tag:blogger.com,1999:blog-37830076397273283632024-03-13T03:38:19.936-07:00RandzeichnungenNotizen zur KunstUnknownnoreply@blogger.comBlogger24125tag:blogger.com,1999:blog-3783007639727328363.post-3685339230887299182012-04-29T11:21:00.001-07:002012-04-29T11:21:09.420-07:00Mosaics by Puhl & WagnerSince their formation in 1889, the Berlin company Puhl & Wagner was
one of the most important companies for glass mosaics and glass windows
in Germany. By manufacturing their own mosaic pieces in their glass
factory and by developing a new technique of laying the small mosaic
pieces they were able to reduce the manufacturing costs considerably
and, in consequence, to establish their market leadership.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJmdSBFe8fJ07eFZJszxLsdv8sebkGrMj9_QJwoQBg85NbaTm-2flll8o65xN9G6n5hyTxC-xxo8wnUAmo-3kyvNKmYAXOw-dX1xEXCme2XHG0YydJSjzf8abKNDmVas7lRKpOrZAs0SBr/s1600/IMG_3693.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJmdSBFe8fJ07eFZJszxLsdv8sebkGrMj9_QJwoQBg85NbaTm-2flll8o65xN9G6n5hyTxC-xxo8wnUAmo-3kyvNKmYAXOw-dX1xEXCme2XHG0YydJSjzf8abKNDmVas7lRKpOrZAs0SBr/s200/IMG_3693.jpg" width="190" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Signet of Puhl & Wagner, mosaic of Fritz Dernburg</td></tr>
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In 1914, they merged with the stained glass company of Gottfried Heinersdorff, whose involvement in the Art Nouveau movement (especially the Deutsche Werkbund) promised to have a positive impact on the artistic quality of the company's production. But, due to unresolved differences between August Wagner and Gottfried Heinersdorff, these efforts of reforming the company's production artistically were short lived. During the Third Reich, the company was commissioned to decorate a number of buildings for the National socialists and was even able to survive the years after the Second World War. But, due to a diminished interest in glass mosaics and stained glass works, the company had to close its doors in 1969. (For further information check the comprehensive article at <a href="http://de.wikipedia.org/wiki/Puhl_%26_Wagner">Wikipedia</a>).<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsJf9CLIZNAP0MK3vohoU6w7cTxfEsAcfrXb8kKkGQfParO-crHuqUwQoZw9KdknRC_67PIYLM72bG7v-nUq86QcWiEtL2DBJbB4IHpMJioSk0OT51yJyIny2A2pt4Qhm4MrmWFQ3-0-jB/s1600/IMG_3687.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="207" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsJf9CLIZNAP0MK3vohoU6w7cTxfEsAcfrXb8kKkGQfParO-crHuqUwQoZw9KdknRC_67PIYLM72bG7v-nUq86QcWiEtL2DBJbB4IHpMJioSk0OT51yJyIny2A2pt4Qhm4MrmWFQ3-0-jB/s320/IMG_3687.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tomb of Fritz Dernburg</td></tr>
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Quite fortunately, some of the mosaics P&W executed in the late 19th and early 20th century survived the destruction of the war. One of them can be found at the cemetery Grunewald on Bornstedter Street 11/12, Berlin. It commemorates the death of Fritz Dernburg who died in infancy, in 1895. The large mosaic that even nowadays has lost nothing of its colourful vibrancy was designed by the artist Max Seliger (1865-1920), the brother of Fritz's mother, who designed a number of mosaics and murals throughout his career.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWQP1rI_wwWD4Zyhig_q71A7s-FbyUjHY_Jr1yT2O5vMH9XxE_rcALiNl3BOsP7s8H0GlBmlSG6D28PFFa_yWrU27zmemENgI28sTaSTcv6rI2M3ETB-9rhJgxCoNylzd4zNBFJhtyqWBN/s1600/IMG_3699.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWQP1rI_wwWD4Zyhig_q71A7s-FbyUjHY_Jr1yT2O5vMH9XxE_rcALiNl3BOsP7s8H0GlBmlSG6D28PFFa_yWrU27zmemENgI28sTaSTcv6rI2M3ETB-9rhJgxCoNylzd4zNBFJhtyqWBN/s320/IMG_3699.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mosaic, tomb of Fritz Dernberg</td></tr>
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It depicts two women next to an altar which is inscribed with a quote from the Bible: "Love never ends" ("Die Liebe höret nimmer auf, Corinthians 13,8). One of the woman places a vase with red tulips on the altar, the other plucks the strings of a harp which a sad looking cherub clutches in his chubby fingers.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieTnST-9HpVnJTGlBMcfNKOZCx0EVK55EveuxM1nkJntbY3u-16G2BIDMy0z8U8ydToi33biwV9Ffsc4Ebp7ndD2hx-bgsnW5tZvagYHZK-y4ZKI7YvaEAFLN0rvhJjjuj0y0UzWZzB_5j/s1600/IMG_3691.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieTnST-9HpVnJTGlBMcfNKOZCx0EVK55EveuxM1nkJntbY3u-16G2BIDMy0z8U8ydToi33biwV9Ffsc4Ebp7ndD2hx-bgsnW5tZvagYHZK-y4ZKI7YvaEAFLN0rvhJjjuj0y0UzWZzB_5j/s320/IMG_3691.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Detail of the mosaic, tomb of Fritz Dernberg</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9WssbmFokMihvpef5qh1NA6xrvIQ1DaJWV56t59mQAQQKDnthn8FjaIZ1BjEqMeyz4OmCBni0vxMbXB56SGIYL1DY2OO9Sj-u3aYQ8xjJEDcXaugKUnA0Z-bNGeqiFYSJnnMlZD0R8MgE/s1600/IMG_3690.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9WssbmFokMihvpef5qh1NA6xrvIQ1DaJWV56t59mQAQQKDnthn8FjaIZ1BjEqMeyz4OmCBni0vxMbXB56SGIYL1DY2OO9Sj-u3aYQ8xjJEDcXaugKUnA0Z-bNGeqiFYSJnnMlZD0R8MgE/s320/IMG_3690.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Detail of the mosaic, tomb of Fritz Dernberg</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv9UWLmXVWF4kJIE3zhXaBVMP3CqW_egncboA8h4jIjVjYcfVhaa7UdnpAwWAr7QUhOJrrsOYKplWnfs6985vaJrDHJCOwnl3ufwvV1BsYkVw_QjkTBFMaGBWtXCmc4tlbTu7CYsBK2TRu/s1600/IMG_3692.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv9UWLmXVWF4kJIE3zhXaBVMP3CqW_egncboA8h4jIjVjYcfVhaa7UdnpAwWAr7QUhOJrrsOYKplWnfs6985vaJrDHJCOwnl3ufwvV1BsYkVw_QjkTBFMaGBWtXCmc4tlbTu7CYsBK2TRu/s320/IMG_3692.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Detail of the mosaic, tomb of Fritz Dernberg</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwNWOohnDJFpHQo3qU6NyLJVdvHRqrLuNCQlGzrWkBcTdynK5fbbjO0cTxhQ4OdvOac_hdeqGcai9uJLqowA7KeCv5w7JgOs1GHwae9HqqFV4-DqP5q8VPk4QMolO1NjtW544AaYtIZgWQ/s1600/IMG_3688.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwNWOohnDJFpHQo3qU6NyLJVdvHRqrLuNCQlGzrWkBcTdynK5fbbjO0cTxhQ4OdvOac_hdeqGcai9uJLqowA7KeCv5w7JgOs1GHwae9HqqFV4-DqP5q8VPk4QMolO1NjtW544AaYtIZgWQ/s320/IMG_3688.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Detail of the mosaic, tomb of Fritz Dernberg</td></tr>
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Both women, though dressed in stylised white robes, are more portraits than allegories, and contemporary sources identify them as Fritz's mother, Emma Dernburg, and her sister. The decorative flowers in the background, especially the lilies, are most probably influenced by William Morris and the Arts & Crafts movement which was widely known in Germany at the time.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNdH2dZr24eWR7bS185c4LkxMOiEIAZHxHTgfoyDa8JR4dv53DB5JDItwqOY1XlqCi14bELV_ERTZytAsjvzLJrOsVWLR6wUq2KWmG6PBRq2QBECf3_3uoaFcbBC70r3jDTMcHTOygpMX2/s1600/IMG_3689.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNdH2dZr24eWR7bS185c4LkxMOiEIAZHxHTgfoyDa8JR4dv53DB5JDItwqOY1XlqCi14bELV_ERTZytAsjvzLJrOsVWLR6wUq2KWmG6PBRq2QBECf3_3uoaFcbBC70r3jDTMcHTOygpMX2/s320/IMG_3689.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Detail of the mosaic, tomb of Fritz Dernberg</td></tr>
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The second mural, nowadays on the facade of the building in Königsallee 15, Charlottenburg-Wilmersdorf, Berlin, shows a historical scene: a hunting party with Elector Joachim II and the hunting château of Grunewald in the background (inscribed "Aufbruch zur Jagd unter Kurfürst Joachim II vom Jagdschloss Grunewald").<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUhnDvf5NmvmoFybgKplF9pIxY3MVHnBDHo0DDGTru8qit3KRtKUI_m-WNMcaAIiEHUgTBWgrs9YivRLNuGH4Jnu8MpgZ1g3nR35qeb-q_r7dagzIFzLstWGdUV4IM6TJDPkxhIZHtwrkh/s1600/11_K%25C3%25B6nigsallee+15.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUhnDvf5NmvmoFybgKplF9pIxY3MVHnBDHo0DDGTru8qit3KRtKUI_m-WNMcaAIiEHUgTBWgrs9YivRLNuGH4Jnu8MpgZ1g3nR35qeb-q_r7dagzIFzLstWGdUV4IM6TJDPkxhIZHtwrkh/s320/11_K%25C3%25B6nigsallee+15.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mosaic, Königsallee 15</td></tr>
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The design was made by the artist Max Koch for the railroad bridge at Hohenzollerndamm in 1910 and executed by P&W in the same year.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifRpIjj2deSU1NLKY86LrCWxg-PW5nWt9hJAblHQXM0ov1ihP7KMCDMAQZjT9lwEKipPYhnqXLjxMdoNxhBP8IWkgTVXbFapdJ0ZS5GQsDiCIf5D2vxV5l92iFva7yt61fcPtQpPQ96eS0/s1600/Br%C3%BCcke_Max+Koch.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifRpIjj2deSU1NLKY86LrCWxg-PW5nWt9hJAblHQXM0ov1ihP7KMCDMAQZjT9lwEKipPYhnqXLjxMdoNxhBP8IWkgTVXbFapdJ0ZS5GQsDiCIf5D2vxV5l92iFva7yt61fcPtQpPQ96eS0/s1600/Br%C3%BCcke_Max+Koch.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mosaic as it originally was at the Hohenzollern bridge</td></tr>
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When the bridge was demolished in 1950, only one of the former two mosaics was rescued and re-done - with an alteration to the upper part of the image - on the aforementioned facade in 1963. The mosaic depicting the surrender of Teltow was lost. There is little known about the artist Max Koch, but his design shows some similarity to the works of Maximilian Liebenwein and other Art Nouveau illustrators that might have been of some influence.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ3sYagw7Hw6Mfb9RUhZ8P_aZlaqeh3U_V9LLORQiAF6iSehBMRB1WTwZSD2hx_gIbGnr-dUt3TOuViI4TALHbzmwhyphenhyphen2kf36NIh8Twxlv0yBOCJK9gu0K4efhdO3UK38fNEsHrEb3yJUew/s1600/14_K%25C3%25B6nigsallee+15.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ3sYagw7Hw6Mfb9RUhZ8P_aZlaqeh3U_V9LLORQiAF6iSehBMRB1WTwZSD2hx_gIbGnr-dUt3TOuViI4TALHbzmwhyphenhyphen2kf36NIh8Twxlv0yBOCJK9gu0K4efhdO3UK38fNEsHrEb3yJUew/s320/14_K%25C3%25B6nigsallee+15.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Detail of the mosaic, Königsallee 15</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFkAUEu-kU-gStVyFbB_XcuTp_-7PHhNks3AJ8CdwxJiTMZwZb4Dn0j0x5-IhL2dT-rgbnf-nORQWZzx1WMrA7NSrDOm4JBLLz9_F_1wn8C8av1GjxnDZ2-1KNet_JeA9nwhqIIYnQUwnM/s1600/16_K%25C3%25B6nigsallee+15.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFkAUEu-kU-gStVyFbB_XcuTp_-7PHhNks3AJ8CdwxJiTMZwZb4Dn0j0x5-IhL2dT-rgbnf-nORQWZzx1WMrA7NSrDOm4JBLLz9_F_1wn8C8av1GjxnDZ2-1KNet_JeA9nwhqIIYnQUwnM/s320/16_K%25C3%25B6nigsallee+15.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Detail of the mosaic, Königsallee 15</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX4afA1ScsobP4TfyyKTCY_o6Bwm7D39sJnloo5AWFPz9wHYkT3lelBsWCrK4-8aXMRK_zrMy1h0jPyLg6SFVxc3nXdySm6gF4lu0MXoe7O1lMrjztt9-j_qYAsngi61k1OTGOyYc05Knx/s1600/18_K%25C3%25B6nigsallee+15.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX4afA1ScsobP4TfyyKTCY_o6Bwm7D39sJnloo5AWFPz9wHYkT3lelBsWCrK4-8aXMRK_zrMy1h0jPyLg6SFVxc3nXdySm6gF4lu0MXoe7O1lMrjztt9-j_qYAsngi61k1OTGOyYc05Knx/s320/18_K%25C3%25B6nigsallee+15.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Detail of the mosaic, Königsallee 15</td></tr>
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As with the mosaic for Fritz Dernburg, Koch's hunting scene is a compelling work of art that profits widely from P&W's execution and the quality of their laying technique as well as their glass mosaic pieces.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdH4uoITHoHTZRuNp4EDrWLrc0wAo8D8Uj8E7v7f9q2DQ-T9WwbdhO8FeU9aIHN-pFjBc0mSRkPMKMXScicCPQOCTjDpCB4ddB3z1-k0xBlaE7UIlghNfkW6Dt2kHKQVePL0_HhXBULlfJ/s1600/15_K%25C3%25B6nigsallee+15.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdH4uoITHoHTZRuNp4EDrWLrc0wAo8D8Uj8E7v7f9q2DQ-T9WwbdhO8FeU9aIHN-pFjBc0mSRkPMKMXScicCPQOCTjDpCB4ddB3z1-k0xBlaE7UIlghNfkW6Dt2kHKQVePL0_HhXBULlfJ/s320/15_K%25C3%25B6nigsallee+15.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Detail of the mosaic, Königsallee 15</td></tr>
</tbody></table>randzeichnerhttp://www.blogger.com/profile/13349308117677989990noreply@blogger.com1tag:blogger.com,1999:blog-3783007639727328363.post-76643892020876618452010-10-31T09:33:00.000-07:002010-10-31T10:19:43.663-07:00Dreaming of One Thousand and One NightsIn 1923, Ernst Rosenbaum (alias: Ernst Roenau) published his adaptation of "One Thousand and One Nights" (Vienna, Munk) with magnificent illustrations by Rosa Rosà . Probably around the same time the book was also published in Chicago by Julius Wisotzki.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPiBV2_YBfVQPl38HaFI0D6IZQ7zxq-qGcWvo1gSLkQOHKZnYf6DPavzm3M2dxmuKpqr4aYa8NEWMZgJyWyGVtoPIHYUJNFVVjzRb90x7OfOKpqULoMybmaRI0ca7oOY7qYfppW7y5uowN/s1600/IMG_3298.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5534250413693057170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPiBV2_YBfVQPl38HaFI0D6IZQ7zxq-qGcWvo1gSLkQOHKZnYf6DPavzm3M2dxmuKpqr4aYa8NEWMZgJyWyGVtoPIHYUJNFVVjzRb90x7OfOKpqULoMybmaRI0ca7oOY7qYfppW7y5uowN/s200/IMG_3298.jpg" style="cursor: pointer; float: left; height: 200px; margin: 0pt 10px 10px 0pt; width: 142px;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitPKwIutRmsZCLWI0b11KzVFMSJzbG74VbhsCfj5Q6QSwooaS4kXvXfmhnsqbKYgEfHk9W3UT6gaqNgUsLSnQ7OGuZ5pD3HFfElrdt3zYdcc_bS13NF4IImopZYoHh0JmZ83rlpd3CLt6z/s1600/IMG_3296.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5534254443095143458" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitPKwIutRmsZCLWI0b11KzVFMSJzbG74VbhsCfj5Q6QSwooaS4kXvXfmhnsqbKYgEfHk9W3UT6gaqNgUsLSnQ7OGuZ5pD3HFfElrdt3zYdcc_bS13NF4IImopZYoHh0JmZ83rlpd3CLt6z/s200/IMG_3296.jpg" style="cursor: pointer; float: left; height: 200px; margin: 0pt 10px 10px 0pt; width: 143px;" /></a><br />
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In contrast to 19th-century orientalism which dominated most of the illustrative works on "One Thousand and One Nights" at the time, Rosà presents her fairytale interpretations in a powerfully decorative style that seems to be a bit influenced by fashion designs of the Art Déco. There is a strong interest in form and patterns, which might also derive from folk art which was a great source of inspiration in these times. The colourful lithographs even encourage associations with the even more detailed and equally fantastic works of Léon Bakst or the illustrations of the Russian artist Iwan Bilibin.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguI59UUc65TL_5qd3NgIgHInhKPnZ92Qt-j3IuyzHhDYiDaCag3ry685rcL__uTBSlOp2Vfa-s85y3zOk9SNeW4Moh_X-s5656pFXw6SdgaoQUtuex8c24ZjmxtDe_4unSfM7GOPz_j7l1/s1600/IMG_3302.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5534254582758083122" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguI59UUc65TL_5qd3NgIgHInhKPnZ92Qt-j3IuyzHhDYiDaCag3ry685rcL__uTBSlOp2Vfa-s85y3zOk9SNeW4Moh_X-s5656pFXw6SdgaoQUtuex8c24ZjmxtDe_4unSfM7GOPz_j7l1/s200/IMG_3302.jpg" style="cursor: pointer; float: left; height: 200px; margin: 0pt 10px 10px 0pt; width: 177px;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM4QUFxgEnGG5begtG22uCvh2npkFUTt4NXglamYCFvIwOW3UnnjMKuZRfT8-4PTfq4GW5g-1CTGNChf9aNTn4VmKBFWL9g_DytUnKxT2PzhJBkYfKLao2cQWvwb6t5vU_DMfmjz6YpG0q/s1600/IMG_3304.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5534254686434604818" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM4QUFxgEnGG5begtG22uCvh2npkFUTt4NXglamYCFvIwOW3UnnjMKuZRfT8-4PTfq4GW5g-1CTGNChf9aNTn4VmKBFWL9g_DytUnKxT2PzhJBkYfKLao2cQWvwb6t5vU_DMfmjz6YpG0q/s200/IMG_3304.jpg" style="cursor: pointer; float: left; height: 200px; margin: 0pt 10px 10px 0pt; width: 177px;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7RAqCvgk_t2nt0ucOP_Qa-4I_5l9X-T2KUQpXTJmmCDesmGkqLsP1-rTN93w5orKugltbIiB5he9VR6W8kPquLes_rFLbPlahE0dMWXPeFp8O0f283aBw1qzjtLudASG56Q654SXLteas/s1600/IMG_3308.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5534255930715931186" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7RAqCvgk_t2nt0ucOP_Qa-4I_5l9X-T2KUQpXTJmmCDesmGkqLsP1-rTN93w5orKugltbIiB5he9VR6W8kPquLes_rFLbPlahE0dMWXPeFp8O0f283aBw1qzjtLudASG56Q654SXLteas/s200/IMG_3308.jpg" style="cursor: pointer; float: left; height: 200px; margin: 0pt 10px 10px 0pt; width: 164px;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBgW1ezqRIXgiZLCxVswX7ETYX4GhteDa9tIMlrAkOJFOG8jzRZinG9LZnYPIfY8HCsG25iRLO0xUzebxnRZGpRyMcCcABMHQ0c4gJ2i1ICe-KAd7b2jsn9aMqm8tdbkShjX8m3zPgL-2E/s1600/IMG_3311.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5534255931573174242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBgW1ezqRIXgiZLCxVswX7ETYX4GhteDa9tIMlrAkOJFOG8jzRZinG9LZnYPIfY8HCsG25iRLO0xUzebxnRZGpRyMcCcABMHQ0c4gJ2i1ICe-KAd7b2jsn9aMqm8tdbkShjX8m3zPgL-2E/s200/IMG_3311.jpg" style="cursor: pointer; float: left; height: 200px; margin: 0pt 10px 10px 0pt; width: 160px;" /></a><br />
