiden en akkers voor.
Centraal ligt het ± 32 ha grootte Vlaamse natuurreservaat de “Pinnekensweier”. De Pinnekensweier bezit twee vennen: het “grote ven” en het “kleine ven”. Ze worden enkel gevoed door regenwater. Het waterpeil is daarom sterk afhankelijk van de weersomstandigheden. Deze hangvennen zijn zuurstofarm en nogal zuur, omwille van het stilstaande water en de ondoordringbare bodem.
Ten zuiden ligt het ± 210 ha grootte Vlaamse natuurreservaat de “Houterenberg”. Dat gebied bestaat vooral uit bossen en heide met stuifzanden.
Gerhagen is grotendeels opengesteld voor zachte recreatie, zoals wandelen, joggen, fietsen en paardrijden. In de nabijheid zijn verscheidene horecazaken. Er zijn bovendien enkele voorzieningen getroffen voor kinderen, zoals een speeltuintje op de Zandberg en enkele speelbossen.
Het Bosmuseum staat in de buurt van de 18,75 meter hoge VVV-Toren, waar men een prachtig uitzicht heeft op het hele gebied. In het museum, dat uitgebouwd is tot een belangrijk educatief centrum, wordt een permanente tentoonstelling gehouden over vogels, genoemd “van ei tot ei”. Tevens vindt men er alle mogelijke informatie over de natuur in al zijn facetten.
Niet ver daarvan ligt de gemeentelijke visvijver, met in de nabijheid het Jagershuis dat dienst doet als jeugdkampeercentrum.
De laatste jaren neemt de bezoekersdruk in Gerhagen enorm toe. De mensen zoeken meer de natuur op omwille van de rust, ontspanning en beleving. En terecht. Wel dienen de bevoegde instanties er over te waken dat het domein niet overspoeld wordt met bezoekers en recreanten. Oververzadiging schaadt immers de natuur, maar ook het domein in al zijn andere waarden.
Sinds enkele jaren worden er intensieve beheerswerken uitgevoerd in het gebied door het ANB. Vooral zijn heel wat dennenbomen (vooral Corsicaanse Den) geveld, samen met de overwoekerende en schadelijke Amerikaanse Eik en Amerikaanse Vogelkers. In bijna gans het domein worden dunningswerken uitgevoerd. Ook nu worden vooral Corsicaanse Dennen, Amerikaanse Eiken en Amerikaanse Vogelkersen verwijderd (genoemde soorten zijn allen uitheems). In het natuurreservaat de Pinnekenswijer zijn eveneens heel wat bomen geveld en is een zeer grote oppervlakte machinaal geplagd. Op de Houterenberg is de open heidevlakte grotendeels hersteld omwille van het kapwerk.
De reden van deze werken is het herstel bespoedigen van het zo zeldzaam geworden heidegebied. Immers, heideterreinen zijn halfnatuurlijke landschappen die niet kunnen gedijen zonder het ingrijpen van de mens. De laatste jaren was het heidegebied bijna helemaal verbost en diende men de natuur hoognodig een handje te helpen voor herstel.
Om de historiek van Gerhagen te begrijpen is het van belang eerst de naam zelf te ontleden (etymologisch), alvorens 10.000 jaar terug te gaan in de tijd.
In de Middeleeuwen zouden ongure figuren elkaar opzoeken op de grens van het prinsbisdom Luik en de Zuidelijke Nederlanden. Omdat het een verlaten gebied betrof van heide, vennen en bossen konden dergelijke types gemakkelijk een schuilplaats vinden en ongestoord hun gang gaan. Men sprak dan ook over “de gene of gindse bossen” (Generhagen).
Nu ligt Gerhagen, zoals beschreven in de plaatsbepaling, op het grondgebied van het gehucht Schoot-Tessenderlo. De naam Schoot komt hoogstwaarschijnlijk van het Germaanse woord “scauta”, wat zoveel betekent als: “beboste hoek zandgrond, uitspringend in moerassig gebied”.
Een andere versie zoekt de oorsprong in het woord “scoete” oftewel “schutten”. Een schut wil zeggen dat er op een dergelijke plaats een afgeperkte ruimte was die dienst deed als onderdak en bescherming voor schapen en ander rondzwervend vee (vandaar het woord schutplaats).
