View allAll Photos Tagged sobriety
THE HAZZARD RANGE HERALD
5:23 PM Saturday 01/29/2022
Hazzard Range County Sheriff’s office Deputy Shawn Ridge arrested a 40 year old male for DWI 2 offense on NM 168 Main St in Sparta . The man failed a field sobriety test and he blew a 0.14 and 0.16 during a breath alcohol content test. Transported to detention center/car towed to impound yard .
In a truly exceptional location that is right in the centre of the city of Lleida stands the monumental complex of the hill of the Seu Vella. It is comprised of different buildings: the Seu Vella or old cathedral, the Castle of the King or Suda, the military fortification that surrounds the site and various archaeological remains that help us understand the present.
The volumes and profiles that it generates are an overview of the history of Lleida and the hill in particular. The strategic position of this hill, rising from a flat landscape and well communicated in all directions as well as the proximity of the River Segre, has resulted in uninterrupted occupation since ancient times. It is very likely that the Iberian Iltirta, the Roman Ilerda and the Muslim Larida lie under its subsoil, as well as the excellent gothic quarter that was growing majestically in medieval times. The Seu Vella and the Castle of the King are the most outstanding evidences.
Irreparable losses and undesirable applications would come with modern times and European-wide wars, when the entire hill would be desolated and in its place a military fortification that would gradually be built. The only two buildings that were not demolished, the cathedral and the castle, were transformed into gloomy military barracks, a use that would unfortunately last until 1948. Then a slow and encouraging restoration work began that is still underway.
The Seu Vella is the most outstanding building at the monumental complex that bears its name and its silhouette, the skyline of the city. It is the old cathedral of Lleida, but it is not alone. In the city centre, on Carrer Major, we find the Seu Nova, the new cathedral. The fate of one brought on the birth of the other.
Defined as one of the best artistic productions of 13th century Catalan architecture and, by extension, of European medieval architecture, the Seu Vella is a singular cathedral that leaves no one indifferent. Its architecture shares the limelight with high quality carvings that are preserved in capitals, cornices, corbels, portals, etc. The substantial remains of preserved mural paintings or the chapels built by prominent families or distinguished church members are a reflection of a prestigious building with a splendid past.
The Seu Vella cathedral is also steeped in history, as it became an important artistic centre and the visual reference of a rich, extensive and powerful diocese.
Sobriety, grandeur and magnificence are some of its attributes. However, there are many more.
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We're back at the Monaco Ballroom on Friday December 12th for the final show of 2008!! Make sure you make it to see how the year's feuds end at this season ending super show - GPW: "Christmas Crunch"
We promise we wont crunch your credit.... we'll only crunch your Christmas!!
GPW Heavyweight Title Match
Bubblegum © vs. Dirk Feelgood
Just a few months ago you'd be forgiven for taking a double take at this match. The friendship between the two former friends totally imploded with the desire to become Heavyweight champion. Refusing to accept the demise of his friendship with Dirk Feelgood, Bubblegum spent months in turmoil not wanting to retaliate to the cutting comments and brutal attacks levelled his way by former friend and champion Feelgood. As time went by however, Bubblegum eventually unloaded on Feelgood but this will be the first time the two have ever come face to face in a one on one match. And to make things just a little more interesting... it's for the GPW Heavyweight Title. Can the fairytale championship reign continue for Bubblegum, or can Dirk shatter his dreams and become the first ever 2 time Heavyweight Champ?
Tag Team Special, Skeletor vs. Stella
Lethal Dose vs. Voodoo & "Sober" Mike Holmes
Alan Alan Alan Tasker's henchmen, Lethal Dose march into battle against former stable member Mike Holmes and the man they hold responsible for Holmes' new found sobriety - Voodoo. Cyanide and Toxic hope to tempt Holmes back over to the stable that two months ago he turned his back on. They want to snap him out of the spell they accuse Voodoo of putting him under. However, Holmes seems very happy with his new outlook on life and he and Voodoo look to send Lethal Dose packing in this tag team special. Lethal Dose have warned they will not be coming to the ring alone though, with them along with their attorney and law - Alan Alan Alan Tasker will be a 12 pack of Stella. Hoping the case of beer will prove to be a bigger demon to Holmes than the tag team itself. To fend off the 12 pack, Holmes and Voodoo will have Vooodoo's trusty skull, Skeletor in their corner. An unpredictable tag team match. Can MIke Holmes stay sober? Will Voodoo's spells work? Or will Lethal Dose deliver a beating big enough to break Voodoo's spell?