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Just as <a href="http://randzeichnungen.blogspot.com/2008/07/fernande-biegler-illustrations-for.html">Fernande Biegler</a>, another female artist of the time, of who's biography is equally little known, Rosà found her own and unique way to illustrate and re-count the well-known Arabian fairy tales. Her "stylish", nearly two-dimensional images present a colourful world full of wonders which mirrors the character of the fairy tales perfectly. It is no doubt a pity, that there is nothing else of her work known nowadays.<br />
<span style="font-size: 11px;"></span>randzeichnerhttp://www.blogger.com/profile/13349308117677989990noreply@blogger.com4tag:blogger.com,1999:blog-3783007639727328363.post-44352119992148627262009-10-11T03:04:00.000-07:002009-10-11T03:49:16.445-07:00Hugo L. Braune's "Dietrich von Bern" ("Theodoric the Great")In the 19th century, printed graphic works were often no longer added to the text as a decorative element only, or to illustrate the text with the depictions of the crucial scenes of the story told, but they became autonomous. The text lost its importance, the pictures told the story with their own means. It is then that, more and more graphic cycles were published which don't have a textbook to begin with.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFCs9nXXOyvavTdYN06lBniHL5PvAZmNytoDoKs8QaicDW6V1-Ro64xwNAkGKjaldAcokT-Mm8c_JmKDSxMizEMxlsNyIUnBRUZfTm0vKo5du7SV-OeJPCprfdy8j6iLBWuM4YghmAuYBl/s1600-h/Braune-00.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 164px; height: 197px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFCs9nXXOyvavTdYN06lBniHL5PvAZmNytoDoKs8QaicDW6V1-Ro64xwNAkGKjaldAcokT-Mm8c_JmKDSxMizEMxlsNyIUnBRUZfTm0vKo5du7SV-OeJPCprfdy8j6iLBWuM4YghmAuYBl/s320/Braune-00.jpg" alt="" id="BLOGGER_PHOTO_ID_5391289461875466178" border="0" /></a>One of these picture-stories is Hugo L. Braunes narration of the old German saga of "Dietrich von Bern" (for the story, please check out <a href="http://en.wikipedia.org/wiki/Dietrich_von_Bern">Wikipedia</a> and the re-telling of <a href="http://www.sacred-texts.com/neu/tml/tml42.htm">legend</a> by Donald A. Mackenzie) that was published in the magazine "Teuerdank" (Berlin, Düsseldorf, Fischer & Franke, 1901-03). Hugo L. Braune (1875-?), most popular for his illustrative works on fairy tales, sagas and the operas of Richard Wagner, tells the legend of Dietrich von Bern in twelve black and white drawings that recount the adventures of Dietrich at the wonderful rose garden, the fight with the giant, etc., up to his end, riding on the black steed through the sky until he is saved by the will of god.<br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1z-DVQmvP5OdZjJXs7gnt8pZT9utBnMNAFaGhriVJrcZK4m4abcCBedyilblkJlD89o4EiRthtGP-TfvgM-xSne1PujqGjThJlWbu2f3ufQGPhybfbOO-fEB6VMNvazBADIOGfce6JQci/s1600-h/Braune-01.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 179px; height: 220px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1z-DVQmvP5OdZjJXs7gnt8pZT9utBnMNAFaGhriVJrcZK4m4abcCBedyilblkJlD89o4EiRthtGP-TfvgM-xSne1PujqGjThJlWbu2f3ufQGPhybfbOO-fEB6VMNvazBADIOGfce6JQci/s320/Braune-01.jpg" alt="" id="BLOGGER_PHOTO_ID_5391289686127670706" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0bLYpBwhLAyd9OmDcxGv2-KOdA9AO_qR5DKmWWKyZAWL70_Zt3fC4RAW_migtiW3Sxlyv5b5BwY-vXJCgQz-G7PAv39EmQ8biNMkPoHLN0KhQl_wEPLigrHlQgl-1SwnsLb0Grk7qdl49/s1600-h/Braune-02.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 184px; height: 220px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0bLYpBwhLAyd9OmDcxGv2-KOdA9AO_qR5DKmWWKyZAWL70_Zt3fC4RAW_migtiW3Sxlyv5b5BwY-vXJCgQz-G7PAv39EmQ8biNMkPoHLN0KhQl_wEPLigrHlQgl-1SwnsLb0Grk7qdl49/s320/Braune-02.jpg" alt="" id="BLOGGER_PHOTO_ID_5391289691788146514" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUhZASyInH6jG5L5DFyL6v0B4Ys225qvlzTuBU5WwJgrhYic0tCoR5AVS5Mm6fjkc7v6WepuwCEBfAKe0BtBdhiJqwjt8-Cv_hULCpurhNklYH8eRth6BpLNcbzk0sGmFL7iYBmZg4fSHj/s1600-h/Braune-03.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 178px; height: 220px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUhZASyInH6jG5L5DFyL6v0B4Ys225qvlzTuBU5WwJgrhYic0tCoR5AVS5Mm6fjkc7v6WepuwCEBfAKe0BtBdhiJqwjt8-Cv_hULCpurhNklYH8eRth6BpLNcbzk0sGmFL7iYBmZg4fSHj/s320/Braune-03.jpg" alt="" id="BLOGGER_PHOTO_ID_5391289698271492178" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCaXAuz21hpckrcOxSOPhhPnHf1znRxo2sX5pmW5j9WMSMxr5sAjWRn32AuBLqGWoNMqIl8dqnZnkatylEFru0rBNvqnBbR9ByVHgl7SZ3wvrWbEQIu7fICfr7MrvOss9AjqOCrKe6uhj6/s1600-h/Braune-04.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 189px; height: 220px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCaXAuz21hpckrcOxSOPhhPnHf1znRxo2sX5pmW5j9WMSMxr5sAjWRn32AuBLqGWoNMqIl8dqnZnkatylEFru0rBNvqnBbR9ByVHgl7SZ3wvrWbEQIu7fICfr7MrvOss9AjqOCrKe6uhj6/s320/Braune-04.jpg" alt="" id="BLOGGER_PHOTO_ID_5391289702782115426" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2zrmtTypUfOjd64H42i1eGq5sho8kPcGF08ORclFi5NBIhoRebrgYUcoPXE8RuOCVnIhnzZhE78-2gZ3Xm2MokhoSj1XZ50-Rkvx8cDqhK9yuKY1bRnT469NC4-7oUdXAGNKdoAmxQJPL/s1600-h/Braune-05.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 176px; height: 220px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2zrmtTypUfOjd64H42i1eGq5sho8kPcGF08ORclFi5NBIhoRebrgYUcoPXE8RuOCVnIhnzZhE78-2gZ3Xm2MokhoSj1XZ50-Rkvx8cDqhK9yuKY1bRnT469NC4-7oUdXAGNKdoAmxQJPL/s320/Braune-05.jpg" alt="" id="BLOGGER_PHOTO_ID_5391289705126456850" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz2hkpaDqMdD4iRp7a8Wk0tLDM80FMhjMynq9TanS7wpA4uqJh6zzcJea0nmT-K4s1kKjV16kojtfTUphzSqbpb5QVbHDGGL9C1djQyiuBpszqofcJzGaMVKrsgUHAucMBnfrIPMkhgSqt/s1600-h/Braune-06.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 177px; height: 220px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz2hkpaDqMdD4iRp7a8Wk0tLDM80FMhjMynq9TanS7wpA4uqJh6zzcJea0nmT-K4s1kKjV16kojtfTUphzSqbpb5QVbHDGGL9C1djQyiuBpszqofcJzGaMVKrsgUHAucMBnfrIPMkhgSqt/s320/Braune-06.jpg" alt="" id="BLOGGER_PHOTO_ID_5391289914779253810" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW9nZSEFATIlJdqUJA7P9RDW1omt4D-jsgCSqTD2y-NqC4fq4oLKtJk_F5AE1-_m3rNm-ePn_el5RU3_GvNpzHiR2PpetWLELYwaRGtAR9nDwLusWPucSfl2CSyScnhC9yyEa3DCl6hEM_/s1600-h/Braune-07.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 172px; height: 220px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW9nZSEFATIlJdqUJA7P9RDW1omt4D-jsgCSqTD2y-NqC4fq4oLKtJk_F5AE1-_m3rNm-ePn_el5RU3_GvNpzHiR2PpetWLELYwaRGtAR9nDwLusWPucSfl2CSyScnhC9yyEa3DCl6hEM_/s320/Braune-07.jpg" alt="" id="BLOGGER_PHOTO_ID_5391289918546744578" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijcaA6hBZbmx6o-nqAztpjQw1V_sF2sIMlXAMxzGqLklqmCqVKt2iSIY0gDwNQXTCSTRgFbrXNfrU58UqJ0nuDn1iAu2fTgxTdusSE_S7zD6Azf4vId-hK8zioGjZNc_P5BQg8sy2a5p_F/s1600-h/Braune-08.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 176px; height: 220px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijcaA6hBZbmx6o-nqAztpjQw1V_sF2sIMlXAMxzGqLklqmCqVKt2iSIY0gDwNQXTCSTRgFbrXNfrU58UqJ0nuDn1iAu2fTgxTdusSE_S7zD6Azf4vId-hK8zioGjZNc_P5BQg8sy2a5p_F/s320/Braune-08.jpg" alt="" id="BLOGGER_PHOTO_ID_5391289920653556642" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUPti3PvfZT7qjna3P0bcfcDwhIC7_sPc7PnjN3QsyGJLCFTTQ67viDSmzn-sVz9kfuW8cE6JkGO46Xj8Zwfm1WSgZUuEql4uYH-GzqMb05kNCL8Cqn1SqLjG8tPE-ps7tMQAjf8RfUBd2/s1600-h/Braune-09.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 173px; height: 220px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUPti3PvfZT7qjna3P0bcfcDwhIC7_sPc7PnjN3QsyGJLCFTTQ67viDSmzn-sVz9kfuW8cE6JkGO46Xj8Zwfm1WSgZUuEql4uYH-GzqMb05kNCL8Cqn1SqLjG8tPE-ps7tMQAjf8RfUBd2/s320/Braune-09.jpg" alt="" id="BLOGGER_PHOTO_ID_5391289924506753346" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWS8Zf3zQsP1PgmjILDQUFnvpM0xmj2gWR3iRCTX4qn4nYfhgK98rinFf4NTVvX18Ox0Q82mYSwS5udWb_EpNu-LlZ7DMj-L5yNByFY5gv4JXd1Br5SDx6k8uNjlEolTb7eVp7m3-pkYxx/s1600-h/Braune-10.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 182px; height: 220px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWS8Zf3zQsP1PgmjILDQUFnvpM0xmj2gWR3iRCTX4qn4nYfhgK98rinFf4NTVvX18Ox0Q82mYSwS5udWb_EpNu-LlZ7DMj-L5yNByFY5gv4JXd1Br5SDx6k8uNjlEolTb7eVp7m3-pkYxx/s320/Braune-10.jpg" alt="" id="BLOGGER_PHOTO_ID_5391290100985042146" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiA_X4A11ctSXCc9Vf-JZMtw5L5Cyjx8aERMlC6kJeQAfIWProlTlS5zxskwekHFbwBFcXIriILASSiCw9L6UvnKdGrPPWjwCKatPpvXBOVKnkDC_nuCPMTU_W8fCnVyCgeoDukpomKwlA/s1600-h/Braune-11.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 179px; height: 220px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiA_X4A11ctSXCc9Vf-JZMtw5L5Cyjx8aERMlC6kJeQAfIWProlTlS5zxskwekHFbwBFcXIriILASSiCw9L6UvnKdGrPPWjwCKatPpvXBOVKnkDC_nuCPMTU_W8fCnVyCgeoDukpomKwlA/s320/Braune-11.jpg" alt="" id="BLOGGER_PHOTO_ID_5391290104038202034" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgquMsAVKTAzS1ICrFAKANQClqr4FHGg5pAus1k6RLqIJ0x4NmrQsor1mYnFa8i5nGrgrthwc1QWsAutgDvjxgHnl5kbcbiGAJthlta9cZKNKe1pwEtenI4JxqbQLl9oxvV_p4t2cmKcxEy/s1600-h/Braune-12.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 180px; height: 220px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgquMsAVKTAzS1ICrFAKANQClqr4FHGg5pAus1k6RLqIJ0x4NmrQsor1mYnFa8i5nGrgrthwc1QWsAutgDvjxgHnl5kbcbiGAJthlta9cZKNKe1pwEtenI4JxqbQLl9oxvV_p4t2cmKcxEy/s320/Braune-12.jpg" alt="" id="BLOGGER_PHOTO_ID_5391290112735139570" border="0" /></a>randzeichnerhttp://www.blogger.com/profile/13349308117677989990noreply@blogger.com2tag:blogger.com,1999:blog-3783007639727328363.post-71600232545578140132009-10-10T10:53:00.000-07:002009-10-11T03:04:08.796-07:00Landscapes of Melancholy - German Art Nouveau Landscape IllustrationsYears back I stumbled upon an article comparing the art of the Romantic period in France and Germany. The author concluded that the French Romantic art tended to celebrate the "savoir vivre" while the German Romanticists revelled in the "savoir mourir". This idea (though not to be generalised) is rather intriguing.<br /><br />Taking a look at the German landscape art of the late 19th and early 20th century, the "savoir mourir" is still a valid aspect of its multiple facets. Be it Arnold Böcklin with his variants of the "Isle of the Dead" or Walter Leistikow with his landscape paintings of the Mark Brandenburg, their landscape is distinctively melancholy in its atmosphere. They are landscapes that don't want to portray a specific landscape as much as they want to evoke a certain sentiment for the audience to associate and feel while viewing their artwork.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcrGLTciE4nGB9QkK_RuRYEU9k5ug7HIOiNI_7mAra1z64PlCkWlotq1WU7zX_8kgFF6dzCeqAoRb74bZU9p6AT7z31UnICgogtHuCi3-UWiaB1BS1kue09JR_FV8kION0PQX0Hbh8f6ZU/s1600-h/Hirzel-01.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 172px; height: 201px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcrGLTciE4nGB9QkK_RuRYEU9k5ug7HIOiNI_7mAra1z64PlCkWlotq1WU7zX_8kgFF6dzCeqAoRb74bZU9p6AT7z31UnICgogtHuCi3-UWiaB1BS1kue09JR_FV8kION0PQX0Hbh8f6ZU/s320/Hirzel-01.jpg" alt="" id="BLOGGER_PHOTO_ID_5391048201323840994" border="0" /></a>Same goes for the works of the two Art Nouveau artists, Hermann Hirzel and Georg Jahn, and their landscape illustrations for the magazine "Teuerdank" (published 1901-03 by Fischer & Franke in Berlin and Düsseldorf). - Hirzel's landscapes, entitled "Stimmungen" ("Moods"), are not serene at all. They show a quiescent world with an air of loneliness, of melancholy. They are beautiful, but sad, and this even though the artist did not paint his landscape in gloomy colours. It's the motifs and their "Inszenierung".<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFXUsUICHdatQQpxruQKJ8dwYo6Dutx8pG0ekHnwASPTNtPpOxdW6R7DZg9scuEdkMWKFQtgejy_OzsQe30FsG29NJihyphenhyphenoMeXJfpw9SuSQ80DHqkoyGfg3xqEyLgxSVeqpR2LRqca3J5s6/s1600-h/Hirzel-04.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 237px; height: 210px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFXUsUICHdatQQpxruQKJ8dwYo6Dutx8pG0ekHnwASPTNtPpOxdW6R7DZg9scuEdkMWKFQtgejy_OzsQe30FsG29NJihyphenhyphenoMeXJfpw9SuSQ80DHqkoyGfg3xqEyLgxSVeqpR2LRqca3J5s6/s320/Hirzel-04.jpg" alt="" id="BLOGGER_PHOTO_ID_5391048222206126018" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeowmGCAWbx0BZ7gRMiDQclrgCdMYwtM1VE2If5G8hseNK066ZDejLaj1jPVJjb8jST4N6wztBKqrDeuCMGrbM01kZSuQtqevV-VTL-N9TAoR2qAfCSk4iG1YVDMhHV_OGynBXYySisvGs/s1600-h/Hirzel-06.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 238px; height: 210px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeowmGCAWbx0BZ7gRMiDQclrgCdMYwtM1VE2If5G8hseNK066ZDejLaj1jPVJjb8jST4N6wztBKqrDeuCMGrbM01kZSuQtqevV-VTL-N9TAoR2qAfCSk4iG1YVDMhHV_OGynBXYySisvGs/s320/Hirzel-06.jpg" alt="" id="BLOGGER_PHOTO_ID_5391048437479458786" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwIimEh1ZqmsMT0BNTtXA6SawyTSjgOlEuvgPnqMufrPjP_gAvartH8eKVMz8RWkUE4EkbA3jBW2cmW7wQme2QHEqh5HUI13OovJjMMpLgPHOGXNZPcI-Fe96pWTpMsT9sPro8TI66dh_g/s1600-h/Hirzel-03.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 176px; height: 212px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwIimEh1ZqmsMT0BNTtXA6SawyTSjgOlEuvgPnqMufrPjP_gAvartH8eKVMz8RWkUE4EkbA3jBW2cmW7wQme2QHEqh5HUI13OovJjMMpLgPHOGXNZPcI-Fe96pWTpMsT9sPro8TI66dh_g/s320/Hirzel-03.jpg" alt="" id="BLOGGER_PHOTO_ID_5391048214005393634" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6KZBNeIbQwhl6a_wD547goW2b27EklOBFZRjyfPnHrMrizq5FoMU2P3cDyhWDQvfu28ZsjEddHp28MucyzDzSnjRBee7sNpd5PJOejmEpp6cyPPwQJ8amS-LgHygXRB0LsHJEbFr0s0TA/s1600-h/Hirzel-02.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 172px; height: 210px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6KZBNeIbQwhl6a_wD547goW2b27EklOBFZRjyfPnHrMrizq5FoMU2P3cDyhWDQvfu28ZsjEddHp28MucyzDzSnjRBee7sNpd5PJOejmEpp6cyPPwQJ8amS-LgHygXRB0LsHJEbFr0s0TA/s320/Hirzel-02.jpg" alt="" id="BLOGGER_PHOTO_ID_5391048210147567202" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDKY_ToA5OBkE5lGyX45qpx8LVfaWiJxknmf6VDG5Egq7rmQmX1nejr61N0FIBnvFt7AS-jur6NitV9K1QTLTrwxYk4xH2L1zISGmpAh2u6mKpmse3_zBzVLQviH64laYbGreAF3Vg06Py/s1600-h/Jahn-01.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 169px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDKY_ToA5OBkE5lGyX45qpx8LVfaWiJxknmf6VDG5Egq7rmQmX1nejr61N0FIBnvFt7AS-jur6NitV9K1QTLTrwxYk4xH2L1zISGmpAh2u6mKpmse3_zBzVLQviH64laYbGreAF3Vg06Py/s320/Jahn-01.jpg" alt="" id="BLOGGER_PHOTO_ID_5391048441267815362" border="0" /></a>Georg Jahn's views of the coast and sea are equally un-lively: showing a barren land, buffeted by wind and waves. It's not a welcoming or forgiving landscape. It existed long before men travelled it, and will exist long after the extinction of mankind it. It's the old idea of death, of a Memento Mori that is part of the landscapes' inherent moods. It's the "savoir mourir" that becomes apparent in these works, the decision of the artists not to draw a landscape evoking happiness but a sad longing.<br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhumCi_FkzRXG9EjBulgYBt4hdJWSUpDBhYZTEyNwgVlEr6NPxb4qX0G3aojSqZ6xTbaSen34SK1WTYS3bmHKEnhbsRgbb-x5RisMa9qCT0KVZ_6x5Tk4seh7zOdvVqjOJ8_gZVMFExBzUe/s1600-h/Jahn-03.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 231px; height: 210px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhumCi_FkzRXG9EjBulgYBt4hdJWSUpDBhYZTEyNwgVlEr6NPxb4qX0G3aojSqZ6xTbaSen34SK1WTYS3bmHKEnhbsRgbb-x5RisMa9qCT0KVZ_6x5Tk4seh7zOdvVqjOJ8_gZVMFExBzUe/s320/Jahn-03.jpg" alt="" id="BLOGGER_PHOTO_ID_5391048450169751634" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVDpxoM2iV94j_2rNNmaXaU4jtfEsxrdwnCjh_6wSMRkEMtntMRuY3qzR7W8ynTRWI7HqL_K803m2pjbC32SPS7l77daYyay2JHhdGfN5Q_acmTX18l3eItgVyM1FKN6mf_LurBj7fAf5f/s1600-h/Jahn-02.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 177px; height: 210px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVDpxoM2iV94j_2rNNmaXaU4jtfEsxrdwnCjh_6wSMRkEMtntMRuY3qzR7W8ynTRWI7HqL_K803m2pjbC32SPS7l77daYyay2JHhdGfN5Q_acmTX18l3eItgVyM1FKN6mf_LurBj7fAf5f/s320/Jahn-02.jpg" alt="" id="BLOGGER_PHOTO_ID_5391048445511585394" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoErZYQeegcrZ5xwjr4BYD28Kq8QDp-frMais-Fsh8_kgBa8MsWehMOoSgYPbcOaloAxXvyhs7wUSVz2op6luU4_98iQVd2RXaii8TRMAHnaMLV-Fjn2DFqbc6z6Aua5ZJOQ1M-N3M44Yf/s1600-h/Jahn-04.