Ruwweg 10.000 jaar geleden, na de laatste ijstijd, ontstond er door opwarming eerst een toendravegetatie en later een uitgestrekt woud. Eiken en berken tierden welig dankzij de droge zandgronden. Echter, na verloop van tijd, greep de mens in en begon men het bos te rooien. Dat had vooral een economisch belang: houtwinning en aanleg van landerijen (akkers, velden en weilanden).
Het grootste deel van Gerhagen bleek door zijn dikke zandbodem weinig geschikt voor de landbouw. Op deze arme ontgonnen gronden ontstond zo een enorme heide- en struikvlakte met een aantal grote vennen en vijvers.
Hoewel weinig geschikt voor de landbouw, zijn deze heidevlakten jarenlang van zeer grote waarde geweest voor de plaatselijke bevolking. Ze werden o.a. gebruikt als graasplaats voor schapen en ander vee, om er strooisel en plaggen te halen voor de potstallen (waarna deze mest gebruikt werd voor de akkers), als voorraadschuur van brandstof (zoals hout en turfplaggen) en voor nog allerlei andere zaken (honingwinning, bezems, etc).
Met de opkomst van de kunstmest en de invoer van goedkope Australisch wol verliest het heidegebied stilaan echter aan belang. Meer en meer wordt het gebied verwaarloosd. Daarbij kwam er rond 1847 nog een wet over het belasten van woeste onproductieve gronden. Stilaan werd het gebied bebost. Uit een Ferrariskaart van 1771 blijkt dan ook dat Gerhagen zeer sterk bebost was. Bovendien was er een haast hallucinante vraag naar mijnhout vanuit het Roergebied, Wallonië en de Kempen.
Op te merken valt ten slotte dat de geschiedenis van Gerhagen kenmerkend is voor de hele Kempen.
Geologisch en geomorfologisch moeten we meer dan 10.000 jaar terugreizen, meer bepaald zes tot zeven miljoen jaar. Aan het einde van het Mioceen (onderverdeling van het geologisch tijdperk Tertiair) ontstond toen het zogenaamde reliëf van het Hageland. Wat volgt is uiteraard geen gedetailleerde beschrijving. Dat valt immers buiten het bestek van dit werk.
IjzerzandsteenDe Diestiaan-transgressie plaatste zich in die tijd en betekende de laatste zee-overspoeling van Belgisch grondgebied. De resulterende kustlijn reikte zowat tot de lijn Tienen-Hasselt, waarbij parallel met de kustlijn een aantal zandbanken werden afgezet.
De daaropvolgende regressie gebeurde zeer geleidelijk, met als gevolg dat de zandbankstructuur behouden bleef. Het steeds verder dalen van de (grond)waterspiegel zorgde voor een geleidelijke blootstelling aan luchtzuurstof van de toppen van de Diestiaan-afzettingen in de zandbanken (rijk aan glauconiet-houdend zand). Die mengeling deed het ijzerrijke glauconiet oxideren tot een roestkleurig limoniet, waardoor erosiebestendig ijzerstandsteen ontstond.
Professor Frans GULLENTOPS beweert echter dat het ontstaan van het ijzerzandsteen zich laat verklaren door het opdrogen van de Middellandse zee 5,4 miljoen jaar geleden. De Middellandse Zee stroomde als het ware opnieuw vol door bewegingen in de aardkorst, die een breuk deden ontstaan in de landtong tussen Marokko en Gibraltar.
In onze contreien sorteerde dat een omgekeerd effect, namelijk een terugtrekking van de Diestiaan-zee die tot in het Hageland en in een deel van de Kempen kwam. Die terugtrekking zorgde ervoor dat de zandbanken in contact kwamen met de lucht. Het hoge glauconiet-gehalte van het zand van de Diestiaan-zee bestond voor een groot deel uit ijzer en oxideerde door dat contact met de lucht. De zandkorrels klitten samen en zo ontstond uiteindelijk ijzerzandsteen.