GPW British Title Match
Jak Dominotrescu vs. "Super" Sam Bailey
After pinning the British Champion last month in a tag team match, WKD's "Super" Sam Bailey has earned himself a title shot at GPW: "Christmas Crunch". Bailey, already a former tag team champion looks to add to his growing reputation by capturing his first ever singles gold in GPW. While reigning champion, Romanian Jak Domitrescu along with his cohorts - The Eastern Bloc look to make life as difficult as possible for the energetic live wire. Domitrescu has held onto the title since April this year with help from his fellow countrymen, but are his days numbered as champ? He surely wont be alone in this title outing and will have the Eastern Bloc close by, but can "Super" Sam Bailey overcome the odds to win his first singles gold in GPW?
And, the main event for the evening is...
GPW Tag Team Title 2/3 Falls Match
MIl-Anfield Connection © vs. Young Offenders
The heat just got turned up in this feud. The re-united Young Offenders have the most established tag team in GPW - The Mil-Anfield Connection firmly in their sights and not to mention the tag team trophy. These two teams met in September this year where there was no clear winner decided after the match ended in a draw. There will be NO excuses this time to not find a winner. This, for the first time in our history will be a 2/3 Falls Match for the tag team titles. A winner HAS to be decided, but who will it be? A truley epic encounter is in our midst as Jiggy Walker & "The Model" Danny Hope try to cling onto the championship that has defined them as a team and "Dangerous" Damon Leigh & Joey Hayes, The Young Offenders chase the title that one of the most popular tag teams in Europe have never held. Can the re-united friends overcome the well established unit that is The Mil-Anfield Connection? Or can the well oiled duo of the Mil-Anfield do what they've been doing all year and win again?
GPW British Title No.1 Contenders Match
Harry Doogle vs. Juice vs. Dylan Roberts vs. Chris Echo
After an eye catchingly good year from rookie Dylan Roberts, he has been included in this battle to earn a shot at the British Title. With a burning desire to win and the fans firmly behind him, Roberts could well mark his arrival onto the main roster by becoming the No.1 Contender and going for gold here. However, his opponents wont give him an easy ride. In a wonderful CC-08 tournament, no one impressed more than WKD's Chris Echo. Echo reached the CC-08 finals with two broken wrists and proved he is ready to take a step up. His previous attempts for British gold have been thwarted by the foreign legion numbers of the Eastern Bloc, is he ready to prove again that he is worthy of being No.1 Contender and finally lift the British title? Juice, the current CC8 champion has been as impressive as ever in singles competition this year, but can he compete in this match with 3 others all vying to be No.1 Contender? Also replacing Jervis Cottonbelly due to injury is Harry Doogle as a last minute entry could one half of the next gen score the upset win? , but with so many possible outcomes who will leave with the plaudits and go on to challenge for the British Title next year?
Lumberjack Match
Si Valour vs. Heresy
A violent and personal feud that has lasted all year long finally comes to a head in what promises to be a violent Lumberjack Match. Ever since brutalising Valour and cutting off all his hair, Heresy has, in some form or other dodged the challenge of Valour. Heresy claimed not to have lost his bottle or be running scared of the 2007 Break Out Star, yet during their Bull Rope clash at GPW: "V" where the two were tied to one another, Heresy still managed to find a way of escaping and creating distance between him and Valour. This time, in a special Lumberjack Match, no matter where either man go - there will be no escape. All lumberjacks will be at the ready to ensure neither man can escape the others clutches and a clear winner, one way or the other will HAVE to be decided. There will be nowhere to run to and nowhere to hide, no matter where they look. Heresy has been one step ahead of Valour all year, is this where he runs out of excuses, or can the master manipulator manipulate another win?
In a truly exceptional location that is right in the centre of the city of Lleida stands the monumental complex of the hill of the Seu Vella. It is comprised of different buildings: the Seu Vella or old cathedral, the Castle of the King or Suda, the military fortification that surrounds the site and various archaeological remains that help us understand the present.
The volumes and profiles that it generates are an overview of the history of Lleida and the hill in particular. The strategic position of this hill, rising from a flat landscape and well communicated in all directions as well as the proximity of the River Segre, has resulted in uninterrupted occupation since ancient times. It is very likely that the Iberian Iltirta, the Roman Ilerda and the Muslim Larida lie under its subsoil, as well as the excellent gothic quarter that was growing majestically in medieval times. The Seu Vella and the Castle of the King are the most outstanding evidences.