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 191px; height: 208px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoErZYQeegcrZ5xwjr4BYD28Kq8QDp-frMais-Fsh8_kgBa8MsWehMOoSgYPbcOaloAxXvyhs7wUSVz2op6luU4_98iQVd2RXaii8TRMAHnaMLV-Fjn2DFqbc6z6Aua5ZJOQ1M-N3M44Yf/s320/Jahn-04.jpg" alt="" id="BLOGGER_PHOTO_ID_5391048456522928450" border="0" /></a>randzeichnerhttp://www.blogger.com/profile/13349308117677989990noreply@blogger.com0tag:blogger.com,1999:blog-3783007639727328363.post-15963663267280310072009-07-19T09:23:00.000-07:002009-07-19T10:24:57.669-07:00Nationalistic Hopes & Escapist Desires: Fairytales on Wall Paintings in 19th Century Germany<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge79i519SLaEG7OBVHUhwFHimvEQ54bWrZwmMDCVef-i6bz7JVQnrSj5rYYaMLscglx4fcMRvNoiQkPQPmnmwuHz5pGbikZ8ea-CJ7lX-MHVMv8FoD8iEit1cabQwqPDhGdAa2ZVaV1S-K/s1600-h/Dornr%C3%B6schen-kl.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 172px; height: 234px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge79i519SLaEG7OBVHUhwFHimvEQ54bWrZwmMDCVef-i6bz7JVQnrSj5rYYaMLscglx4fcMRvNoiQkPQPmnmwuHz5pGbikZ8ea-CJ7lX-MHVMv8FoD8iEit1cabQwqPDhGdAa2ZVaV1S-K/s320/Dornr%C3%B6schen-kl.jpg" alt="" id="BLOGGER_PHOTO_ID_5357243816815234354" border="0" /></a><span>When being asked about fairy tales in German Art most works that come to mind date back into the 19th century and are book illustrations by Ludwig Richter, Hermann Vogel, Victor Paul Mohn and others. Generally categorized as children’s literature, fairy tales and their illustrations tend to be regarded as being addressed mostly to a very young audience. But against common belief, in 19th century Germany, folk fairy tales such as the <span style="font-style: italic;">Children and Household Stories</span> of the Brothers Grimm were not only considered as nursery tales but as a part of Germany’s original literary heritage.<br />Influenced by Johann Gottfried Herder’s theories of the "Nationalgeist", the spirit of the nation which he thought to be preserved in folk literature in general, fairy tales were considered as a key to the long lost but to-be-recreated golden age of the German nation. They were thought powerful enough to help remedy the cultural crisis brought on by the Napoleonic wars and occupation, and, later on, by the progressing industrialisation and changing society by re-forming the German nation. So, when the Brothers Grimm first published their influential fairy tale collection in 1812, they did so less to provide parents with new reading material for their beloved children, than to strengthen the national spirit of the German people by preserving a part of their oral culture that was threatened with extinction.<br />It was this complex nationalistic interpretation of the fairy tales that proved to have a major influence on the German art scene in the 19th century. It was also the decisive factor that fairy tales were deemed suitable for murals and wall paintings in public buildings that – at least in 19th century Germany - had to serve the purpose of educating its audience. But it was the idea of a golden age preserved in the fairytales, that let the artists to invent a fairyland of utopian qualities, which in return assured the success of their fairytale art. For the medieval fairyland-idyll as depicted in the works of Moritz von Schwind, Richter, Otto Speckter and many others offered an alternative to the hectic and unsettling everyday life and thusly satisfied the audience’s need for escapism. As you can see in the following examples, fairy tale murals or wall paintings thusly expressed quite a variety of complex hopes and desires.<br /><br /><br /><span style="font-weight: bold;">The Beginnings</span><br /><br />The history of fairy tale murals in Germany started in 1852: <a href="http://www.19thc-artworldwide.org/autumn_07/articles/frey.shtml">Moritz von Schwind</a> was the first artist to chose a folk fairy tale as a motif for a history painting, transforming the popular tale of <span style="font-style: italic;">Cinderella </span>into a multifaceted story full of hidden meaning. Combined with scenes from <span style="font-style: italic;">Sleeping Beauty</span> and <span style="font-style: italic;">Eros and Psyche</span>, Schwind’s <span style="font-style: italic;">Cinderella </span>cycle is not only an universal story about virtue, love and happy endings, but also a complex metaphor of Germany itself with Cinderella as its representation. To put it briefly, Schwind wanted to see the German nation liberated from all outward cultural influences and restored to its rightful glory of a great empire. He therefore enriched his painting with a couple of hints to ensure that the audience was able to grasp the hidden meaning of his cycle. With his interpretation Schwind satisfied the audience’s need for a nationalistic vision and helped to establish fairy tale motifs as a topic for history paintings - for now they fulfilled the double purpose of art: the delectare et prodesse.<br />What is even more important, Schwind pitched the idea of a fairy tale mural to his fascinated audience by presenting the <span style="font-style: italic;">Cinderella </span>cycle in a purpose made golden architectural frame that effectively transforms the painting into a miniature-model of a wall decoration to which the whole composition of the cycle corresponds. Even though Schwind was not commissioned for an actual <span style="font-style: italic;">Cinderella </span>mural for more than ten years, his painting preludes the first fairy tale murals to be executed in Germany.<br /><br /><br /><span style="font-weight: bold;">Fairy Tales and Public Buildings</span><br /><br /></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzjtrDvXnPCIci12m7hkQRoplQ9r1ucBh0mF-LBcMf9f2IDWJI8x47Q1pB-C5mTJyxcL69w0QCbbuPiic44N8CyFVF0UBzGg2QK_VrNMDCZ2T7b7L5mVn5NldALWNJwhEM_zcnDyXhkLWg/s1600-h/Apotheose.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 246px; height: 226px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzjtrDvXnPCIci12m7hkQRoplQ9r1ucBh0mF-LBcMf9f2IDWJI8x47Q1pB-C5mTJyxcL69w0QCbbuPiic44N8CyFVF0UBzGg2QK_VrNMDCZ2T7b7L5mVn5NldALWNJwhEM_zcnDyXhkLWg/s320/Apotheose.jpg" alt="" id="BLOGGER_PHOTO_ID_5357244077276604594" border="0" /></a><span>In 1879, Hermann Wislicenus followed Schwind’s footsteps and used the imagery of a fairy tale to metaphorically illustrate the history of Germany up to its recent highpoint/climax. He designed a highly political pictorial program for the public royal hall at the Kaiserpfalz in Goslar that was supposed to show the audience that the desired ideal of the medieval Holy Roman Empire of the German Nation had been fulfilled when the German Empire had been re-united and Wilhelm I. had been proclaimed German Emperor in 1871. Wislicenus depicted this proclamation of the German Empire as an idealised allegory in the centre of a cycle consisting of pivotal episodes of the medieval history of Germany, beginning with Charlemagne and ending with the time of Reformation. Thereafter, the German Nation had been divided and the empire had been in a quasi dormant state, a fact that Wislicenus chose to illustrate by recounting the fairy tale of <span style="font-style: italic;">Sleeping Beauty</span> on the opposite walls, significantly focusing on the 100-years-sleep of the princess and her court. The awakening of Sleeping Beauty, subordinated to the awakening of the mythical King Barbarossa, then, stands for the new beginning of the German empire, just as the centrepiece of the program: the before mentioned allegory on Wilhelm I.<br /><br /></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz49akDANxteD-xF4Zi8Ba1429FJv6k0i4TeuDHJtZsRlZ9EYOQbWPsg4d5PzL8XnHzJ7VahP82XJT4qpGtae-jL6U2zJuKv10MILpFMHJC5izO_Dj9Tt6yCJLz0Km7pY1rMD-WmGe2kSH/s1600-h/Barbarossa.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 197px; height: 129px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz49akDANxteD-xF4Zi8Ba1429FJv6k0i4TeuDHJtZsRlZ9EYOQbWPsg4d5PzL8XnHzJ7VahP82XJT4qpGtae-jL6U2zJuKv10MILpFMHJC5izO_Dj9Tt6yCJLz0Km7pY1rMD-WmGe2kSH/s320/Barbarossa.jpg" alt="" id="BLOGGER_PHOTO_ID_5357244089647531106" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilAt1V1Lx4uwPd8LxkNSGfhQjPtAwzHXe_1lTEjajuYqSu1XnepK92M2dOUSsp5TBpD297zPLpqxWTPG72sAMiLfPnpwZUGbSWCVGh1CUNHm4PMuOUFxaiGyklIWkRxEjg4pyJ69svKR4x/s1600-h/goslar-1.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 149px; height: 129px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilAt1V1Lx4uwPd8LxkNSGfhQjPtAwzHXe_1lTEjajuYqSu1XnepK92M2dOUSsp5TBpD297zPLpqxWTPG72sAMiLfPnpwZUGbSWCVGh1CUNHm4PMuOUFxaiGyklIWkRxEjg4pyJ69svKR4x/s320/goslar-1.jpg" alt="" id="BLOGGER_PHOTO_ID_5357244854164181330" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><span>As to be expected in this context, the <span style="font-style: italic;">Sleeping Beauty</span> murals do not exactly tell us the fairy tale for the sake of its own narration. They are complementary to the political message of the pictorial program, and are - strictly speaking - nothing more than a visualisation of a very popular figure of speech that is still common nowadays. For, in the German language the image of <span style="font-style: italic;">Sleeping Beauty</span> is mostly used to describe a situation wherein something has been inactive, perhaps even forgotten for a long time, and then awakes to renewed glory.<br /><br /><br /></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr-gBWxawiYztZs2cKK2IkFf8SZCC57rujicWpBwlk6dKGhrhdPekwOp5XmjFIrVfIOBpZU0KkwFgwtr1ad5zgvtD65-Cs93xzVeIglD18XGzcCst7iaDGf7NZ-44TfM-EJGAM1Wvjuwoq/s1600-h/Treppenhaus-1903-Ostseite.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 176px; height: 250px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr-gBWxawiYztZs2cKK2IkFf8SZCC57rujicWpBwlk6dKGhrhdPekwOp5XmjFIrVfIOBpZU0KkwFgwtr1ad5zgvtD65-Cs93xzVeIglD18XGzcCst7iaDGf7NZ-44TfM-EJGAM1Wvjuwoq/s320/Treppenhaus-1903-Ostseite.jpg" alt="" id="BLOGGER_PHOTO_ID_5357244991647689938" border="0" /></a><span>In fact, the identification of the awakening of Sleeping Beauty and the beginning of the new German Empire under the reign of Wilhelm I. became a popular image for political pictorial programs. When the freshly ennobled Stephan von Sarter decorated the staircase of his newly built castle Drachenburg in 1884, he did so with a number of paintings that did not only recount noteworthy episodes of Germany’s medieval and recent history, but included – amongst other allegories – the depictions of Sleeping Beauty and Snow White and the Seven Dwarfs. Joseph Flüggen’s painting of Sleeping Beauty, captured in the moment of the wakening-kiss, conveys the same meaning as the Sleeping Beauty-cycle at the Goslarer Kaiserpfalz: they both allude to the unification of the German Empire in 1871. - </span><span>The <span style="font-style: italic;">Snow White</span> imagery is a bit more difficult to decipher. Flüggen shows the princess being worshipped by the seven dwarfs who offer her crystals, ores and other treasures. This motif is not based on any known version of the fairy tale and is probably an invention of the artist himself, transforming Sleeping Beauty into an allegory of Germany that – in its restored glory – is being worshipped by spirits of nature which are represented by the seven dwarfs.</span><br /><span><br /></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheveanhC26lIfkbOS8Oa96ks_rnGF4Rab5LwLLmAT4x2EQolKnU9xhETa14JW-bJLKABYceQQ2Oph9TNjKFWpd71WM4vlMe5g1pFy8bQQC5OSnUYYwXf7CLpTwhqMOvW5aM1zEhZbC8se1/s1600-h/Schneewittchen-1884-05.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 170px; height: 250px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheveanhC26lIfkbOS8Oa96ks_rnGF4Rab5LwLLmAT4x2EQolKnU9xhETa14JW-bJLKABYceQQ2Oph9TNjKFWpd71WM4vlMe5g1pFy8bQQC5OSnUYYwXf7CLpTwhqMOvW5aM1zEhZbC8se1/s320/Schneewittchen-1884-05.jpg" alt="" id="BLOGGER_PHOTO_ID_5357244861108359442" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif2m4yRQTZg6I60mvuxXQtERM-36WYFbY6mt2Mc_4cu03SxzFAHxdlifyMYXy_4CCNvW1QevKeSFZnSxXvQVIy7Tja1WCehJ22B6aVhIebn0iGb38uA1_yzTpUec-Ter6pmGBJAGfWf_Pj/s1600-h/Fl%C3%BCggen-Sleeping-Beauty-Dra.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 170px; height: 250px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif2m4yRQTZg6I60mvuxXQtERM-36WYFbY6mt2Mc_4cu03SxzFAHxdlifyMYXy_4CCNvW1QevKeSFZnSxXvQVIy7Tja1WCehJ22B6aVhIebn0iGb38uA1_yzTpUec-Ter6pmGBJAGfWf_Pj/s320/Fl%C3%BCggen-Sleeping-Beauty-Dra.jpg" alt="" id="BLOGGER_PHOTO_ID_5357243824227678658" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><span><br />Besides the Hermann Allmers house in Rechtenfleth, and one of Berlin’s town halls, there are a few other public buildings known to be decorated with fairy tale motifs dating back to the 19th century. However, generally speaking: even then fairy tales – mainly <span style="font-style: italic;">Cinderella</span>, <span style="font-style: italic;">Sleeping Beauty</span>, <span style="font-style: italic;">Snow White</span> and <span style="font-style: italic;">Little Red Riding Hood</span> - were either transformed into metaphors of political meaning, or they stood for a part of the German folk culture that was principally appreciated due to its national character.<br /><br /><br /><span style="font-weight: bold;">Fairy Tales and Private Villas</span><br /><br />On the surface, this national character of the fairy tales was also of great importance when members of the wealthy bourgeoisie commissioned artists with fairy tale paintings or murals for the more representative and public rooms of their private villas. But, my research proved that the nationalistic aspect was less significant than the paintings’ power to conjure up a certain fairy tale atmosphere.<br /><br /></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCp4lHUfuqOFFfrpi-qZWSt1RGFMBAWjkj3LOV16NaeEanilt3w9xq1pO7kM4Vnczr5NNIjg8fw5gz-7lJNxYeidq1nX8uAcYUrA66ky14M6bZim27rkmOfDOSL5bPMC1v3JgyShQusO91/s1600-h/Aschenbr%C3%B6del-2.Fass-01-W516.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 320px; height: 127px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCp4lHUfuqOFFfrpi-qZWSt1RGFMBAWjkj3LOV16NaeEanilt3w9xq1pO7kM4Vnczr5NNIjg8fw5gz-7lJNxYeidq1nX8uAcYUrA66ky14M6bZim27rkmOfDOSL5bPMC1v3JgyShQusO91/s320/Aschenbr%C3%B6del-2.Fass-01-W516.jpg" alt="" id="BLOGGER_PHOTO_ID_5357244076827195426" border="0" /></a><span><br /><br /><br /><br /><br /><br /><br /><br /><br />For example, when Geroge Friederici finally asked Moritz von Schwind to adapt his <span style="font-style: italic;">Cinderella</span> cycle for the ballroom of his newly acquired house – the so-called <span style="font-style: italic;">Roman Villa</span> - in Leipzig in 1865, Schwind deleted all of his former nationalistic hints and allusions and focused his cycle on the narration of the fairy tale alone.<br /></span><span>I very much doubt that he did so because his former nationalistic interpretation of <span style="font-style: italic;">Cinderella</span> was so widespread that there was no need to repeat its message in the new cycle. It is more likely that the metaphorical identification of Cinderella and Germany was no longer the primary concern of its artist. Now, Schwind wanted to tell the story and capture its audience with his narration.</span><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZPTYbHPsuJRU0oa5Nfw8GVbS3a3gAGMX8MdIXy6xZhKGzUNH14Yn4xAe8bCOxlQfCbD8JqrwDA1kOauC_6tycTtZb2GzVvaFaWRMrDwsI7HsmdsgQoreLpQxlnMs394-cCbgIC7e8xNmZ/s1600-h/Naue-Cinderella-Leipzig.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 158px; height: 185px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZPTYbHPsuJRU0oa5Nfw8GVbS3a3gAGMX8MdIXy6xZhKGzUNH14Yn4xAe8bCOxlQfCbD8JqrwDA1kOauC_6tycTtZb2GzVvaFaWRMrDwsI7HsmdsgQoreLpQxlnMs394-cCbgIC7e8xNmZ/s320/Naue-Cinderella-Leipzig.jpg" alt="" id="BLOGGER_PHOTO_ID_5357244282711730578" border="0" /></a><span>When Schwind’s pupil Julius Naue finally executed a third variant of Schwind’s <span style="font-style: italic;">Cinderella </span>cycle after his master’s death in the late 1860s, the audience was presented with six monumental paintings telling the gripping story of Cinderella, her brave suffering and glorious redemption. Simultaneously, the fairy tale cycle offered the spectator the possibility to lose himself in the inspection of a medieval fairy land that – in the end - knows neither cruelty nor death, but happy endings.<br /><br />Even the four fairy tale paintings for which the financier Magnus Herrmann commissioned the brothers Paul and Franz Meyerheim in 1870 show no signs of an endangered idyll:<br /><br /></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbxetjfmdhIpMZop3iTHm-k50FMM5GujNYRc0i6kY4g3EgOTMFcWyJPzcbknZs4oOBzAO6Z8qhuNH9tnlCLoiKShnTaaPPrgoXYYsdCRrkREjXF6HqsKvn3WqXfNxtHfNecvKI99XiPt9r/s1600-h/Meyerheim-Snow-White-Berlin.