Wat er ook van zij, die omzetting ging – uiteraard – niet plaatsvinden in de lagergelegen stroken, omdat daar het hoge grondwaterpeil oxidatie tegenging. Beken en rivieren konden bijgevolg de dalen verder uitslijten, zodat de erosiebestendige zandsteenkoppen zich steeds hoger boven de tussenliggende depressie konden verheffen. Deze zandsteenkoppen werden lokaal geërodeerd tot zandige zware verweringsklei.
In het Quartair (Kwartair) tijdvak, meer bepaald in het Pleistoceen, werden deze Tertiaire afzettingen grotendeels bedekt met lemig zand, licht zandleem of zandleem. Afzettingen die op hun beurt weer door erosie werden aangetast. Het geërodeerde materiaal kwam vervolgens als sediment terecht in de valleien.
In de nabijheid van de relatief hoog gelegen Tertiaire zandsteenopduikingen is waarschijnlijk al het Pleistoceen materiaal weggeërodeerd. Tertiair verweringsmateriaal – zandige klei of steenhoudend grof zand – kwam tijdens het Holoceen (volgend op het Pleistoceen) via verstuiving en/of colluviatie (afzetting van het bodemmateriaal in de lagere delen) terecht in de onmiddellijke omgeving. Daarnaast was verstuiving van glauconietarm zand uit noordelijke valleien vrij algemeen, waardoor grote oppervlakten werden bedekt met stuifzand. Ontbossingen in meer recente tijden gaven uiteindelijk aanleiding tot de vorming van de huidige landduinen van Tessenderlo en Molenstede met een golvend of afgeplat reliëf en meestal excessieve drainering.
A Funko Pop! figure of Professor X from Marvel Comic's "The X-Men". The background I drew myself in ~15 minutes.
Professor Fiona Robertson, is the Horace Walpole Professor of English Literature at St. Mary's University College, Twickenham London, a post she has held since September 2012 when she left her position at Durham Univeristy. A loss to the north. Her specialism is English romantic fiction, American fiction and in her current role the relationships between literature and architecture. One of her most recent publications is the Edinburgh Companion to Sir Walter Scott. Today she is giving a lecture in the splendour of the Bowes Museum to compliment the current exhibition featuring the artistic associations with Sir Walter Scott's last narrative poem - Rokeby. Barnard Castle and the Rokeby estates are prominent locations in Scott's poem which Sir Walter dedicated to his friend John BS Morritt the owner of Rokeby Park as follows: "To John B.S. Morritt, Esq. This Poem, The Scene Of Which Is Laid In His Beautiful Demesne Of Rokeby, Is Inscribed, In Token Of Sincere Friendship, by Walter Scott".
Professor Robertson's lecture was called "Rokeby's Lines" and examined Scott's poem and the literary and artistic traditions associated with it. A very enjoyable event, I left fired-up to explore the many Teesside/Scott connections that Rokeby generated.
Incidentally, the book on the casual table is an 1813 first edition of Rokeby which the diligent professor picked up for a song in a second hand book shop! Some women have it all...
Here is a synopsis of Sir Walter Scott's: Rokeby
The poem is set just after the Parliamentarian victory at Marston Moor (1644). Prior to the outbreak of war, the Royalist Lord Rokeby has favoured the marriage of his daughter Matilda (in whom some have seen a portrait of Williamina Belsches) with Wilfrid Wycliffe. When Wilfrid's father Oswald, however, joins the rebels, he withdraws his consent. At Marston Moor, Rokeby is consigned as a prisoner to Oswald. Oswald, meanwhile, plans to murder a fellow Parliamentarian Philip, of Mortham, whose vengeance he fears. In the past, Oswald, having failed to seduce Mortham's wife, had deceived Mortham into killing her on suspicion of infidelity. Shortly after, Mortham's infant child had been carried of by an armed band. In despair, Mortham had turned to piracy, accumulating a fortune on the Spanish Main. Oswald hires a disaffected retainer, Bertram Risingham, to whom he promises Mortham's treasure. Bertram shoots Mortham, and leaves him for dead. He then attacks Rokeby Castle where Mortham's treasure is stored, but Rokeby's page Redmond O'Neale, a young Irishman, puts up a spirited defence. The castle is set alight during the attack, and, through Redmond's assistance, Matilda and Wilfrid escape. Redmond and Rokeby, however, remain in Oswald's custody. Oswald learns that Mortham is still alive and discovers too that Redmond is Mortham's missing son. Frustrated in his schemes, he threatens Rokeby and Redmond with death, unless the former agree to his daughter's marriage with Wilfrid. Matilda consents to save her father's life, but Wilfrid refuses to accept her sacrifice, dying soon after of wounds received during the attack on Rokeby Castle. Oswald orders the executions to proceed but is killed, in the nick of time, by Bertram, who has survived the blaze and whose loyalty to Mortham has revived. Bertram is in turn killed by Oswald's soldiers. Mortham and Redmond are reunited, and Matilda and Redmond wed. Phwe... Note:Williamina Belsches was Sir Walter Scott's unrequited early love.