Irreparable losses and undesirable applications would come with modern times and European-wide wars, when the entire hill would be desolated and in its place a military fortification that would gradually be built. The only two buildings that were not demolished, the cathedral and the castle, were transformed into gloomy military barracks, a use that would unfortunately last until 1948. Then a slow and encouraging restoration work began that is still underway.
The Seu Vella is the most outstanding building at the monumental complex that bears its name and its silhouette, the skyline of the city. It is the old cathedral of Lleida, but it is not alone. In the city centre, on Carrer Major, we find the Seu Nova, the new cathedral. The fate of one brought on the birth of the other.
Defined as one of the best artistic productions of 13th century Catalan architecture and, by extension, of European medieval architecture, the Seu Vella is a singular cathedral that leaves no one indifferent. Its architecture shares the limelight with high quality carvings that are preserved in capitals, cornices, corbels, portals, etc. The substantial remains of preserved mural paintings or the chapels built by prominent families or distinguished church members are a reflection of a prestigious building with a splendid past.
The Seu Vella cathedral is also steeped in history, as it became an important artistic centre and the visual reference of a rich, extensive and powerful diocese.
Sobriety, grandeur and magnificence are some of its attributes. However, there are many more.
Two Years of Sweet Sobriety For The Most Beautiful Woman In The Whole Wide World, My Wife, Brittany Leigh Livin’ Happy, Joyous + Free!! ✌️☮️ WE Thank GOD Recovery Has Certainly Blessed The Russell Family & You Are The Best You, The Best Mom of Our Beautiful Two, The Best Wife, Woman, Warrior, Wonderful Amazing Angel On Earth Anyone Could Ever Be! ✌️☮️✨2️⃣ I Love All Of You With All of Me! 💕💞💕
No, this guy was just one of the happiest persons I ran into that day. The town had just open a new life guard station and he was a part of that opening. He was very proud of the new building and would talk about it to anyone who would give him some time.
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On the celebratory day of gashing commercialism I felt like introducing a note of sobriety.
Taken just of Trafalgar Square during the dark days of the winter of discontent in the early 1970s.
40 years on the perception of living in trouble times is very much part of our existence.
Well, that's what I thought until I checked this out on a Google map. OK, there is an intersection similar to this up ahead but this confusing sign is actually upside down. And, to make matters worse, it should be flipped left-to-right. Then again, if you have been drinking the sign may make sense perfectly.
Thanx for your help NC Highway Department. LOL
GRIFTON NC: in front of YODER'S GARDEN SUPPLY.
Demonstration of the effects of alcohol. This first time through, the subject walks the line without goggles.
A little too much bug juice, perhaps? Finished off the tequila in order to get the grub at the bottom of the bottle? Dazed by the flash? None of the above. That's the way they always walk. Isn't he cute?
Library of Guardianship of National Sobriety in the city of Volmar.
Starting in 1894, the Finance Ministry in the Russian Empire began creating a network of committees for “Guardianship of National Sobriety” to help curb the illegal alcohol trade and to promote moral behavior. By 1911, 791 such committees had been established around the country and this “guardianship” organization had about 16 thousand members. Thousands of cafes and libraries were opened by the organization, this being one of them. This library was in the present-day Latvian city of Valmiera, in northern Latvia. The Russians called it “Volmar”, adopted from the German “Wolmar.”
This book stamp is from a book looted by the Nazis and sorted by Colonel Seymour Pomrenze, one of “the Monuments Men,” at the Offenbach Archival Depot.
There are two scrapbooks of archival markings from the books sorted at the Offenbach Depot in the Seymour Pomrenze Collection held by the American Jewish Historical Society (Call number P-933) There is a finding aid for the collection here The digitized scrapbooks are available here and here.
For more information on this project check the Center’s blog: 16thstreet.tumblr.com/tagged/Offenbach-Depot
Dr. Mitch Fraas, Acting Director of the Digital Humanities Forum at the University of Pennsylvania Libraries' Special Collections Center is working on a similar project for the German book stamps based on NARA microfilm of the volumes the American Jewish Historical Society currently holds. See viewshare.org/views/mfraas/offenbach-bookplates/
The Center for Jewish History would like to acknowledge the following: The American Jewish Historical Society, who graciously allowed the use of their archival materials and digital content; Mitch Fraas, Acting Director of the Digital Humanities Forum at the University of Pennsylvania Libraries' Special Collections Center, for his data and technical assistance in this project; David Rosenberg, Senior Manager for Communications, and Melanie Meyers, Senior Reference Services Librarian for Special Collections, for managing and creating the digital map; as well as Reference Services Librarian Zachary Loeb and Reference Services Assistant Ilya Slavutskiy for their work on translating and mapping.