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 128px; height: 172px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbxetjfmdhIpMZop3iTHm-k50FMM5GujNYRc0i6kY4g3EgOTMFcWyJPzcbknZs4oOBzAO6Z8qhuNH9tnlCLoiKShnTaaPPrgoXYYsdCRrkREjXF6HqsKvn3WqXfNxtHfNecvKI99XiPt9r/s320/Meyerheim-Snow-White-Berlin.jpg" alt="" id="BLOGGER_PHOTO_ID_5357244276690820850" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF-kjtTDiQez7-OTOPMpTebjEbEIklf-hIuugUf3ebA4CjwNxFFo2SSI9xo300Zf15-OjnLkA29Lsdm534e9mViWgbLWIE6vVsKdFPncL5AGfA-6Syh6GPz6-tlvsXuixCou4jT02-gcne/s1600-h/Rotk%C3%A4ppchen-oJ.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 212px; height: 172px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF-kjtTDiQez7-OTOPMpTebjEbEIklf-hIuugUf3ebA4CjwNxFFo2SSI9xo300Zf15-OjnLkA29Lsdm534e9mViWgbLWIE6vVsKdFPncL5AGfA-6Syh6GPz6-tlvsXuixCou4jT02-gcne/s320/Rotk%C3%A4ppchen-oJ.jpg" alt="" id="BLOGGER_PHOTO_ID_5357244284977469282" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><span>The life threatening risk Little Red Riding Hood puts herself into by speaking with the big bad wolf in the forest, or the danger Snow White exposes herself to by naïvely trusting her disguised stepmother to groom her hair with a poisoned comb, are not overly emphasised. The decisive lack of drama in the paintings’ compositions fails to communicate any sort of threat. Instead there is a peaceful tranquillity that lulls the audience into a false sense of security.<br /><br />Same goes for the two paintings that the Prussian sculptor Louis Sußmann-Hellborn asked his admired colleague Anton von Werner to design for his dining room:<br /><br /></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV8lX0X_Er64auD7Brnnb9lVLHBigl5saZ3FfI9jUBQnnxqfDf6LxNAIPdUwdb8prhXzckZ5q95EqKo4nFRKrPsMv8dr-84-4IrZ3TLA1nD8xyyvd6sF4KfbQuqbVCrKGu-A45iLlG7R9k/s1600-h/AvWerner-Die-sieben-Raben-1.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 139px; height: 214px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV8lX0X_Er64auD7Brnnb9lVLHBigl5saZ3FfI9jUBQnnxqfDf6LxNAIPdUwdb8prhXzckZ5q95EqKo4nFRKrPsMv8dr-84-4IrZ3TLA1nD8xyyvd6sF4KfbQuqbVCrKGu-A45iLlG7R9k/s320/AvWerner-Die-sieben-Raben-1.jpg" alt="" id="BLOGGER_PHOTO_ID_5357244079201723490" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP5zRnLdgVjxy0lGlMRGBIMtNWJ2pZpVxtIUgj-7rQCg5RuUV1ttC72IzPCDc64B58I_gW_3lPMZS4ZSbgI78WE1sowNxmIPNzUEti7AIWIb8c3WR2j3IXqyD_YOfgGD_hn9SQOuX-pow8/s1600-h/AvWerner-Schneewittchen-187.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 142px; height: 214px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP5zRnLdgVjxy0lGlMRGBIMtNWJ2pZpVxtIUgj-7rQCg5RuUV1ttC72IzPCDc64B58I_gW_3lPMZS4ZSbgI78WE1sowNxmIPNzUEti7AIWIb8c3WR2j3IXqyD_YOfgGD_hn9SQOuX-pow8/s320/AvWerner-Schneewittchen-187.jpg" alt="" id="BLOGGER_PHOTO_ID_5357244085240111170" border="0" /></a><span><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />The princess of <span style="font-style: italic;">The Seven Ravens </span>who has to endure a completely isolated life in the wilderness for years while sewing the clothes for her brothers, shows no traces of the hardship of her life. Her golden hair isn’t matted, her face looks healthy round. Even Snow White who is usually portrayed as laid out in the glass coffin is here shown serving roast to the seven dwarfs in a paradise like wilderness. The threat of the stepmother is not the least palpable and the painting simply transforms the fairy tale into an exotic genre painting with its heroine as a model for motherly care and housewife-ness.<br />To sum it up, there was no place for drastic realism in fairy land as depicted in the wall decorations of private villas. Danger, hardship and anything else that might disturb this idyllic realm were downplayed or concealed, so that the audience was perfectly able to </span><span>overlook them and indulge in dreams of a paradise-like fairy land.<br /></span><br /><span>In a time, when fairy tales were even elaborately staged at operas and theatres and re-enacted at the carnival festivities of art societies, these wall paintings satisfied a widespread desire of escapism. The national character of the fairy tales faded into the background, being replaced by this wish to flee the dreaded reality and escape into a better world.<br />Only after the turn of the century, fairy tales finally lost their utopian qualities for the adult population. The former highly appreciated national literary heritage was now considered as children’s literature only, with little more but nostalgic value for the adult readership.<br /><br /></span><br /><span style="font-weight: bold;">Fairy Tales and Nurseries</span><br /><br /><span>In 1874, a few years before Anton von Werner was commissioned to design the two fairy tale paintings for Louis Sußmann-Hellborn, he decorated his children’s nursery with two cycles telling the stories of <span style="font-style: italic;">Cinderella </span>and <span style="font-style: italic;">Sleeping Beauty</span>.<br /><br /></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk4f89GTNnLBIfJlcS5q-p4YARUwuvUldw4Z-pPomCawuvUBOb2TD9QPUm_qDSS9WjvzqjjiPW85g4-8_MVgh4ZVBPzqNfYO_D03GFPf2MRlIQNjwZaAovTyH7VnDyBVRMI9ZMx1pdBBQ_/s1600-h/Kinderzimmer-Anton-von-Wern.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 200px; height: 154px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk4f89GTNnLBIfJlcS5q-p4YARUwuvUldw4Z-pPomCawuvUBOb2TD9QPUm_qDSS9WjvzqjjiPW85g4-8_MVgh4ZVBPzqNfYO_D03GFPf2MRlIQNjwZaAovTyH7VnDyBVRMI9ZMx1pdBBQ_/s320/Kinderzimmer-Anton-von-Wern.jpg" alt="" id="BLOGGER_PHOTO_ID_5357243828119409218" border="0" /></a><span>It’s the only fairy tale nursery decoration of the 19th century that I came across during my vast research. Until the end of the 19th century fairy tale decorations were mostly commissioned from adults for adults. Only after 1900, fairy tale illustrations were more and more thought suitable for children only. In the form of commercialized tapestries or large prints they now decorated the nurseries; and in a way, this hasn’t changed till then. </span><span>That fairy tales once had satisfied quite a complex variety of adult hopes and desires has been completely forgotten.<br /><br />(This paper was presented during the postgraduate symosium<a href="http://www.gla.ac.uk/departments/historyofart/links/conferences/artstoenchant/"> </a></span><span style="font-style: italic;"><a href="http://www.gla.ac.uk/departments/historyofart/links/conferences/artstoenchant/">Arts to Enchant: Formations of Fantasy on Visual Culture</a> </span>at the University of Glasgow 29th of May 2009.)randzeichnerhttp://www.blogger.com/profile/13349308117677989990noreply@blogger.com0tag:blogger.com,1999:blog-3783007639727328363.post-62778962097571568542009-07-12T04:27:00.000-07:002009-07-19T10:25:18.677-07:00Book Art: designing end papersIn contemporary books, end papers tend to be a bit boring. They are most often either white or made out of paper in only one colour. - In 18th century, books were decorated with a variety of beautiful endpapers: combed marbled papers, brocade papers (for bindings mostly) or papers with flowery designs... All of them designed to add to the beauty of a carefully leather-bound book.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i95.photobucket.com/albums/l140/gardevias/Art/Brokatpapier.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 129px; height: 125px;" src="http://i95.photobucket.com/albums/l140/gardevias/Art/Brokatpapier.jpg" alt="" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i95.photobucket.com/albums/l140/gardevias/Art/Vorsatzpapier_10.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 125px; height: 125px;" src="http://i95.photobucket.com/albums/l140/gardevias/Art/Vorsatzpapier_10.jpg" alt="" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i95.photobucket.com/albums/l140/gardevias/Art/Vorsatzpapier_06.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 125px; height: 125px;" src="http://i95.photobucket.com/albums/l140/gardevias/Art/Vorsatzpapier_06.jpg" alt="" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i95.photobucket.com/albums/l140/gardevias/Art/Vorsatzpapier_12.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 130px; height: 126px;" src="http://i95.photobucket.com/albums/l140/gardevias/Art/Vorsatzpapier_12.jpg" alt="" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i95.photobucket.com/albums/l140/gardevias/Art/Vorsatzpapier_14.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 125px; height: 125px;" src="http://i95.photobucket.com/albums/l140/gardevias/Art/Vorsatzpapier_14.jpg" alt="" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i95.photobucket.com/albums/l140/gardevias/Art/Vorsatzpapier_07.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 125px; height: 125px;" src="http://i95.photobucket.com/albums/l140/gardevias/Art/Vorsatzpapier_07.jpg" alt="" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i95.photobucket.com/albums/l140/gardevias/Art/Vorsatzpapier_13.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 127px; height: 127px;" src="http://i95.photobucket.com/albums/l140/gardevias/Art/Vorsatzpapier_13.jpg" alt="" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i95.photobucket.com/albums/l140/gardevias/Art/Vorsatzpapier_04.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 124px; height: 125px;" src="http://i95.photobucket.com/albums/l140/gardevias/Art/Vorsatzpapier_04.jpg" alt="" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />In 19th century end papers were no longer hand made, but they show a distinct interest in creating something equally beautiful: marbled papers, papers with decorative patterns, embroidered papers, etc. are to be found in all kinds of differnt books.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i95.photobucket.com/albums/l140/gardevias/Art/Vorsatzpapier_05.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 125px; height: 125px;" src="http://i95.photobucket.com/albums/l140/gardevias/Art/Vorsatzpapier_05.jpg" alt="" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i95.photobucket.com/albums/l140/gardevias/Art/Vorsatzpapier_02.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 126px; height: 125px;" src="http://i95.photobucket.com/albums/l140/gardevias/Art/Vorsatzpapier_02.jpg" alt="" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i95.photobucket.com/albums/l140/gardevias/Art/Vorsatzpapier_11.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 125px; height: 125px;" src="http://i95.photobucket.com/albums/l140/gardevias/Art/Vorsatzpapier_11.jpg" alt="" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i95.photobucket.com/albums/l140/gardevias/Art/Vorsatzpapier_03.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 125px; height: 125px;" src="http://i95.photobucket.com/albums/l140/gardevias/Art/Vorsatzpapier_03.jpg" alt="" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i95.photobucket.com/albums/l140/gardevias/Art/Vorsatzpapier_01.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 126px; height: 125px;" src="http://i95.photobucket.com/albums/l140/gardevias/Art/Vorsatzpapier_01.jpg" alt="" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i95.photobucket.com/albums/l140/gardevias/Art/Vorsatzpapier_08.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 125px; height: 125px;" src="http://i95.photobucket.com/albums/l140/gardevias/Art/Vorsatzpapier_08.jpg" alt="" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />And just as a suggestion at the end: modern Japanese (Origami) papers.<br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i95.photobucket.com/albums/l140/gardevias/Art/japan-paper-08.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 123px; height: 125px;" src="http://i95.photobucket.com/albums/l140/gardevias/Art/japan-paper-08.jpg" alt="" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i95.photobucket.com/albums/l140/gardevias/Art/japan-paper-07.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 123px; height: 125px;" src="http://i95.photobucket.com/albums/l140/gardevias/Art/japan-paper-07.jpg" alt="" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i95.photobucket.com/albums/l140/gardevias/Art/japan-paper-03.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 121px; height: 125px;" src="http://i95.photobucket.com/albums/l140/gardevias/Art/japan-paper-03.jpg" alt="" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i95.photobucket.com/albums/l140/gardevias/Art/japan-paper-04.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 123px; height: 125px;" src="http://i95.photobucket.com/albums/l140/gardevias/Art/japan-paper-04.jpg" alt="" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i95.photobucket.com/albums/l140/gardevias/Art/japan-paper-05.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 122px; height: 125px;" src="http://i95.photobucket.com/albums/l140/gardevias/Art/japan-paper-05.jpg" alt="" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i95.photobucket.com/albums/l140/gardevias/Art/japan-paper-06.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 122px; height: 125px;" src="http://i95.photobucket.com/albums/l140/gardevias/Art/japan-paper-06.jpg" alt="" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i95.photobucket.com/albums/l140/gardevias/Art/japan-paper-02.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 122px; height: 125px;" src="http://i95.photobucket.com/albums/l140/gardevias/Art/japan-paper-02.jpg" alt="" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i95.photobucket.com/albums/l140/gardevias/Art/japan-paper-01.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 122px; height: 125px;" src="http://i95.photobucket.com/albums/l140/gardevias/Art/japan-paper-01.jpg" alt="" border="0" /></a>randzeichnerhttp://www.blogger.com/profile/13349308117677989990noreply@blogger.com0tag:blogger.com,1999:blog-3783007639727328363.post-65196318191364504142009-07-11T05:24:00.000-07:002009-07-11T10:29:22.148-07:00Collector Cards: the saga of Gudrun and Ackermanns Schlüsselgarn<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i95.photobucket.com/albums/l140/gardevias/Art/Gudrun-01.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 187px; height: 290px;" src="http://i95.photobucket.com/albums/l140/gardevias/Art/Gudrun-01.jpg" alt="" border="0" /></a>In Germany, collector cards were quite popular in the late 19th and early 20th century. Liebig, Stollwerck, Reemtsma and many other companies issued their goods together with collectible cards hoping to generate a collector's passion and thusly increase their sales.<br />Later on they even started to sell albums in order to help the enthusiastic collectors to store the precious cards for later pleasure. Although Liebig never attempted to issue cards of great artistic value, companies like Stollwerck actually strifed for a modern and qualitative art that represented their future oriented company policy. Same goes for the collector cards of "Ackermanns Schlüsselgarn", a company specialised on sewing cotton .<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i95.photobucket.com/albums/l140/gardevias/Art/Gudrun-02.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 187px; height: 290px;" src="http://i95.photobucket.com/albums/l140/gardevias/Art/Gudrun-02.jpg" alt="" border="0" /></a>In the first decade of the 20th century they issued a series of cards telling the German saga of Gudrun, depicted in twelve Art-Nouveau-images by Fritz Schoen, a Berlin illustrater born in 1871.<br />Gudrun, a Middle High German epic, tells the tragic romance of Herwig, king of Seeland, and Gudrun, the daughter of Hettel and Hilde. Gudrun is carried off by Hartmuth, king of Normandy, and her kinsfolk are defeated in a great battle on the island of Wulpensand off the Dutch coast. Gudrun, now prisoner in the Norman castle, refuses to become the wife of her captor, and is condemned to do the most menial work of the household. Thirteen years later, Herwig and her brother Ortwin find her washing clothes by the sea; on the following day they attack and besiege the Norman castle with their army and, finally, Herwig marries Gudrun.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i95.photobucket.com/albums/l140/gardevias/Art/Gudrun-03.