Professor Zamorra / Heft-Reihe
Oliver Fröhlich / Nähre deine Wut!
Horrorroman
cover: Candy Kay
Bastei-Verlag
(Bergisch-Gladbach / Deutschland; 2011)
ex libris MTP
I did this for the great blog Ten Paces. It was based on the sketch by the always amazing Alyssa Nassner.
Professor Zamorra / Heft-Reihe
Anika Klüver und Simon Borner / What happens in Vegas...
Horrorroman
cover: Candy Kay
Bastei-Verlag
(Bergisch-Gladbach / Deutschland; 2011)
ex libris MTP
METU, Professors Apartements, detail from the sider facade, 1961-1980
#SALTResearch, Altuğ-Behruz Çinici Archive
ODTÜ, Profesör lojmanları, yan cephe detayı, 1961-1980
#SALTAraştırma, Altuğ-Behruz Çinici Arşivi
Repository: SALT Research
Rights Info: This material can be used under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) license.
The first time I met Johnathan Vance (1978) I lost to him 0-2 in a point karate tournament.
In 1978 he won the All-Hawaii State Karate Championships in both Kumite and Kata. In the years 1975-1980 Vance comprised a Full Contact record of 29-0 with 22 by knockout. I've seen him konk guys at Bloch Arena, Conroy Bowl, Blaisdell Center, and too many school gymnasiums to count.
In 1980, we were both part of the original crew of American Hawaii Cruises new inter-island cruise ships and consequently we were sent to Maryland for a month to get our Lifeboat certification.
The next time we squared off for a little kumite, in Maryland, I landed the first strike -- a quick front leg side kick that slipped in beneath his arm. Then I landed the same kick to his mid-section again. He nodded his approval, and countered with a barrage. JV did not like to lose.
That was the first of several sparring sessions between Johnathan and myself while employed with the cruise ships. He usually got the best of it, but there were occasions when I stole the show.
One night in the Makao room, a crew recreation room toward the back of the ship, JV, Danny Keao (also with Universal Kempo), and myself were working out together. After sparring with each other for a few rounds, Johnathan declared a finish to the workout, but I asked him if we could continue a little longer.
We started sparring again and shortly thereafter, I sank a front kick deep into his stomach. Despite the solid blow, Vance pressed forward... It was more of a reaction than a thought, but I spun and caught him square in the mouth with the most devastating spinning back fist that I've ever landed. Blood splattered like a squashed tomato, yet he relentlessly pressed forward. JV then landed a beautiful three punch combo to my head -- a left hook, straight right, and a right hand uppercut that knocked me off my feet.
"Get up, you wanted to go some more, get up" Vance demanded as he kicked me in the butt on the ground. I rose and put my hands up, and that's when I saw them, the black beady eyes of a ninja warrior locked on his prey. I knew that this was the void, the unknown, the point of no return...
I turned around and put my hands down at my side in surrender. He punched me twice in the back before he too knew that it really was time to call it quits for the night.
It was kind of ironic that we were roommates at the time, both of us in need of ice packs later that night. That exchange of punches was the defining bond between us - Budo blood brothers.
my dear friend, rival, mentor, and fellow karateka...