For copyright information, click here
What better way to celebrate 10 years of sobriety than to go to a Tattoo and Beer Expo and watch someone be hoisted off the ground by two attach points driven through her shoulder blades?
Warning
When I am an old woman I shall wear purple
With a red hat which doesn't go, and doesn't suit me.
And I shall spend my pension on brandy and summer gloves
And satin sandals, and say we've no money for butter.
I shall sit down on the pavement when I'm tired
And gobble up samples in shops and press alarm bells
And run my stick along the public railings
And make up for the sobriety of my youth.
I shall go out in my slippers in the rain
And pick flowers in other people's gardens
And learn to spit.
You can wear terrible shirts and grow more fat
And eat three pounds of sausages at a go
Or only bread and pickle for a week
And hoard pens and pencils and beermats and things in boxes.
But now we must have clothes that keep us dry
And pay our rent and not swear in the street
And set a good example for the children.
We must have friends to dinner and read the papers.
But maybe I ought to practice a little now?
So people who know me are not too shocked and surprised
When suddenly I am old, and start to wear purple.
Jenny Joseph
Texture by Borealnz
Read the tags, too.
Houston Texas This Drunk Dumb-ass is taking a taking a police sobriety test in the parking lot at 4pm in his Shipley's donuts uniform 2011 Arrest DUI DWI
A young woman participates in a field sobriety test conducted by a Lenoir Police Department officer during a DWI checkpoint Friday night in Whitnel, N.C. She was later arrest for driving while intoxicated for having a blood alcohol level above the legal limit.
Mafra is an odd place, mixing the austerity and even dourness of the convent with the grandeurs of the palace. Here, sobriety is extreme.
Being in recovery is hard. No matter how much you tell yourself how much of a better of a place you're in, you can't help but fantasize about the place you were at not that long ago. Those gloomy thoughts turns to grief. I start to grieve over breaking up with my addictions and then that leads to guilt. Feeling guilty for wanting to go back to that selfish place, where no matter how bad it was, felt so good.
But after I run through that song and dance, I begin to feel grateful. Grateful for another day I can remember. Another day that I can breathe clean breaths, feel feelings, be a mother, be a wife, be me, and be alive.
So G. G for gloomy grief guilty gratefulness and well...
G'night.
Fidalgo Bay.
Press Release from USCG:
Coast Guard tows grounded vessel, responds to pollution near Anacortes, Washington.
A Coast Guard Station Bellingham 45-foot Response Boat- Medium crew towed and safely moored the fishing vessel Arline at the Cap Sante Marina in Anacortes after receiving a report that vessel was aground in the Swinomish Channel Thursday evening.
A boarding was conducted by the crew of the Coast Guard Cutter Adelie, an 87-foot patrol boat homeported in Port Angeles, Wash., revealing the master and crewman aboard the Arline to be intoxicated and the local police department took the master of the fishing vessel into custody.
Coast Guard Sector Puget Sound watchstanders received a call from the master of the Arline reporting the grounding near Anacortes. The Coast Guard Cutter Adelie was on a routine patrol at the time and was diverted to assist the crew of the grounded vessel.
Upon boarding the vessel, the Adelie crew suspected the master of the vessel was intoxicated and issued a field sobriety and breathalyzer test revealing a blood alcohol content level of .115, well over the legal limit in Washington State.
“Thanks to the crews of both Station Bellingham and the Coast Guard Cutter Adelie for making our local waterways safer,” said Captain Joe Raymond, Commanding Officer of Sector Puget Sound. “Boating while intoxicated is not only a danger to the crew of the vessel being operated, but it is endangers the lives of any boaters in the area.”
After the vessel was moored a light sheen was discovered coming from the Arline. Further inspection revealed a crack in the vessel’s shaft packing causing oily water to be discharged overboard.
Containment boom has been applied around the vessel. A Coast Guard incident management team from Seattle is working with contractors to contain further pollution and develop a possible salvage plan for the vessel.
The Arline is a 50-foot fishing vessel homeported in Seattle and is reportedly carrying up to 150 gallons of diesel aboard. The Coast Guard is investigating the grounding.
This isn't the first time the F/V ARLINE has run aground and a captian was arrested:
From September 5, 2013
British Columbia: American skipper arrested Monday on suspicion of impaired operation of a vessel after his fishing boat ran aground near Kelsey Bay.