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 183px; height: 290px;" src="http://i95.photobucket.com/albums/l140/gardevias/Art/Gudrun-03.jpg" alt="" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i95.photobucket.com/albums/l140/gardevias/Art/Gudrun-04.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 184px; height: 290px;" src="http://i95.photobucket.com/albums/l140/gardevias/Art/Gudrun-04.jpg" alt="" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i95.photobucket.com/albums/l140/gardevias/Art/Gudrun-05.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 183px; height: 290px;" src="http://i95.photobucket.com/albums/l140/gardevias/Art/Gudrun-05.jpg" alt="" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i95.photobucket.com/albums/l140/gardevias/Art/Gudrun-06.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 185px; height: 290px;" src="http://i95.photobucket.com/albums/l140/gardevias/Art/Gudrun-06.jpg" alt="" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i95.photobucket.com/albums/l140/gardevias/Art/Gudrun-07.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 183px; height: 290px;" src="http://i95.photobucket.com/albums/l140/gardevias/Art/Gudrun-07.jpg" alt="" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i95.photobucket.com/albums/l140/gardevias/Art/Gudrun-08.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 185px; height: 290px;" src="http://i95.photobucket.com/albums/l140/gardevias/Art/Gudrun-08.jpg" alt="" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i95.photobucket.com/albums/l140/gardevias/Art/Gudrun-10.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 183px; height: 290px;" src="http://i95.photobucket.com/albums/l140/gardevias/Art/Gudrun-10.jpg" alt="" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i95.photobucket.com/albums/l140/gardevias/Art/Gudrun-09.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 186px; height: 290px;" src="http://i95.photobucket.com/albums/l140/gardevias/Art/Gudrun-09.jpg" alt="" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i95.photobucket.com/albums/l140/gardevias/Art/Gudrun-11.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 185px; height: 290px;" src="http://i95.photobucket.com/albums/l140/gardevias/Art/Gudrun-11.jpg" alt="" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i95.photobucket.com/albums/l140/gardevias/Art/Gudrun-12.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 185px; height: 290px;" src="http://i95.photobucket.com/albums/l140/gardevias/Art/Gudrun-12.jpg" alt="" border="0" /></a>randzeichnerhttp://www.blogger.com/profile/13349308117677989990noreply@blogger.com0tag:blogger.com,1999:blog-3783007639727328363.post-89727166857999108222009-01-11T13:36:00.000-08:002009-07-11T06:26:02.444-07:00Mourners in Stone - Graveyard Sculpture<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis_LhzVdw7-Yvox92s66CTsXz9lp70V12f9XMZQ_sP3ySDwyUEnIaHqqKhj79Z02DP7oDKPCtArhmCaAitJVvSKqp0o3HJJPv09y2FsBjpHB0pvXOibRBan0jNemBaZ0ceZhuufL6G-69h/s1600-h/IMG_3898.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 166px; height: 250px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis_LhzVdw7-Yvox92s66CTsXz9lp70V12f9XMZQ_sP3ySDwyUEnIaHqqKhj79Z02DP7oDKPCtArhmCaAitJVvSKqp0o3HJJPv09y2FsBjpHB0pvXOibRBan0jNemBaZ0ceZhuufL6G-69h/s320/IMG_3898.jpg" alt="" id="BLOGGER_PHOTO_ID_5290167595781074610" border="0" /></a>When wandering through cemeteries in Germany or Austria that date back to the 19th and early 20th century, one cannot fail to observe that most of the figurative sculptures are anonymous mourning women or equally sad looking (guardian) angels who look decidedly female as well.<br /><br />These mourning women, human or angelic, are of course personifications of Sorrow or Grief and in consequence to the iconographic tradition of personifications or allegories such as Spes (Hope), Fortitudo (Courage) etc., they are also portrayed as women.<br /><br />But then, I think, there might be another and much older tradition to which the gender of the sculpted mourners also alludes: it is the tradition of the mourning women who bewailed the deceased in the ceremonial rites. While in Germany these rites are no longer practiced, and haven't for quite a few centuries, the concept of the lamenting women is still very much present in our cultural memory.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd921D8BeHnDIezgXYDSyDBSWFigiSs48wbwPjcEZJ-htnR_AU01ZYPgT9V6guMQ65DG7L5yHCx-sXOrsaLTRHExo-JC1Sg9DPKTvES4Ma8kzbsLvJsP9NovykaraV4H0xWHYBk1lQNzaV/s1600-h/Grabmal+Hauptachse+links-25a.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 166px; height: 250px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd921D8BeHnDIezgXYDSyDBSWFigiSs48wbwPjcEZJ-htnR_AU01ZYPgT9V6guMQ65DG7L5yHCx-sXOrsaLTRHExo-JC1Sg9DPKTvES4Ma8kzbsLvJsP9NovykaraV4H0xWHYBk1lQNzaV/s320/Grabmal+Hauptachse+links-25a.jpg" alt="" id="BLOGGER_PHOTO_ID_5290167398705991538" border="0" /></a>The mourning women bemoan the dead in place of the remaining family and - at the same time, and cast in iron and sculptued in stone - remember the dead throughout all time. The sculptures are thusly memory binding monuments and, simultaneously, ritual devices that support the remaining family members in their grief.<br /><br />There is, sadly, no proof for this thesis, I just think that it is a tempting and fascinating aspect of 19th century grave-sculpture. Just a few (of my) photos, taken from sculptures at the Munich Old Southern Cemetery, and the Vienna Central Cemetery shall illustrate this idea:<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiJhYnlMOTQ7Q_eiLB5wvoBE_wTJ9t1vUeKhSsn-Wf-qU6YqA5Nl2I_8BYV2_Hc2q8rrjrTmZUAq-y0FMeanmApfsJCr4z7DS0UjzjAo4bfiKJu8MaAXx6NHj88AXy1DFNbWvn-CaxZf8_/s1600-h/IMG_3934.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 161px; height: 249px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiJhYnlMOTQ7Q_eiLB5wvoBE_wTJ9t1vUeKhSsn-Wf-qU6YqA5Nl2I_8BYV2_Hc2q8rrjrTmZUAq-y0FMeanmApfsJCr4z7DS0UjzjAo4bfiKJu8MaAXx6NHj88AXy1DFNbWvn-CaxZf8_/s320/IMG_3934.jpg" alt="" id="BLOGGER_PHOTO_ID_5290167602366825298" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip5tsFFovSRg64HE5kG7cHJvKymdgFRcKTsCHi4EVEEYGOWzP2qv6d3XrpgB8ZfrjPWZreXSOV8NuOy4NdWSTu_wH7UWu4YAvVomkkDqZN58y4EebTCaHyoo3uBnIJ43YE9h6ZxIM0WgWu/s1600-h/Grabmal+Hauptachse+rechts-08a.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 167px; height: 250px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip5tsFFovSRg64HE5kG7cHJvKymdgFRcKTsCHi4EVEEYGOWzP2qv6d3XrpgB8ZfrjPWZreXSOV8NuOy4NdWSTu_wH7UWu4YAvVomkkDqZN58y4EebTCaHyoo3uBnIJ43YE9h6ZxIM0WgWu/s320/Grabmal+Hauptachse+rechts-08a.jpg" alt="" id="BLOGGER_PHOTO_ID_5290167408816339650" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><span style="text-decoration: underline;"><br /></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb0ZqpV2YgPvr6FAHbEN9oJoGzMJJZVNSslY6ov_XElKFDXRWpGjyyhtYfoyQCODHC8_o5QKqIaAK6ThKTVoSMfzr3IlPLh99pWNXC6w8IIOnvIhAIgWyxXWHMsbGZVBlMSdUq7Ub1JEZI/s1600-h/IMG_3937.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 146px; height: 250px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb0ZqpV2YgPvr6FAHbEN9oJoGzMJJZVNSslY6ov_XElKFDXRWpGjyyhtYfoyQCODHC8_o5QKqIaAK6ThKTVoSMfzr3IlPLh99pWNXC6w8IIOnvIhAIgWyxXWHMsbGZVBlMSdUq7Ub1JEZI/s320/IMG_3937.jpg" alt="" id="BLOGGER_PHOTO_ID_5290167606703895202" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAE-smomK4H4UUx1J678nOHLivFulJ9_OwNNzDWerdy69n75M7N2lQWB9Aqj-0Om9tnWnFL_oGQhD9iIjtIevQIpa_0S32Y7Kbkcbv-QcMs1NCd1lX4xa7WBvWVyM6e06nXKe_xVeW_GC0/s1600-h/IMG_3945.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 166px; height: 248px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAE-smomK4H4UUx1J678nOHLivFulJ9_OwNNzDWerdy69n75M7N2lQWB9Aqj-0Om9tnWnFL_oGQhD9iIjtIevQIpa_0S32Y7Kbkcbv-QcMs1NCd1lX4xa7WBvWVyM6e06nXKe_xVeW_GC0/s320/IMG_3945.jpg" alt="" id="BLOGGER_PHOTO_ID_5290167612239577650" border="0" /></a>randzeichnerhttp://www.blogger.com/profile/13349308117677989990noreply@blogger.com0tag:blogger.com,1999:blog-3783007639727328363.post-13020495163976260002009-01-06T03:41:00.000-08:002009-01-06T05:49:29.758-08:00Disney's European Influences<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEtv2_Npaeht5QEfvSnV3qdRvIxfh2e1sXU_SCcMmrXII8VAoOTQWml5BHMA9EQFsi_cmEdhyphenhyphenlxi-6JfZkQVOKjl8TSZmDGLddzp-2ddnXXA43W_yN5yd4rtwqeqhFgLUnPnJdRuqmomch/s1600-h/hypo.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 156px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEtv2_Npaeht5QEfvSnV3qdRvIxfh2e1sXU_SCcMmrXII8VAoOTQWml5BHMA9EQFsi_cmEdhyphenhyphenlxi-6JfZkQVOKjl8TSZmDGLddzp-2ddnXXA43W_yN5yd4rtwqeqhFgLUnPnJdRuqmomch/s320/hypo.jpg" alt="" id="BLOGGER_PHOTO_ID_5288175754387296594" border="0" /></a>In 2006, Bruno <span class="blsp-spelling-error" id="SPELLING_ERROR_0">Girveau</span> curated an <span class="blsp-spelling-corrected" id="SPELLING_ERROR_1">exhibition</span> about Disney's European influences, that is now shown in the <a href="http://www.hypo-kunsthalle.de/newweb/disney.html">Hypo-<span class="blsp-spelling-error" id="SPELLING_ERROR_2">Kunsthalle</span> in Munich</a>.<br />The idea to trace the European influences which helped Disney to craft his special "world" and imagery is certainly a thrilling endeavour, and to see so many Disney originals, <span class="blsp-spelling-error" id="SPELLING_ERROR_3">cel</span>-sets, storyboards, sketches, figurines, etc. , even short movie clips, is equally interesting and insightful in the making of-process.<br />With his adaptations of fairy tales and children's stories that had been illustrated numerous times before, Disney's films had to inevitably position themselves in the corresponding visual traditions such as every other artist who wants to illustrate - for example - <span style="font-style: italic;">Cinderella</span>. For witches and fairies, dragons and knights, etc., there is an established iconography in art history to be found that every illustrator has to consider: even if he decides to break with every tradition.<br />That's true for Disney as well, even more so, considering, that Disney brought from his travels to Europe numerous books (mostly of the 19<span class="blsp-spelling-error" id="SPELLING_ERROR_4">th</span> and early 20<span class="blsp-spelling-error" id="SPELLING_ERROR_5">th</span> century) illustrated by Gustave <span class="blsp-spelling-error" id="SPELLING_ERROR_6">Doré</span>, <span class="blsp-spelling-error" id="SPELLING_ERROR_7">Grandville</span>, <span class="blsp-spelling-error" id="SPELLING_ERROR_8">Rabier</span>, Wilhelm Busch, Hermann <span class="blsp-spelling-error" id="SPELLING_ERROR_9">Vogel</span>, Arthur <span class="blsp-spelling-error" id="SPELLING_ERROR_10">Rackham</span>, Ludwig Richter and many others, and added them to the library of his studios: as means of inspiration for his artists. In the early years he had also some illustrators on his payroll that had already been acclaimed illustrators in their home-countries: Kay Nielsen and Gustaf <span class="blsp-spelling-error" id="SPELLING_ERROR_11">Tenggren</span>, for example. And then, of course, there is the whole "visual context" aspect: paintings and <span class="blsp-spelling-error" id="SPELLING_ERROR_12">schulptures</span>, even early films, that inspired Disney's visual and narrative.<br />But, and there are many <span class="blsp-spelling-corrected" id="SPELLING_ERROR_13">buts</span> to follow, there is not only the European influence! To single the American influence out, to ignore the Golden Age of American illustration with Wyeth, Parrish etc., and the American film history (!) results in a completely one-sided and lastly false picture. At least the French/English exhibition catalogue (published by <span class="blsp-spelling-error" id="SPELLING_ERROR_14">Prestel</span>) mentions the equally important American influences. The German exhibition shows only European examples, only <span class="blsp-spelling-error" id="SPELLING_ERROR_15">Murnau</span> and Lang films, and then paintings and sculptures from European artists mostly of the 19<span class="blsp-spelling-error" id="SPELLING_ERROR_16">th</span> and early 20<span class="blsp-spelling-error" id="SPELLING_ERROR_17">th</span> century that are supposed to illustrate the art historian context for different aspects of the Disney films. For example <span class="blsp-spelling-error" id="SPELLING_ERROR_18">Stuck's</span> and <span class="blsp-spelling-error" id="SPELLING_ERROR_19">Böcklin's</span> pans and fauns as inspiration for <span style="font-style: italic;">Fantasia</span>, or <span class="blsp-spelling-error" id="SPELLING_ERROR_20">Anster</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_21">Fitzgeralds</span> <span style="font-style: italic;">A Midsummer Night's Dream</span> for Tinkerbell... And, sorry, but these paintings and sculptures seem so randomly selected that one can only understand the visitor who asks: what's with all the old paintings? - They are just not well enough selected to work as examples for something as complex as the Victorian fairy painting, or the German Romantic movement with C. D. Friedrich and <span class="blsp-spelling-error" id="SPELLING_ERROR_22">Carus</span>.<br />Even more problematic is that some of the exhibited illustrated books of <span class="blsp-spelling-error" id="SPELLING_ERROR_23">Doré</span>, Richter, etc., were from the Disney library, but others were not. Sorry, but you cannot show a random Ludwig Richter book and say it was an inspiration without giving the exact proof: in this case at least the proof that Disney had purchased this book, and not another, and (the book being property of the Studios library) was actually accessible for the Disney artists. That's the minimum of a scientific approach I would have expected: a library catalogue would have been even better.<br />So, even though I am quite convinced that the curators were working hard to accomplish this exhibition, the main goal of the exhibition - to show Disney's European influences - was only partially achieved: there were the Disney works and then there were the European artifacts that seemed more like a random associative conglomerate of European art than a true "search for traces" of influences.randzeichnerhttp://www.blogger.com/profile/13349308117677989990noreply@blogger.com0tag:blogger.com,1999:blog-3783007639727328363.post-65337270416216160282008-10-19T04:47:00.000-07:002008-10-19T06:07:22.625-07:00Clarkson Stanfield - "Staging" Landscape<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3QSdNi0CL7hxip1qUJHyZa3IvuRVvIjUjOIy8gWca9ETzxJA9QEeDDg6uHmsWq9LpYtvibdo8UA5opwG1fnzGhIz85yEvOjSULkROToto_4rPoFH1XlOtTJo3u2UoYoyYSP12qkyemAsV/s1600-h/1288.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 248px; height: 178px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3QSdNi0CL7hxip1qUJHyZa3IvuRVvIjUjOIy8gWca9ETzxJA9QEeDDg6uHmsWq9LpYtvibdo8UA5opwG1fnzGhIz85yEvOjSULkROToto_4rPoFH1XlOtTJo3u2UoYoyYSP12qkyemAsV/s320/1288.jpg" alt="" id="BLOGGER_PHOTO_ID_5258847464082259330" border="0" /></a><span style="text-decoration: underline;"><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPxqvZMarpRtKWviJo8qRXqfSqJHBPShl1kR0yVOWQ2Nf7oRYcgR5SovUBOD8jW49OCNNKAJ5H6wet6YUKoTSwRttHSy5pYrk_Mvh5mDvwg0Rk1MkPGzJnfyvyeJyNN0JRNfL7eirUd86D/s1600-h/1284.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 249px; height: 173px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPxqvZMarpRtKWviJo8qRXqfSqJHBPShl1kR0yVOWQ2Nf7oRYcgR5SovUBOD8jW49OCNNKAJ5H6wet6YUKoTSwRttHSy5pYrk_Mvh5mDvwg0Rk1MkPGzJnfyvyeJyNN0JRNfL7eirUd86D/s320/1284.jpg" alt="" id="BLOGGER_PHOTO_ID_5258847452438526354" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />In 19th century Europe landscape painting was highly <span style="font-style: italic;">en vogue</span>, and travelling through Europe - especially to Italy - was seen as substantial to the education of every artist who strived for a successful career. Soon, other European countries and landscapes were added to the "must see"-list of every educated traveller, and with each of these countries and landscapes there were certain view points connected: The touristic "discovery" of the Rhine coincided with the "discovery" of the medieval castles and ruins, and so ruins of medieval castles are often part of paintings that depict scenes near the river Rhine.