10th Degree Professor Johnathan Leroy Vance
Born: June 17, 1958 Fukuoka, Japan
Passing: February 10, 2007 Honolulu, Hawaii
Began his martial arts training in 1965 with Pearl City Judo Club. In 1972 he began training at Godin's Kula Ona Kupale Kempo-Karate (later Universal Kempo-Karate with Prof. M. Buell).
He won numerous awards in his career including a Full-Contact record of 29-0 with 22 knockouts (1975-1980) and the Grand Champion of the 1978 All-Hawaii State Karate Championship.
He began teaching Kempo-Karate as an Assistant Instructor. He later ran two Kempo-Karate Branches before opening and founding Advanced Kempo-Karate in July 2003. He continued teaching and training while raising his family and working as a Sherriff for the State of Hawaii.
He was born in Fukuoka, Japan. He was a former Senior Chief Instructor for Professor Martin Buell, Universal Kempo and Founder of Advanced Kempo-Karate System, 10th degree Black Belt. Also, a Civil Deputy Sheriff for 25 years.
Sadly, tragedy struck Johnathan Vance in 2007. A leukemia like blood disorder suddenly came upon him. He checked into Queen's hospital but passed away two days later.
After moving to Kauai I had not seen Johnathan since 1991 and am thankful to have seen him again in 2006 at Hanapepe where he had a fighter in an MMA event held there.
At the time of his passing, he had impacted the lives of over 3000 students and their families.
Survived by wife, Jowella Vance; daughters, DeRae Riturban, Cazden and Jazdee Vance; brothers, Alec and Lee Pacheco; sister, Normandie Enderton; mother, Kumiko Vance; mother, Audrey Vance; grand-children, Mahina and Lilinoe.
2021
en.wikipedia.org/wiki/Grandiose_delusions -- Grandiose Delusions.
Very courageous recent admission by the petulantly peevish Sad Clown, "I am a Tyrant-in-Waiting, who still takes every opportunity to find fault in even complimentary comments." He also doesn't understand that calling someone, 'infamous', is an insult [see THE THREE AMIGOS' misunderstanding of the word].
A confirmed and habitual gossip, Sad Bear Clown's deepest wish is to be paid for publicly slandering noted people of whom he is deeply envious; constantly projecting his profound self-contempt.
He admitted, "Bought a plaid flannel shirt and scarf, then posted a picture of the bag and claimed the label had intentions of sponsoring my non-existent tv series, which they hadn't."
Sad Bear Clown's most recent confession: he lied about signing for representation with a talent agency on Avenue of the Stars in Los Angeles. The agency, with no Sad Bear Clown-connection, has a virtual ( p.o. box ) address in what is known locally as The Devil's Tower -- www.davincivirtual.com/loc/us/california/los-angeles-virt...
He was overheard drunkenly confessing to a patron at a restaurant bar, after having loudly lied about being commissioned by the British Royal family to procure a ship for one of their ranks to Christen: Sad Bear Clown confided that many times, while alone, looking in the mirror, he repeats to himself, "Amateur Night in Dixie, Amateur Night in Dixie, Amateur Night..."
www.flickr.com/photos/marklongoartanddesign/37430878502/i... -- The Dunning-Kruger Effect: imagining oneself to be in possession of greater agency or ability than is actually the case, illustrated by the child's steering wheel.
www.youtube.com/watch?v=X23v5_K7cXk&ab_channel=EltonJ... -- At one point Elton John is a very convincing hobo.
www.youtube.com/watch?v=LOkQsVJV8ts&ab_channel=BruceS... --TENTH AVENUE FREEZE-OUT
www.flickr.com/photos/marklongoartanddesign/48626750262/i... -- THE VAN WINKLE SISTERS
www.youtube.com/watch?v=L56KOpZ6vI4&ab_channel=talant... -- Bear just wants his picture taken in the driver's seat.
[I have been asked about removing this post since Sad Bear Clown was detained by police while on a purported "location scout" for an as-yet non-existent television pilot and series. He was held for Disorderly Conduct and Lascivious Innuendo in a public place, directed at an individual. He was released on bail from a Mayberry-esque jail in a picturesque small town, pending a Magistrate's hearing.]
www.flickr.com/photos/marklongoartanddesign/51405990904/i... -- See description of PROFESSOR ROCK BOTTOM.