The 58-foot American F/V Arline was heading south when it ran aground and the two remaining crew members apparently tried to abandon ship. Conditions may have been foggy at the time. The two remaining crew were safely evacuated and the captain was escorted to Campbell River while Coast Guard towed his boat. Awaiting the captain at the docks in Campbell River were Mounties, Canadian Border Services, Transport Canada, and Fisheries and Oceans Canada. Police arrested the captain on suspicion of impaired operation of a motor vessel and dangerous operation of a motor vessel.
The preserved barge 'Sobriety' heads upstream under the Humber Bridge on the occasion of the Queen's Diamond Jubilee celebrations.
id-iom
Title: Favourite Celebrity Quote no.71
Media: hand cut stencil, spraypaint, marker pen on piece of cardboard
To be used in a street drop
Lorenzo Lippi (1606-1665), active in Florence
Christ and the Samaritan woman, 1644
Lorenzo Lippi - painter, poet, intellectual - in 1643/44 by Claudia de' Medici was called to the Court in Innsbrucki who after the death of her husband, Archduke Leopold V, exercised the Regency in Tyrol until the majority of her son. In addition to numerous portraits, also this scene was created after the Gospel of John (John 4, 1-25) in which the characteristics of Lippi's style - clarity and precision of the drawing, a sobriety immersed in bright light and a sense of decorative detail - become recognizeable in pure form.
Lorenzo Lippi (1606-1665), tätig in Florenz
Christus und die Samariterin, 1644
Lorenzo Lippi - Maler, Dichter, Intellektueller - wurde 1643/44 von Claudia de' Medici, die nach dem Tod ihres Gatten Erzherzog Leopold V. bis zur Volljährigkeit ihres Sohnes die Regentschaft in Tirol ausübte, an den Hof nach Innsbruck berufen. Hier entstand neben zahlreichen Porträts auch diese Szene nach dem Johannesevangelium (Johannes 4, 1-25), in der die Charakteristika von Lippis Stil - Klarheit und Präzision der Zeichnung, eine in helles Licht getauchte Nüchternheit und Sinn für dekorative Details - in reiner Ausprägung erkennbar werden.
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
Inspired by the idea of a graffiti self portrait, there are many words and phrases in this piece that help shape the image, and they are not all entirely sincere. Most of my pieces are self-portraits of a sort.
The title for this drawing came to me like a revelation, a revelation aided perhaps by a lack of sobriety. It is also not at all sincere, but seems to me the kind of statement some artists like to make, though maybe not in so many words, about their work. i'm not only against the "artist statement" in general, but i have a kind of loathing for pretense, which seems rampant in the art world. (i don't even like to say "art world," which seems to drip pretense from its very syllables, (which also sounds pretentious.))
i've met many artists with expansive vocabularies and amazing opinions of themselves, a combination i don't enjoy to fraternize with. i enjoy seeing talent, not hearing talents author give himself a hearty pat on the back, and so this piece is filled with thoughts about the act of making art, about the self-aggrandizement that often goes hand in hand with creating something.
(i feel like there should be a much easier way to say all of that. It just didn't come to me. Sorry.) (And i think i'm also starting to sound exactly how i don't want to.)
As for the artist statement, i've heard some fine ones, some that show me how similar i am in many ways to other artists. We all basically want the same thing and have the same thing to say. We want to make work that connects with people, that illustrates the need for change, for social responsibility, peace, love and all that, or simply to remind people of the mystery and beauty and possibility. But if i were to try to give you a statement, it would run on indefinitely, which probably wouldn't surprise you after looking at my Flickr page. i'd just rather talk to someone about how i feel about art or the world or anything, than assume that i can boil down my ideas and feelings and hopes and intentions into a few sentences that don't seem horribly contrived and repetitive and ultimately insulting to your intelligence, and then assume that you have any interest in those ideas and feelings and hopes.
i'm certainly not against others having "a statement;" i know many painfully talented artists who are happy to offer one, and often they are lovely, as beautifully constructed as the art itself. It just doesn't work for me. i tend toward satire and irony when prompted, when asked for something meaningful. It may be that i don't care for that quality in myself, but i need conversation to express how i feel. i want to talk to you, not simply be read by you (which is happening now).
(So no one thinks all this rambling is a some sort of "statement," please know i'm full of shit and have no clue, officially, what it is that i'm talking about.)
Marker on watercolor paper.
May 2006 - 14 x 24