<br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMVWi88bbaQzICgkX05KloQVtm6NuMEsnyQXlFUWMAA-YDNqbu4GAWBlXsXwdHoQjTpgOumAcUOgxHhETmJ0UUOViXlXzpjh0M_mggPM3GGnqS0EBVFVK03IoIRPrsgdPYzqEIf1Fi5D6E/s1600-h/12877.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 157px; height: 228px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMVWi88bbaQzICgkX05KloQVtm6NuMEsnyQXlFUWMAA-YDNqbu4GAWBlXsXwdHoQjTpgOumAcUOgxHhETmJ0UUOViXlXzpjh0M_mggPM3GGnqS0EBVFVK03IoIRPrsgdPYzqEIf1Fi5D6E/s320/12877.jpg" alt="" id="BLOGGER_PHOTO_ID_5258847592216833874" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOOXouxwhWf9eSm7pL39nNfBMpmDlI22BvcYfijRvLA51OQRPxd5oXonaW9m-YvoNPCXx96pA5iV6ghRft9foEoEvyO-kKAxt-6j-aH43nONF-5VZiB0eBIz7BIAItiFSP0GFSbympufhc/s1600-h/1287.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 162px; height: 228px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOOXouxwhWf9eSm7pL39nNfBMpmDlI22BvcYfijRvLA51OQRPxd5oXonaW9m-YvoNPCXx96pA5iV6ghRft9foEoEvyO-kKAxt-6j-aH43nONF-5VZiB0eBIz7BIAItiFSP0GFSbympufhc/s320/1287.jpg" alt="" id="BLOGGER_PHOTO_ID_5258847456485802738" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ1OEvYKXPlp_h94va2cY_9I1fJvDnBX_D7oHLnXA23KUl1zAqzUKGajtNUsEfsk5GfLCUb-gljktcql4lTMS3HU68uOlSyhHnV0ZSaclE-ZBMRXif7aeSQoYyzA5doE_PYWmqHxt8wkNi/s1600-h/1281.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 332px; height: 227px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ1OEvYKXPlp_h94va2cY_9I1fJvDnBX_D7oHLnXA23KUl1zAqzUKGajtNUsEfsk5GfLCUb-gljktcql4lTMS3HU68uOlSyhHnV0ZSaclE-ZBMRXif7aeSQoYyzA5doE_PYWmqHxt8wkNi/s320/1281.jpg" alt="" id="BLOGGER_PHOTO_ID_5258847449473863074" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />Most of the travelling artists did not paint every motif they saw, but selected motifs that corresponded to the contemporary landscape concepts of the picturesque and the sublime. They thusly helped to cement certain stereotypes that are still present in our modern-day perception of these landscapes. And even back then, the eye of the travelling observer was thusly schooled, was trained to see nature as a landscape composed after certain standards. The rich bourgeoisie saw Italy as modelled after Lorrain's and Poussin's landscape paintings.<br />The tourist who wanted to be reminded of the "highlights" of his travels when he was back home became the new customer for the travelling artist. To him the arist sold his pictures on site or back home. This market was exploited rather quickly by publishers who provided the interested buyer with albums and illustrated books.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY0JAMY-_8ne4rNz3583yLz10ScS9msJ9ApE2ET0OkGHWonRjsfE3xMoUGfblnb3gjZnYHLDukEhgtQ4TOsYrUfj7khbx4Pi4sYwgUvDXN0t6zvTjGJFZ6eybhLAI4tfMfkakfqnI00E4H/s1600-h/1280.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 206px; height: 292px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY0JAMY-_8ne4rNz3583yLz10ScS9msJ9ApE2ET0OkGHWonRjsfE3xMoUGfblnb3gjZnYHLDukEhgtQ4TOsYrUfj7khbx4Pi4sYwgUvDXN0t6zvTjGJFZ6eybhLAI4tfMfkakfqnI00E4H/s320/1280.jpg" alt="" id="BLOGGER_PHOTO_ID_5258847251517324738" border="0" /></a>In this context, <a href="http://www.rideau-info.com/ken/genealogy/stanfield/">Clarkson Frederick Stanfield</a> (Dec 3, 1793 – May 18, 1867), an acclaimed English marine painter, was sent by his publisher to continental Europe to draw landscape motifs of the Moselle, the Rhine and other popular regions, that were later to be published in different albums. His "<span>Sketches on the Moselle, the Rhine and the Meuse" were published in 1838 by </span>Hodgson & Graves in London. They show a landscape that is highly "inszeniert": the landscape is orchestrated to a picturesque vision of an idyllic country. Influenced by the Dutch landscape paintings and stage scenery the artist, Stanfield, who worked for different theatres throughout his career, created a vision of the Rhine regions that is hardly realistic but all the more poetic. He "dramatized" the landscape and made it to a fairy tale.<br /><br />Consequently, the landscapes Victor Paul Mohn (1842-1911), a German landscape painter, drew for his fairy tale illustrations are not too different from Stanfield's landscapes:<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9ZS5509uwrxyvT4qJ-Xq7bHN_gnJihLaMuFM1lcyi-P-WWStTwtqyfAxrFMDc0_9bFQ7WUgfeBcwpASZsaYTdaN-92hWJJuuDI_5St0JynxTeY0XV9HJoozxlzEFXil0IcckyC7piUaVg/s1600-h/dornr%C3%B6s.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 323px; height: 209px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9ZS5509uwrxyvT4qJ-Xq7bHN_gnJihLaMuFM1lcyi-P-WWStTwtqyfAxrFMDc0_9bFQ7WUgfeBcwpASZsaYTdaN-92hWJJuuDI_5St0JynxTeY0XV9HJoozxlzEFXil0IcckyC7piUaVg/s320/dornr%C3%B6s.jpg" alt="" id="BLOGGER_PHOTO_ID_5258847589015023842" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />The 19th century perception of landscape tended to idealize in a way that let fiction and reality blur together. No wonder that the late 20th century started to discuss the complexities of landscape perception.randzeichnerhttp://www.blogger.com/profile/13349308117677989990noreply@blogger.com0tag:blogger.com,1999:blog-3783007639727328363.post-8204106361086231182008-07-29T02:30:00.001-07:002008-07-29T04:36:59.978-07:00Karl MühlmeisterKarl Mühlmeister was certainly one of the most productive and talented illustrators of children's literature in Germany in the early 20th century. There are designs and watercolours to fairy tales, sagas, and adventure stories such as <span style="font-style: italic;">The Leatherstocking Tales</span> by James Fenimore Cooper, or other children's literature like Johanna Spyri's <span style="font-style: italic;">Heidi</span>.<br />About the artist himself is unfortunately very little known. He was born in Hamburg in 1876, lived and worked in Munich until around 1942 and was a member of the "Süddeutsche Illustratorenbund". Where he studied and who his teachers were, is as unknown as the date of his death. What remains is his work, and especially his watercolours are of an intriguing delicate beauty. I am rather convinced that there might have been an influence by the work of Willy Pogány (1882-1955) whose watercolours show a similar concept of landscape and understanding for colours.<br />Mühlmeister's luminously coloured landscapes conjure up the atmosphere of the whole picture, they are "Stimmungslandschaften" in which the protagonists act, the stories take place. Even though, the depicted persons are often rather small in contrast to their surroundings, they are not for accessory purpose only (as known from the landscape painting tradition) but are as important as the landscape itself: they form a unified whole that gives insight into the magical-fictive world of the illustrated story.<br /><br /><span style="font-style: italic;">Fairy Tales:</span> Mohr, Herbert and Lotte: <span style="font-style: italic;">Von Prinzessinnen und Königsöhnen</span>. Leipzig: Feuer, ca. 1920.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhImSB424yITq-w7LiS8WUw0I58ImbVpDVNoh0OscZ-VWoc6474DQ-Pfo8nhiPObDAJJiKUIHOIoVFImjheCJkMGmZ0ljOcMdCPBB34EUk2GHnO0UcLoNqUPm1kF-yBfE44eHO1ZlUH5Dc_/s1600-h/M%C3%BChlmeister-Mohr-04-kl.jpg"><img style="cursor: pointer; width: 189px; height: 311px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhImSB424yITq-w7LiS8WUw0I58ImbVpDVNoh0OscZ-VWoc6474DQ-Pfo8nhiPObDAJJiKUIHOIoVFImjheCJkMGmZ0ljOcMdCPBB34EUk2GHnO0UcLoNqUPm1kF-yBfE44eHO1ZlUH5Dc_/s320/M%C3%BChlmeister-Mohr-04-kl.jpg" alt="" id="BLOGGER_PHOTO_ID_5228393858603596354" border="0" /></a> <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNn0NaZAz9n5j9LclRgA6A9xZzdmuf77S5-zsW_e7b7MD3fnWw2cMTYUizye_-NQd0wWICsIDIjW_pgAbaxdUECM3pNvIfGQ_FdbGwyygxSf3W4s1HiIvS-jEtOKmA3hYrU_JtR_8VqUEz/s1600-h/M%C3%BChlmeister-Mohr-03-kl.jpg"><img style="cursor: pointer; width: 187px; height: 309px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNn0NaZAz9n5j9LclRgA6A9xZzdmuf77S5-zsW_e7b7MD3fnWw2cMTYUizye_-NQd0wWICsIDIjW_pgAbaxdUECM3pNvIfGQ_FdbGwyygxSf3W4s1HiIvS-jEtOKmA3hYrU_JtR_8VqUEz/s320/M%C3%BChlmeister-Mohr-03-kl.jpg" alt="" id="BLOGGER_PHOTO_ID_5228393864223850130" border="0" /></a><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitO-Ol0MDf0lugGsR7Sai17ChV-xz6G3bHOQdygZR__Q2u8s3rhe-xh6tjAtrzH6MSmMy0Pv8ltVG68BxrCv3WDnhPsbRkxNtsvMBBP0jK8Ngl-F9u9MUSMBVoByVzS3KFJApPUm8VcYBz/s1600-h/M%C3%BChlmeister-Mohr-01-kl.jpg"><img style="cursor: pointer; width: 188px; height: 315px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitO-Ol0MDf0lugGsR7Sai17ChV-xz6G3bHOQdygZR__Q2u8s3rhe-xh6tjAtrzH6MSmMy0Pv8ltVG68BxrCv3WDnhPsbRkxNtsvMBBP0jK8Ngl-F9u9MUSMBVoByVzS3KFJApPUm8VcYBz/s320/M%C3%BChlmeister-Mohr-01-kl.jpg" alt="" id="BLOGGER_PHOTO_ID_5228393869230066306" border="0" /></a> <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhscpRa0XZtU_v3A7E4qdj9rrsuS1uxS6dTG31QEtL_anxKU7tq7SqXmM4-Gwk5GUbiAV32UgLxfQ153oEoMHrbJfvJ9kt7-CKglWqG94sdB2GjoObDiRZYMvNQx6ZpkAn4SsRRJx0LE7lN/s1600-h/M%C3%BChlmeister-Mohr-02-kl.jpg"><img style="cursor: pointer; width: 190px; height: 315px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhscpRa0XZtU_v3A7E4qdj9rrsuS1uxS6dTG31QEtL_anxKU7tq7SqXmM4-Gwk5GUbiAV32UgLxfQ153oEoMHrbJfvJ9kt7-CKglWqG94sdB2GjoObDiRZYMvNQx6ZpkAn4SsRRJx0LE7lN/s320/M%C3%BChlmeister-Mohr-02-kl.jpg" alt="" id="BLOGGER_PHOTO_ID_5228393869411069298" border="0" /></a><br /><br /><span style="font-style: italic;">Arabian Nights: Die schönsten Märchen aus 1001 Nacht</span>. Stuttgart: Thienemann, ca. 1925.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbbkNL5PRuwpjeXMcaeqFAFmnXRCv1-mNW6kEUSb0LzyL9jUFrrutTpRVGSGeDZaYsjcw8YFVH4ZZJ7bbei721nLbVwnaFJKUOH41r7CeUqP3RisMwAMw_P3ng9lKYM22wh2tX_55z5C0q/s1600-h/M%C3%BChlmeister-1001+Nacht-Aladdin-01-kl.jpg"><img style="cursor: pointer; width: 188px; height: 281px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbbkNL5PRuwpjeXMcaeqFAFmnXRCv1-mNW6kEUSb0LzyL9jUFrrutTpRVGSGeDZaYsjcw8YFVH4ZZJ7bbei721nLbVwnaFJKUOH41r7CeUqP3RisMwAMw_P3ng9lKYM22wh2tX_55z5C0q/s320/M%C3%BChlmeister-1001+Nacht-Aladdin-01-kl.jpg" alt="" id="BLOGGER_PHOTO_ID_5228391558873864226" border="0" /></a> <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhHJpXmJ6G7qo2DTbDJDTN7E7pwECb2wRBpcmGEdl0Xi6A4G9PCMRpccQaJql-U2Wzu54sgE944jgId0Kq9PSCDnJz4RvfdSpz0sbrKNg5FBTxTq-3iSNTgyOkE0cEKsDlOLZVjVRhZvMq/s1600-h/M%C3%BChlmeister-1001+Nacht-Fischer+und+Geist-kl.jpg"><img style="cursor: pointer; width: 192px; height: 280px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhHJpXmJ6G7qo2DTbDJDTN7E7pwECb2wRBpcmGEdl0Xi6A4G9PCMRpccQaJql-U2Wzu54sgE944jgId0Kq9PSCDnJz4RvfdSpz0sbrKNg5FBTxTq-3iSNTgyOkE0cEKsDlOLZVjVRhZvMq/s320/M%C3%BChlmeister-1001+Nacht-Fischer+und+Geist-kl.jpg" alt="" id="BLOGGER_PHOTO_ID_5228391564890194002" border="0" /></a><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI4Psg61rCYC3W_rb-sU9fdty5cP1_mUVLMJlXaaLjCv6Pln8SR1HHQOENBwmrrtg4H2aEeL2S2eESQSgnFSjizbp9CFobzeUciAun1N2Id8FcAwXV47Uv82Ywx6Kn6OGyTs7fBXQ9qKhJ/s1600-h/M%C3%BChlmeister-1001+Nacht-Hassan-kl.jpg"><img style="cursor: pointer; width: 190px; height: 282px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI4Psg61rCYC3W_rb-sU9fdty5cP1_mUVLMJlXaaLjCv6Pln8SR1HHQOENBwmrrtg4H2aEeL2S2eESQSgnFSjizbp9CFobzeUciAun1N2Id8FcAwXV47Uv82Ywx6Kn6OGyTs7fBXQ9qKhJ/s320/M%C3%BChlmeister-1001+Nacht-Hassan-kl.jpg" alt="" id="BLOGGER_PHOTO_ID_5228391569271207986" border="0" /></a><br /><br /><span style="font-style: italic;">The Leatherstocking Tales: </span>Cooper, James Fenimore: <span style="font-style: italic;">Der Lederstrumpf</span>. Reutlingen: Enßlin & Laiblin, ca. 1920.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjziyhtEJEXwUFEp1KdPKSZrGaYVbMKwGxbOYANX9JIcfsrBA0hiRcdWI25Z6lbU7TOoRzK8dPiRe2pxVKKChcMXtvZc5eKaETxRBhn6m9EHRD0KtyRm_gbPwFXZRmUDJZJeJocAGcdvgBW/s1600-h/M%C3%BChlmeister-Cooper-01-kl.jpg"><img style="cursor: pointer; width: 184px; height: 257px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjziyhtEJEXwUFEp1KdPKSZrGaYVbMKwGxbOYANX9JIcfsrBA0hiRcdWI25Z6lbU7TOoRzK8dPiRe2pxVKKChcMXtvZc5eKaETxRBhn6m9EHRD0KtyRm_gbPwFXZRmUDJZJeJocAGcdvgBW/s320/M%C3%BChlmeister-Cooper-01-kl.jpg" alt="" id="BLOGGER_PHOTO_ID_5228391576060997074" border="0" /></a> <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuKDCx4k03yfSvJWPzurlPDqf_5ZhVspEdyaMg71rdnQAtYWkqPi4MseehwNLAvGXeOL9yXVZzzUAds5sYjBMBcnDAG2XpuEhQdEaOrPUjZzCYwHFesIKDzs4E8v7MNMZjxxKROB7meocd/s1600-h/M%C3%BChlmeister-Cooper-02-kl.jpg"><img style="cursor: pointer; width: 184px; height: 256px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuKDCx4k03yfSvJWPzurlPDqf_5ZhVspEdyaMg71rdnQAtYWkqPi4MseehwNLAvGXeOL9yXVZzzUAds5sYjBMBcnDAG2XpuEhQdEaOrPUjZzCYwHFesIKDzs4E8v7MNMZjxxKROB7meocd/s320/M%C3%BChlmeister-Cooper-02-kl.jpg" alt="" id="BLOGGER_PHOTO_ID_5228394806043632210" border="0" /></a><br /><br /><span style="font-style: italic;">Grimms' Fairy Tales: </span>Grimm, Jacob and Wilhelm: <span style="font-style: italic;">Kinder- und Hausmärchen</span>. Reutlingen: Enßlin & Laiblin, 1927.<br /><br /><span style="text-decoration: underline;"></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi50IjhZ25eGMQPLwKWeV8pVA12wLh74kr8L8JJ2sKououoE-DpFhiOxIAEKXS21zar4MUL-rtXAudxYC-9DcAPqO0KZQpx4LPYHdLmqLzJmzDwi2o90929P3WidqF1PvcWUr2NlqEqHFVW/s1600-h/M%C3%BChlmeister-Eisenhans-kl.jpg"><img style="cursor: pointer; width: 186px; height: 273px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi50IjhZ25eGMQPLwKWeV8pVA12wLh74kr8L8JJ2sKououoE-DpFhiOxIAEKXS21zar4MUL-rtXAudxYC-9DcAPqO0KZQpx4LPYHdLmqLzJmzDwi2o90929P3WidqF1PvcWUr2NlqEqHFVW/s320/M%C3%BChlmeister-Eisenhans-kl.jpg" alt="" id="BLOGGER_PHOTO_ID_5228394613773695954" border="0" /></a> <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhyz-FoK91dvmyrxaa0RSjnmyQIGnHJvsQOeHSqTTytWUmAg3fVpUvFm8_n4YavAMxFGm5SfUaZm53JoclH0oITCrchLQcgPq_QhMUAM_GahkLs4D5SwT86Ojf9k3GlVZDR-bqKWAjFIki/s1600-h/M%C3%BChlmeister-Simeliberg-kl.jpg"><img style="cursor: pointer; width: 197px; height: 272px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhyz-FoK91dvmyrxaa0RSjnmyQIGnHJvsQOeHSqTTytWUmAg3fVpUvFm8_n4YavAMxFGm5SfUaZm53JoclH0oITCrchLQcgPq_QhMUAM_GahkLs4D5SwT86Ojf9k3GlVZDR-bqKWAjFIki/s320/M%C3%BChlmeister-Simeliberg-kl.jpg" alt="" id="BLOGGER_PHOTO_ID_5228393854212712562" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFvZsAcF06xIpnGj1_m6iGlF4BC91pkhI8UpJqOy9OKKh0B-xHwgS6tz6mxmLDdKY3BRzc0cFYRcVhoMddzapfOyYXQ_7afmgWw984N1RXKnxsAceZdft3WbIB6QLWa6rSgrslMGFTWuKw/s1600-h/M%C3%BChlmeister-Marienkind-kl.jpg"> </a>randzeichnerhttp://www.blogger.com/profile/13349308117677989990noreply@blogger.com0tag:blogger.com,1999:blog-3783007639727328363.post-56005686587947598682008-07-15T04:39:00.000-07:002008-08-29T13:26:14.346-07:00Book Art: designing end papersAt the turn of the 20<span class="blsp-spelling-error" id="SPELLING_ERROR_0">th</span> century artists tried to reform the making of books. Books shouldn't only be printed on good paper, with the <span class="blsp-spelling-error" id="SPELLING_ERROR_1">right</span> type and illustrations fitting to the text, but also with an according book cover and beautiful end papers. This over all development in the book arts is mostly attributed to the Art <span class="blsp-spelling-error" id="SPELLING_ERROR_2">Nouveau</span>, but, on closer look, interest in the book as a "<span class="blsp-spelling-error" id="SPELLING_ERROR_3">Gesamtkunstwerk</span>" started much earlier and is to be found for example in the editions <span class="blsp-spelling-error" id="SPELLING_ERROR_4">de</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_5">luxe</span> that were published in the "epoch" of <span class="blsp-spelling-error" id="SPELLING_ERROR_6">Historism</span>.<br />True is, that the specific design of end papers increased during the Art <span class="blsp-spelling-error" id="SPELLING_ERROR_7">Nouveau</span>, but even then it was not a common feature. Through my researches on illustrated fairy tales and sagas, that are often categorized as children's literature (which is only half true), end papers were rarely designed at all. Nonetheless there are a few examples of not only <span class="blsp-spelling-corrected" id="SPELLING_ERROR_8">decoratively</span> patterned endpapers but such that are illustrated with motifs that fit to the contents of the book.<br />Intent and approach differ from <span class="blsp-spelling-corrected" id="SPELLING_ERROR_9">end paper</span> to <span class="blsp-spelling-corrected" id="SPELLING_ERROR_10">end paper</span> and range from a rather decorative, to motifs that create a certain atmosphere according to the text, or belong to the telling of the story.