The history of the Austrian Museum of Applied Arts/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides Emperor Franz Joseph I on 7 March on the initiative of his uncle Archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London), the establishment of the "k. k. Austrian Museum for Art and Industry" and apponted Rudolf von Eitelberger, the first professor of art history at the University of Vienna, to director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the kk polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k. k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom setting up of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park on the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger Straße 11-13/Schwarzspanierstrasse 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by Emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building on the ring. Objects from now on could be placed permanently and arranged according to main materials. / / The Arts School moves into the house on Stubenring. / / Opening of Austrian art and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum of funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Applied Arts, adjoining the museum, Stubenring 3 , also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry and the School of Art at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the arts and crafts school join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and crafts since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger is Jacob von Falke, his longtime deputy, appointed manager. Falke plans all collection areas als well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high baroque in the history of art and in applied arts in particular.
1895 / end of the Directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism .
1897 / end of the Directorate of Bruno Bucher. Arthur von Scala, Director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and school of applied arts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagated the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, Archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine art and crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the " k. k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum receives thereby rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and crafts.
1914 / Exhibition of works by the Austrian art industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum of arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide .
1920 / As part of the reform of museums of the First Republic, the collection areas are delineated. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the Directorate of Eduard Leisching Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director .
1930 / The Werkbund (artists' organization) Exhibition Vienna, A first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag finishes his Directorate .
1932 / Richard Ernst is the new director .
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over craft inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is re-established by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" of Austria by Nazi Germany, the museum was renamed "National Museum of Decorative Arts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Applied Arts in Vienna" is also enlarged in this way.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Applied Arts in Vienna" is renamed "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the Directorate Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as the new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna 1900 presents Crafts of Art Nouveau for the first time after the Second World War. / / It is started with the systematic processing of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary grantes the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel is as a branch of the Museum angegliedert (annexed). Gleichzeitig (at the same time) with the building came the important collection of Franz Sobek - old Viennese clocks, emerged between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are merged.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues to today of Austria's most important design project in the 20th Century.
1968 / On Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows on the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director .
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the art space in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as Director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: Designer. First exhibition of the Italian designer in Austria
1986 / Peter NOEVER is appointed as Director and started building up the collection of contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of thee old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is re-established, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchnerstraße is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on the MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa : Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive Personale of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned .
2000 / Outsourcing the federal museums, transforming the museum into a "scientific institution under public law". / / The exhibition of art and industry. The beginnings of the Austrian Museum of Applied Arts in Vienna are dealing with the founding history of the house and the collection.
2001 / As part of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work the "Four lemurs heads " are placed at the Stubenbrücke located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin in Vienna is presented.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historic Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, the exhibition The Price of Beauty. 100 years Wiener Werkstätte takes place. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disziplinatornbsp / / The exhibition Ukiyo-e Reloaded for the first time presents the collection of Japanese woodblock prints of the MAK in large scale.
2006 / Since the beginning of the year the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents special exhibitions annually. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects .
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes using a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, the center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property of museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noevers resignation Martina Kandeler-Fritsch takes over temporarily the management. / / Since 1 September Christoph Thun-Hohenstein is director of the MAK.
Professorit tervehtivät presidentti Urho Kekkosta ja kutsuvat hänet kunniatohtoriksi vuonna 1966. Kuvassa vasemmalta professori Jaakko Honko, professori Pekka Heinänen ja professori Kaarlo Telaranta. Professoreilla on yllään miesten päiväjuhlapuku saketti.
Aalto-yliopiston arkisto / Aalto University Archives
Image nr: HKK_05_004
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Hogwarts' Magic History ghost teacher. background is from the video game Lego Harry Potter years 1-4, look is based from the video game too
harrypotter.wikia.com/wiki/Cuthbert_Binns
Sorry for the huge delay, picture take hours (literally like 5-6) to upload and I hope this si considered and let me enter the contest sorry. made for Burakki's Brick Lego Minifigure Desgn contests. THIS PICTURE WASN´T ACCEPTED IN THE CONTEST
Credit if use.