<br /><br />In 1921, Maximilian <span class="blsp-spelling-error" id="SPELLING_ERROR_16">Liebenwein</span> designed the end paper for an edition of Gottfried <span class="blsp-spelling-error" id="SPELLING_ERROR_17">Kellers</span> <span style="font-style: italic;"><span class="blsp-spelling-error" id="SPELLING_ERROR_18">Spiegel</span>, <span class="blsp-spelling-error" id="SPELLING_ERROR_19">das</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_20">Kätzchen</span></span> (<span class="blsp-spelling-error" id="SPELLING_ERROR_21">Zürich</span> / Leipzig / <span class="blsp-spelling-error" id="SPELLING_ERROR_22">Wien</span>: <span class="blsp-spelling-error" id="SPELLING_ERROR_23">Amalthea</span>, 1921), the story of a cat with a repeating pattern of cats moving over rose garlands. The topic of the book is <span class="blsp-spelling-corrected" id="SPELLING_ERROR_24">thus</span> mirrored and transformed into a decorative pattern.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy9F_3hG_BPUi0Q_yz8K8I0Sm9-sfXM2V17mD95t4TVO6B3MuGcXfYKcddEt1KWrbfxd-HqdgW1ykF0OKET6MY3exTQntbuAhePWYNDa-WxxFlszdSaA7QdVD_bknBv1eaL_2mAlYjxKcO/s1600-h/Liebenwein-Spiegel+das+K%C3%A4tzchen-1921-kl.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy9F_3hG_BPUi0Q_yz8K8I0Sm9-sfXM2V17mD95t4TVO6B3MuGcXfYKcddEt1KWrbfxd-HqdgW1ykF0OKET6MY3exTQntbuAhePWYNDa-WxxFlszdSaA7QdVD_bknBv1eaL_2mAlYjxKcO/s320/Liebenwein-Spiegel+das+K%C3%A4tzchen-1921-kl.jpg" alt="" id="BLOGGER_PHOTO_ID_5223210717886583074" border="0" /></a><br /><br />The same can be said for Gertrud <span class="blsp-spelling-error" id="SPELLING_ERROR_25">Caspari's</span> fairy tale figurines (<span style="font-style: italic;"><span class="blsp-spelling-error" id="SPELLING_ERROR_26">Mein</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_27">Märchen</span>-<span class="blsp-spelling-error" id="SPELLING_ERROR_28">Bilderbuch</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_29">von</span> Gertrud <span class="blsp-spelling-error" id="SPELLING_ERROR_30">Caspari</span>.</span> Leipzig: Alfred Hahn, [1921]): showing central standard characters of the fairy tales the book contains, such as the king and queen and the old witch.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLbXsPzdeQ6ogMTU5SH9YCWOV7hM8oAQ7yONGeI7sUuwtwGhZ2PzGH_96EV-kR6u8R9rS0fr8R_IpA_lMssCMvlybjxNxIYrtAxdaOSpZItTfNVBGorlvOb9IEX68PNwuNl62Wn-czs-sp/s1600-h/Caspari-Mein+M%C3%A4rchenbilderbuch-1921.jpg"><img style="cursor: pointer; width: 162px; height: 214px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLbXsPzdeQ6ogMTU5SH9YCWOV7hM8oAQ7yONGeI7sUuwtwGhZ2PzGH_96EV-kR6u8R9rS0fr8R_IpA_lMssCMvlybjxNxIYrtAxdaOSpZItTfNVBGorlvOb9IEX68PNwuNl62Wn-czs-sp/s320/Caspari-Mein+M%C3%A4rchenbilderbuch-1921.jpg" alt="" id="BLOGGER_PHOTO_ID_5223210715246614562" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLbXsPzdeQ6ogMTU5SH9YCWOV7hM8oAQ7yONGeI7sUuwtwGhZ2PzGH_96EV-kR6u8R9rS0fr8R_IpA_lMssCMvlybjxNxIYrtAxdaOSpZItTfNVBGorlvOb9IEX68PNwuNl62Wn-czs-sp/s1600-h/Caspari-Mein+M%C3%A4rchenbilderbuch-1921.jpg"><img style="cursor: pointer; width: 163px; height: 214px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLbXsPzdeQ6ogMTU5SH9YCWOV7hM8oAQ7yONGeI7sUuwtwGhZ2PzGH_96EV-kR6u8R9rS0fr8R_IpA_lMssCMvlybjxNxIYrtAxdaOSpZItTfNVBGorlvOb9IEX68PNwuNl62Wn-czs-sp/s320/Caspari-Mein+M%C3%A4rchenbilderbuch-1921.jpg" alt="" id="BLOGGER_PHOTO_ID_5223210715246614562" border="0" /></a><br /><br />On the contrary, Willy Planck (it's not completely sure, that he designed the end paper, sometimes different artists were commissioned to do this, especially when the end papers were needed for later editions) designed a dark wood:<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj77A-JHrI-GSaVlDKI8Br-fgD0It30gZSTfitMEX8BjckNN3EblaLbEXHmJFohDIc9wH6B0lQY0-KoZAyWQe5KR2J7aUSrJjfPJOj4OCEmv_9BbP5tOIGWhLQEOqPI1gcNAweBUA1iaiz4/s1600-h/Planck-Ins+Zauberland-1913-kl.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj77A-JHrI-GSaVlDKI8Br-fgD0It30gZSTfitMEX8BjckNN3EblaLbEXHmJFohDIc9wH6B0lQY0-KoZAyWQe5KR2J7aUSrJjfPJOj4OCEmv_9BbP5tOIGWhLQEOqPI1gcNAweBUA1iaiz4/s320/Planck-Ins+Zauberland-1913-kl.jpg" alt="" id="BLOGGER_PHOTO_ID_5223208673391191570" border="0" /></a><br /><br />The books title <span style="font-style: italic;">Ins <span class="blsp-spelling-error" id="SPELLING_ERROR_32">Zauberland</span></span> (<span style="font-style: italic;">Into Wonderland</span>, <span class="blsp-spelling-error" id="SPELLING_ERROR_33">Sttutgart</span>: Loewe, 1913) alludes to the content of the book: fairy tales of the Brothers Grimm, including Hansel and Gretel, Little Red Riding Hood and other fairy tales in which the forest - dark, mysterious, dangerous - plays a significant role. By picturing an equally dark, mysterious and dangerous wood, the end paper creates a certain atmosphere that introduces the reader to the fairy wood.<br />This can be compared to the <span class="blsp-spelling-corrected" id="SPELLING_ERROR_34">end paper</span> of Wilhelm <span class="blsp-spelling-error" id="SPELLING_ERROR_35">Roegge</span>, designed for a collection of German folk and hero tales (<span style="font-style: italic;"><span class="blsp-spelling-error" id="SPELLING_ERROR_36">Deutsche</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_37">Volks</span>- <span class="blsp-spelling-error" id="SPELLING_ERROR_38">und</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_39">Heldensagen</span></span>. Stuttgart: Levy & <span class="blsp-spelling-error" id="SPELLING_ERROR_40">Müller</span>, ca. 1910), such as Barbarossa and Roland. The end paper depicts a medieval landscape: mountains, castles, and a river <span class="blsp-spelling-error" id="SPELLING_ERROR_41">zig</span>-<span class="blsp-spelling-error" id="SPELLING_ERROR_42">zagging</span> through the country. Rhine-Romantic is activated here, putting the reader into the right mind for the saga-material.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk_GPP6BfyiyI0sD9IOW3RPSgung9bwSGJ-frnNdHVUIqyvrAcHEmtrYqjsrx1ORjjMVCkcNJW_TiTyKr9fZUMLmMETWw4mZ09sGwVlm11FMemSUWafgXYoKez2Ou8O3naHvCpN_4Lb1bm/s1600-h/Roegge-Dt+Volks+und+Heldensagen-oJ-kl.jpg"><img style="cursor: pointer; width: 321px; height: 226px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk_GPP6BfyiyI0sD9IOW3RPSgung9bwSGJ-frnNdHVUIqyvrAcHEmtrYqjsrx1ORjjMVCkcNJW_TiTyKr9fZUMLmMETWw4mZ09sGwVlm11FMemSUWafgXYoKez2Ou8O3naHvCpN_4Lb1bm/s320/Roegge-Dt+Volks+und+Heldensagen-oJ-kl.jpg" alt="" id="BLOGGER_PHOTO_ID_5223210721903939154" border="0" /></a><br /><br />Anne Anderson's end paper (<span style="font-style: italic;">Die <span class="blsp-spelling-error" id="SPELLING_ERROR_43">Bremer</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_44">Stadtmusikanten</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_45">und</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_46">andere</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_47">Märchen</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_48">von</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_49">Brüder</span> Grimm</span>. Leipzig: A. Anton & Co., [1930].) takes the possibilities of the end paper even further: she shows a fairy tale scene, that - though it has nothing to do with the Grimm fairy tales, but illustrates the story of the magical horse from the <span style="font-style: italic;">Arabian Nights</span> - indicates clearly that the book contains a collection of fairy tales.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG07clzWwOi21VhLLOhhrjCzjr868RIA0_P1RA5e9_NkKZwj1_ESWWfaG6k1r2PKSo6zoDJee1YGcLfoG9-iZzncdAr0OVO48UZfMH53oWguzE_o6U6DjpcfNReyBHWZizNSsZPGsqAnRi/s1600-h/Anderson-Bremer+Stadtmusikanten-1930.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG07clzWwOi21VhLLOhhrjCzjr868RIA0_P1RA5e9_NkKZwj1_ESWWfaG6k1r2PKSo6zoDJee1YGcLfoG9-iZzncdAr0OVO48UZfMH53oWguzE_o6U6DjpcfNReyBHWZizNSsZPGsqAnRi/s320/Anderson-Bremer+Stadtmusikanten-1930.jpg" alt="" id="BLOGGER_PHOTO_ID_5223208677110545058" border="0" /></a><br /><br />Walter Crane's <span style="font-style: italic;">Ali <span class="blsp-spelling-error" id="SPELLING_ERROR_50">Baba</span> and the Forty Thieves</span> from 1904 actually shows a scene from the fairy tale contained in the book: or two, to be more precise, the opening of the secret hide-out of the thieves and a long caravan transporting <span class="blsp-spelling-corrected" id="SPELLING_ERROR_51">treasures</span> through the desert.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZkZ1NUJGRojLNw6TkEoFTSUPzUBEvqW_uFuWKgr5tzSHP8nqA1DASRPdt6p9hRBX4KZdH2ggLvWI-wnL6CUWM6bV2W60Ex6pXe5z134AaNEBm5rIFlCorbXkFUcQ9uHy6UDeisJrAYmMg/s1600-h/Crane-Ali+Baba-1914-kl.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZkZ1NUJGRojLNw6TkEoFTSUPzUBEvqW_uFuWKgr5tzSHP8nqA1DASRPdt6p9hRBX4KZdH2ggLvWI-wnL6CUWM6bV2W60Ex6pXe5z134AaNEBm5rIFlCorbXkFUcQ9uHy6UDeisJrAYmMg/s320/Crane-Ali+Baba-1914-kl.jpg" alt="" id="BLOGGER_PHOTO_ID_5223208678526845554" border="0" /></a><br /><br />Ruth and Martin <span class="blsp-spelling-error" id="SPELLING_ERROR_52">Koser</span>-<span class="blsp-spelling-error" id="SPELLING_ERROR_53">Michaels</span> end paper (<span style="font-style: italic;"><span class="blsp-spelling-error" id="SPELLING_ERROR_54">Zwei</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_55">Märchen</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_56">der</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_57">Brüder</span> Grimm</span>. <span class="blsp-spelling-error" id="SPELLING_ERROR_58">Nürnberg</span>: <span class="blsp-spelling-error" id="SPELLING_ERROR_59">Seebaldus</span>, 1948) do the same: the narrative of the illustrations is continued - or even commenced - in the end papers. Here, the boy from the <span style="font-style: italic;">The Story of the Youth Who Went Forth to Learn What Fear Was</span> sets out for his search. To his left, there is the gallows where he stayed <span class="blsp-spelling-corrected" id="SPELLING_ERROR_60">overnight</span>, and at the end of the road, there is the haunted castle with the giant ghost with the white hair waiting and watching.<br /><br />Considered the many possibilities the end papers presented the artists with, it is a shame, that end papers were (and still are) only rarely illustrated or specially designed.randzeichnerhttp://www.blogger.com/profile/13349308117677989990noreply@blogger.com0tag:blogger.com,1999:blog-3783007639727328363.post-82401987460486987202008-07-11T01:41:00.000-07:002008-07-11T13:03:35.070-07:00Marie Hohneck, illustrator<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgLIIFAwBRiaxhf65GywcCV-nNq_srkk0ais72J-AUlXEJTo9-nLFy_BW790peQlbZzJvv6uDqGwQgJViUBF3hks7WZWfjYt5EHXXLBCawdKwZmRHntPJFdMm6LixXV_4BnWQzlYjEPTd_/s1600-h/Der+gestiefelte+Kater-1905-08.jpg"><img style="cursor: pointer; width: 270px; height: 271px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgLIIFAwBRiaxhf65GywcCV-nNq_srkk0ais72J-AUlXEJTo9-nLFy_BW790peQlbZzJvv6uDqGwQgJViUBF3hks7WZWfjYt5EHXXLBCawdKwZmRHntPJFdMm6LixXV_4BnWQzlYjEPTd_/s320/Der+gestiefelte+Kater-1905-08.jpg" alt="" id="BLOGGER_PHOTO_ID_5221681331128343170" border="0" /></a><br /><span style="font-style: italic;">Puss in Boots</span>, 1905<br /><br />At the turn of the 20<span class="blsp-spelling-error" id="SPELLING_ERROR_0">th</span> century, women illustrators, especially for children books, became more common. Be it Kate <span class="blsp-spelling-error" id="SPELLING_ERROR_1">Greenaway</span>, <span class="blsp-spelling-error" id="SPELLING_ERROR_2">Rie</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_3">Cramer</span>, Anne Anderson, Marie <span class="blsp-spelling-error" id="SPELLING_ERROR_4">Hohneck</span>, <span class="blsp-spelling-error" id="SPELLING_ERROR_5">Norbertine</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_6">Breßlern</span>-Roth, etc. more and more women found a job as illustrators.<br />The academic training still was problematic and not equal for female and male students, and in most cases illustrating alone couldn't provide the livelihood. But nonetheless there were woman artists that became as popular as their male colleagues. Marie <span class="blsp-spelling-error" id="SPELLING_ERROR_7">Hohneck</span> certainly was one of them. Today mostly forgotten, she trained under Wilhelm Claudius, lived in Dresden and worked between 1885 and 1915.<br />Her popularity is shown very clearly by a simple fact: the fairy tale picture books she illustrated by order of the Stuttgart publisher <span class="blsp-spelling-error" id="SPELLING_ERROR_8">Weise</span> in 1905 were published with the serial title: "<span class="blsp-spelling-error" id="SPELLING_ERROR_9">Hohnecks</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_10">Märchenbilderbuch</span>". To include the artist's name in the title of the publication was a rare practice at the time. It meant, that the name of the artist was popular enough to promote the book and ensure its saleability.<br /><span class="blsp-spelling-error" id="SPELLING_ERROR_11">Hohneck's</span> fairy tale illustrations strike a balance between conventional and modern. The chosen scenes are for example very traditional, as is the way <span class="blsp-spelling-error" id="SPELLING_ERROR_12">Hohneck</span> orchestrates the different scenes. Whereas the influence of the "<span class="blsp-spelling-error" id="SPELLING_ERROR_13">Jugendstil</span>" is shown in the lineament of the drawings, or the costumes of the heroines.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1KtdwzeyN2Qspo4eJcipdGXb7nxKJXbSyOc5I6vrLobaMPTi-_k19odfYJUI5_2HkzBT7f2R5LyBwSy2HCd_AXv2-8C0jacFbNAeqjsWZiJPLmfAr7MNxomah7kQLsMdNazqMOrp9F9u8/s1600-h/Rotk%C3%A4ppchen-1905-02.jpg"><img style="cursor: pointer; width: 235px; height: 235px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1KtdwzeyN2Qspo4eJcipdGXb7nxKJXbSyOc5I6vrLobaMPTi-_k19odfYJUI5_2HkzBT7f2R5LyBwSy2HCd_AXv2-8C0jacFbNAeqjsWZiJPLmfAr7MNxomah7kQLsMdNazqMOrp9F9u8/s320/Rotk%C3%A4ppchen-1905-02.jpg" alt="" id="BLOGGER_PHOTO_ID_5221680471809198722" border="0" /></a><br /><span style="font-style: italic;">Little Red Riding Hood</span>, 1905<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg20Yvsv8Rzwro0Ida39cnVFSPGCY2Fxdh6G1qwb3T8AguSpUXJOtYiLsopJWRv57lebE0JIUpB_yssKHxJeJG2oZ84dc5lVEiMUn5a8E7raz_dQzKwHq9JYwnnNi0IHousFqQjOkJtg99/s1600-h/Dornr%C3%B6schen-1905-01.jpg"><img style="cursor: pointer; width: 234px; height: 235px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg20Yvsv8Rzwro0Ida39cnVFSPGCY2Fxdh6G1qwb3T8AguSpUXJOtYiLsopJWRv57lebE0JIUpB_yssKHxJeJG2oZ84dc5lVEiMUn5a8E7raz_dQzKwHq9JYwnnNi0IHousFqQjOkJtg99/s320/Dornr%C3%B6schen-1905-01.jpg" alt="" id="BLOGGER_PHOTO_ID_5221681338355613986" border="0" /></a><br /><span style="font-style: italic;">Sleeping Beauty</span>, 1905<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifElkLz6TJ3Z2AvXQw459tvUwUOfV0m-oDUzFfQC0FFj65G1jgVk5Mmgg8VCLRKP_yadA_TpTekL4ZhtivjGAyEWpZq4B0lu17ANPEajaOXU2VNiPePGFB7Lyuz51fACYnhQp0Oh644kGE/s1600-h/Schneewittchen-1905-02.jpg"><img style="cursor: pointer; width: 233px; height: 233px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifElkLz6TJ3Z2AvXQw459tvUwUOfV0m-oDUzFfQC0FFj65G1jgVk5Mmgg8VCLRKP_yadA_TpTekL4ZhtivjGAyEWpZq4B0lu17ANPEajaOXU2VNiPePGFB7Lyuz51fACYnhQp0Oh644kGE/s320/Schneewittchen-1905-02.jpg" alt="" id="BLOGGER_PHOTO_ID_5221681339557064418" border="0" /></a><br /><span style="font-style: italic;">Snow White and the Seven Dwarfs</span>, 1905.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5aekulNRODuP2W1O2OvGepD_e_amwMHBRek2X0RNBwI-iaq8Z6_h_DrXv-SOS6B-TVXL03eZqaNP-5Zj_Qu2x_7CCIpyEArdEaadCkcKA0HpI1-LcgRxdlElyrtZBH5r9laCG_Cs1sMZL/s1600-h/Aschenputtel-1905-05.jpg"><img style="cursor: pointer; width: 228px; height: 231px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5aekulNRODuP2W1O2OvGepD_e_amwMHBRek2X0RNBwI-iaq8Z6_h_DrXv-SOS6B-TVXL03eZqaNP-5Zj_Qu2x_7CCIpyEArdEaadCkcKA0HpI1-LcgRxdlElyrtZBH5r9laCG_Cs1sMZL/s320/Aschenputtel-1905-05.jpg" alt="" id="BLOGGER_PHOTO_ID_5221681348447514226" border="0" /></a><br /><span style="font-style: italic;">Cinderella</span>, 1905<br /><br />Illustrations from:<br /><span style="font-style: italic;"><span class="blsp-spelling-error" id="SPELLING_ERROR_14">Goldenes</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_15">Märchenbuch</span></span>. <span class="blsp-spelling-error" id="SPELLING_ERROR_16">Eine</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_17">Sammlung</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_18">der</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_19">Beliebtesten</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_20">Märchen</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_21">mit</span> 96 <span class="blsp-spelling-error" id="SPELLING_ERROR_22">farbigen</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_23">Illustrationen</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_24">von</span> Maria <span class="blsp-spelling-error" id="SPELLING_ERROR_25">Hohneck</span>. Stuttgart: <span class="blsp-spelling-error" id="SPELLING_ERROR_26">Weise</span>, [1905].<br />Collective edition of <span class="blsp-spelling-error" id="SPELLING_ERROR_27">twelfve</span> picture-books to single fairy tales.randzeichnerhttp://www.blogger.com/profile/13349308117677989990noreply@blogger.com8tag:blogger.com,1999:blog-3783007639727328363.post-91577004115726045502008-07-10T03:04:00.000-07:002008-07-10T03:36:15.390-07:00Fernande Biegler, illustrations for fairy tales<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW3KO3LHZZ3hyBjRSoVZTRFmatGB_90r8D99yWWZyeB70CtLqMgr07p0pc76ltcCS02lfU3M7waIHLdXYuviju68fQ2Dg4x5ual36JG8MVG4hkDplW2mZGB2ZdJ9aLwS1i_hNoHJkW7AY-/s1600-h/Buchdeckel-1921.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW3KO3LHZZ3hyBjRSoVZTRFmatGB_90r8D99yWWZyeB70CtLqMgr07p0pc76ltcCS02lfU3M7waIHLdXYuviju68fQ2Dg4x5ual36JG8MVG4hkDplW2mZGB2ZdJ9aLwS1i_hNoHJkW7AY-/s320/Buchdeckel-1921.jpg" alt="" id="BLOGGER_PHOTO_ID_5221325574702412546" border="0" /></a><br /><br /><br />Unfortunately, there is little known about the artist Fernande Biegler, besides that she worked from ca. 1901 to 1929. Among her most popular works are two fairy-tale picture books, called:<br /><br /><span>1. </span><span style="font-style: italic;">Märchengarten</span>. Ein Kinderbuch mit Bildern von Fernande Biegler. Leipzig: Anton, 1921.<br />2. <span style="font-style: italic;">Königs-Märchen</span>. Märchen der Brüder Grimm mit Bildern und Einleitung von Fernande Biegler. Leipzig: Deutsche Jugend, 1922.<br /><br />In bright colours these picture books present a strangely arificial fairy-land. Princesses and princes are nearly caricatural in their superficial poses, colourful make-up and delicate gestures.<br />Looking at them the influence of art déco is strongly visible. Especially fashion figurines seem to have inspired the artist, and helped her to create a other-worldly fairy-land that is one of a kind.<br /><br />Take a look at some more of her illustrations:<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuVKh46hjoWIF6NoN41mTUS03ztnZpPbp2JuaIpqlw_z63wqjS4-Klo9CAcrNagOfS1KcSR0gvAKbT3qZy-7Uj1wR3aC7yamsmjCB9fgp6V15QSJCOwUeGFA_4HhFSbggjgkduPad7yNvz/s1600-h/Der+Schweinehirt-1921-01.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuVKh46hjoWIF6NoN41mTUS03ztnZpPbp2JuaIpqlw_z63wqjS4-Klo9CAcrNagOfS1KcSR0gvAKbT3qZy-7Uj1wR3aC7yamsmjCB9fgp6V15QSJCOwUeGFA_4HhFSbggjgkduPad7yNvz/s320/Der+Schweinehirt-1921-01.jpg" alt="" id="BLOGGER_PHOTO_ID_5221326789268643986" border="0" /></a><br />Andersen's <span style="font-style: italic;">The Swineherd</span>, 1921<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji-5vyuzckdvq3zEfxMUqGvWroY4_egLK9Td1V04t8iV59U9eyZXBe4eLyqcMm2W1XlLgtXJ8NOWiL-ZLYqTKhT7zaNO-1pFKBFn8fU6HkD1FeVCD3s3j9y78mp9HgTBTXiN47BbykwzO-/s1600-h/K%C3%B6nig+Drosselbart-1921-01.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji-5vyuzckdvq3zEfxMUqGvWroY4_egLK9Td1V04t8iV59U9eyZXBe4eLyqcMm2W1XlLgtXJ8NOWiL-ZLYqTKhT7zaNO-1pFKBFn8fU6HkD1FeVCD3s3j9y78mp9HgTBTXiN47BbykwzO-/s320/K%C3%B6nig+Drosselbart-1921-01.jpg" alt="" id="BLOGGER_PHOTO_ID_5221327186569971234" border="0" /></a><br />Brother Grimms' <span style="font-style: italic;">King Thrushbeard</span>, 1921<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz1oiCt1W9SVQFxbIrLsh7-BdKMbqD7sPzEj-pONyOG6qj5IpmizvOwQaaeVLpYOTyE9y1xZiBI5XJDsDPvrBQp4ndj_Xa1ZlqtFg1BiTn75f-9jMaas29lS-14OzEHvvg0CZZ5k_rDozh/s1600-h/Dornr%C3%B6schen-1922-02.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz1oiCt1W9SVQFxbIrLsh7-BdKMbqD7sPzEj-pONyOG6qj5IpmizvOwQaaeVLpYOTyE9y1xZiBI5XJDsDPvrBQp4ndj_Xa1ZlqtFg1BiTn75f-9jMaas29lS-14OzEHvvg0CZZ5k_rDozh/s320/Dornr%C3%B6schen-1922-02.jpg" alt="" id="BLOGGER_PHOTO_ID_5221327539827734050" border="0" /></a><br />Brother Grimms' <span style="font-style: italic;">Sleeping Beauty</span>, 1922randzeichnerhttp://www.blogger.com/profile/13349308117677989990noreply@blogger.com0tag:blogger.com,1999:blog-3783007639727328363.post-1916729591123778162008-07-10T01:53:00.000-07:002008-07-10T03:36:26.887-07:00Mac Harshberger, Tristan and Iseult, 1927<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzhpNl6jSHlNFMGZIbgxnd2-zbUSsR2NsUhswX3vNX8fel0xTv4MRaxMzE7jQ-f2pTmnXZBd8OIDh1uVK2-QngAForlAL7dgRchHs7ma-HIpzL6zLfGdyO9VGWdns5Nvs4TNCdVLxG4MyQ/s1600-h/MacHarshberger-Death-1927.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzhpNl6jSHlNFMGZIbgxnd2-zbUSsR2NsUhswX3vNX8fel0xTv4MRaxMzE7jQ-f2pTmnXZBd8OIDh1uVK2-QngAForlAL7dgRchHs7ma-HIpzL6zLfGdyO9VGWdns5Nvs4TNCdVLxG4MyQ/s320/MacHarshberger-Death-1927.jpg" alt="" id="BLOGGER_PHOTO_ID_5221310001088404898" border="0" /></a><br />1927 erschien bei Albert & Charles <span class="blsp-spelling-error" id="SPELLING_ERROR_0">Boni</span> in <span class="blsp-spelling-error" id="SPELLING_ERROR_1">New</span> York Joseph <span class="blsp-spelling-error" id="SPELLING_ERROR_2">Bédiers</span> Fassung der <span style="font-style: italic;"><span class="blsp-spelling-error" id="SPELLING_ERROR_3">Tristan</span></span>-Sage mit Illustrationen von Mac <span class="blsp-spelling-error" id="SPELLING_ERROR_4">Harsheberger</span>.<br /><br />Der in <span class="blsp-spelling-error" id="SPELLING_ERROR_5">Tacoma</span>, Washington, geborene Künstler ging 1921 nach Paris und studierte dort zusammen mit <span class="blsp-spelling-error" id="SPELLING_ERROR_6">Maurice</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_7">Denis</span>. In den 1920er Jahren arbeitete er in <span class="blsp-spelling-error" id="SPELLING_ERROR_8">New</span> York City und lehrte viele Jahre am <span class="blsp-spelling-error" id="SPELLING_ERROR_9">Pratt</span> Institute. Seine <span class="blsp-spelling-error" id="SPELLING_ERROR_10">Illustrationskunst</span> wird in der Regel dem <a href="http://www.artdeconw.org/harshbergergal.htm">Art <span class="blsp-spelling-error" id="SPELLING_ERROR_11">Déco</span></a> zugerechnet, was sich aber an seinen schwarzweißen Illustrationen zu <span style="font-style: italic;"><span class="blsp-spelling-error" id="SPELLING_ERROR_12">Tristan</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_13">and</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_14">Iseult</span></span> eher weniger festmachen lässt. Hier zeigt sich eher die Auseinandersetzung mit <span class="blsp-spelling-error" id="SPELLING_ERROR_15">Aubrey</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_16">Beardsley</span>, der ja seinerseits <span class="blsp-spelling-error" id="SPELLING_ERROR_17">Malory</span>'s <span style="font-style: italic;"><span class="blsp-spelling-error" id="SPELLING_ERROR_18">Morte</span> D'Arthur</span> illustriert hatte. Wie <span class="blsp-spelling-error" id="SPELLING_ERROR_19">Beardsley</span> arbeitet <span class="blsp-spelling-error" id="SPELLING_ERROR_20">Harshberger</span> mit der <span class="blsp-spelling-error" id="SPELLING_ERROR_21">Kontrastierung</span> schwarzer und weißer Flächen. <span class="blsp-spelling-error" id="SPELLING_ERROR_22">Harshbergers</span> Illustrationen sind aber dennoch ganz anders, klarer in der Linie, graphischer in der allgemeinen Komposition. Sie gehören meiner Meinung nach mit zu den ästhetisch ansprechendsten Illustrationen zur <span style="font-style: italic;"><span class="blsp-spelling-error" id="SPELLING_ERROR_23">Tristan</span></span>-Sage.<br /><br />Hier ein paar Beispiele (oben <span class="blsp-spelling-error" id="SPELLING_ERROR_24">Isolde</span> an der Leiche Tristans):<br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7FerjiF33aNjG4E_NtfjiHZ4Mk0IRkGrX8OpXhaSMMAXENzRzChLof1dOO3q14pipXVXwwrF84PYguHvAJTUbf2GPgS3xnXVqj_deP39HB7-K-3v77DOZotf1g8UHLuJUMTNvlP2wVG2x/s1600-h/MHWatched.jpg"><img style="cursor: pointer; width: 193px; height: 292px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7FerjiF33aNjG4E_NtfjiHZ4Mk0IRkGrX8OpXhaSMMAXENzRzChLof1dOO3q14pipXVXwwrF84PYguHvAJTUbf2GPgS3xnXVqj_deP39HB7-K-3v77DOZotf1g8UHLuJUMTNvlP2wVG2x/s320/MHWatched.jpg" alt="" id="BLOGGER_PHOTO_ID_5221309505984107394" border="0" /></a><br />König Marke beobachtet <span class="blsp-spelling-error" id="SPELLING_ERROR_25">Tristan</span> und <span class="blsp-spelling-error" id="SPELLING_ERROR_26">Isolde</span> schlafend<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBvt9wyIXTzblxOE48rRB4ITpsPtiLrCJRXEZ3p38ewp7mfKp5AaQpnGmpIQ55SSxxaLSAzo8-7DTdWX41rjjXdFSDlmKjPe1QX9uCL45BEqBt8ok_YuzOn04f86M8XZUfLWQKYBKitccf/s1600-h/MHbeggar.jpg"><img style="cursor: pointer; width: 171px; height: 184px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBvt9wyIXTzblxOE48rRB4ITpsPtiLrCJRXEZ3p38ewp7mfKp5AaQpnGmpIQ55SSxxaLSAzo8-7DTdWX41rjjXdFSDlmKjPe1QX9uCL45BEqBt8ok_YuzOn04f86M8XZUfLWQKYBKitccf/s320/MHbeggar.jpg" alt="" id="BLOGGER_PHOTO_ID_5221309752093576642" border="0" /></a><br />Als <span class="blsp-spelling-error" id="SPELLING_ERROR_27">Mönch</span> verkleidet trägt <span class="blsp-spelling-error" id="SPELLING_ERROR_28">Tristan</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_29">Isolde</span> ans Ufer.randzeichnerhttp://www.blogger.com/profile/13349308117677989990noreply@blogger.com0tag:blogger.com,1999:blog-3783007639727328363.post-18837992336426183852008-07-07T03:42:00.000-07:002008-07-10T03:31:16.840-07:00Wiede-Fabrik München, Offene Ateliers & Werkstätten<div style="text-align: left;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.wiede-fabrik.com/c3view.php?sid=lgzbebUb1zSf3TvVw33ln3z3zObw1g33fTvVOXVL&c3l=de&c3p=11&c3t="><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuXItPDB3v-RNvZ0-4Y3cdMhw4eqRb2iY8Cn4-99s080MYihaYH6rHoTg-8vX-ueg_hpraHXGt84mSbLhsxcZqjcvXzo-TB0R72PLZfy4VXqf2sZE9yiOXiKMVTBBcHmemgGlH5sU6geUu/s320/Ohne+Titel-1+Kopie.jpg" alt="" id="BLOGGER_PHOTO_ID_5220222177393181730" border="0" /></a><br /></div><br />Vom 3. Juli bis 6. Juli waren die Ateliers und Werkstätten der Künstler zu besichtigen, die auf dem Gelände und in der <a href="http://www.wiede-fabrik.com/c3view.php?sid=lgzbebUb1zSf3TvVw33ln3z3zObw1g33fTvVOXVL&c3l=de&c3p=11&c3t=">alten <span class="blsp-spelling-error" id="SPELLING_ERROR_0">Wiede</span> Fabrik</a> in München (<span class="blsp-spelling-error" id="SPELLING_ERROR_1">Rambaldistr</span>.27) leben und arbeiten.<br />So bot sich ein breites Spektrum zeitgenössischer Kunst, mit ganz unterschiedlichen Arbeiten, die reizvoll in den einzelnen Ateliers und Werkstäten der jeweiligen Künstler präsentiert wurden. Da waren die abstrakten Gemälde von <a href="http://www.atelier-milan.de/index.htm">Milan <span class="blsp-spelling-error" id="SPELLING_ERROR_2">Mihajlovic</span></a> zu sehen, neben kleinen, reizvollen Bronzearbeiten von <a href="http://www.amiromerovic.de/"><span class="blsp-spelling-error" id="SPELLING_ERROR_3">Amir</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_4">Omerovic</span></a>. <span class="blsp-spelling-error" id="SPELLING_ERROR_5">Mihajlovic</span> sprach von der Bedeutung des <span class="blsp-spelling-error" id="SPELLING_ERROR_6">bild</span>-internen Rahmens, dass also, wenn ein Gemälde einen Rahmen braucht, um vollendet zu sein, etwas im Gemälde selbst fehlt. Deswegen habe auch <span class="blsp-spelling-error" id="SPELLING_ERROR_7">Rothko</span> großen Wert auf <span class="blsp-spelling-error" id="SPELLING_ERROR_8">bildinterne</span> Rahmen gelegt. Ein spannender <span class="blsp-spelling-corrected" id="SPELLING_ERROR_9">Gedanke</span>.<br />Ganz anders waren dagegen die Aquarelle von <a href="http://www.kunst-in-ostbayern.de/kuenstler/lange.html"><span class="blsp-spelling-error" id="SPELLING_ERROR_10">Michale</span> Lange</a>, die als serielle Arbeiten topographischer Darstellungen nebeneinandergehängt Assoziationen an filmische <span class="blsp-spelling-error" id="SPELLING_ERROR_11">Storyboards</span> weckten. Freilich ist hier auch die Serienmalerei des Impressionismus Pate gestanden, aber Langes feine Aquarelle hatten doch auch ihren Reiz. <a href="http://www.h1-daxl.de/"><span class="blsp-spelling-error" id="SPELLING_ERROR_12">Carl</span>-H1 <span class="blsp-spelling-error" id="SPELLING_ERROR_13">Daxl</span></a> zeigte im Atelier daneben kleinformatige Gemälde, die in der Kombination von graphischen Elementen, Schrift und Malerei und der häufig humorvoll-ironischen, manchmal etwas derben <span class="blsp-spelling-error" id="SPELLING_ERROR_14">Sujets</span> manchmal recht <span class="blsp-spelling-error" id="SPELLING_ERROR_15">karikaturistisch</span>, mir aber zu <span class="blsp-spelling-error" id="SPELLING_ERROR_16">comic</span>-artig dekorativ wirkten. Das einzig größere Gemälde mit der Inschrift "Opium", in dem die graphischen Elemente deutlich zurückgenommen waren, und auch die Schrift nicht so deutlich hervortrat, hatte meiner Meinung nach jedoch die größte ästhetische Wirkung. Lebensfroher, kraftvoller waren die Arbeiten von <a href="http://www.thomashuber.de/">Thomas Huber</a>.<br />Freilich gefiel nicht alles gleichermaßen. <a href="http://www.wiede-fabrik.de/c3view.php?c3p=36">Oliver <span class="blsp-spelling-error" id="SPELLING_ERROR_17">Diehrs</span></a> Gemälde erinnerten mich ein wenig zu sehr an <span class="blsp-spelling-error" id="SPELLING_ERROR_18">Hopper</span> mit ihren vereinzelten Figuren, die obwohl in Gruppen zusammen stets alleine scheinen. Und die naturgetreuen Arbeiten von <a href="http://www.wiede-fabrik.de/c3view.php?sid=lg9bebTb1zLf3KJMw33lv3z3ztb1wzKw1KJMmg9e&ieb=1215430047&c3p=66&c3l=de&c3t="><span class="blsp-spelling-error" id="SPELLING_ERROR_19">Anja</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_20">Bolata</span></a> näherten sich etwas zu stark an die <span class="blsp-spelling-error" id="SPELLING_ERROR_21">kunsthistorische</span> Tradition um Maria <span class="blsp-spelling-error" id="SPELLING_ERROR_22">Sybilla</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_23">Merian</span>.<br />Dennoch ist es, finde ich, gerade dieser Rahmen: Künstlerkolonie, offene Ateliers, "Selbst-" und Werkinszenierung, die die Auseinandersetzung mit zeitgenössischer Kunst hier sehr spannend machen.randzeichnerhttp://www.blogger.com/profile/13349308117677989990noreply@blogger.com0tag:blogger.com,1999:blog-3783007639727328363.post-75581406925148566522008-06-14T05:27:00.000-07:002008-07-10T03:31:58.369-07:00Wierusz-Kowalski, Wolf, um 1885<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.arthistoricum.net/uploads/pics/kraftprobe_wolf_sulwalki_300.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 320px;" src="http://www.arthistoricum.net/uploads/pics/kraftprobe_wolf_sulwalki_300.jpg" alt="" border="0" /></a><br /><strong><span style="font-weight: normal;"><br /><br /><br /><br /><br /><br /><br /><br /><br />Alfred Wierusz-Kowalski</span><br /></strong><span style="font-style: italic;">Wolf</span>, um 1885.<br />Öl auf Pappe, 30 x 68 cm<br />Muzeum Okregowe w Suwalkach (Bezirksmuseum Suwalki)<br /><br /><br />Ausgestellt im Rahmen der Ausstellung "200 Jahre Kunstakademie München", <a href="http://www.hausderkunst.de/">Haus der Kunst</a> München.<br /><br />Ein eher kleines Gemälde, keineswegs lebensgroß, aber unglaublich faszinierend.<br />Da sieht man auf weiter, öder, winterlich wirkender Fläche einen Wolf stehen, den Kopf in Richtung des Betrachters gedreht. Keineswegs aggressiv in seiner Pose; er fletscht nichtmal die Zähne oder sabbert angesichts möglicher Beute. <strong><span style="font-weight: normal;">Wierusz-Kowalskis Wolf </span></strong>wartet einfach nur. Und dennoch geht von dem Bild eine seltsam beunruhigende Stimmung aus.<br />Dies liegt an den Augen des Tieres, jenen zwei hellen, fast zitrus-farbenen gelben Punkten, die vor dem bläulich-grauen Hintergrund der kargen Landschaft und im Kontrast zum struppig dunklen Fell des Wolfes eine bezeichnende Leuchtkraft entwickeln. Die Augen des Wolfes fixieren den Betrachter, blicken auf ihn, und der Betrachter blickt zurück, ganz automatisch. So bilden Mensch und Tier über die Grenzen Realität/Bildfiktion hinweg Blickkontakt. Es ist ein gegenseitiges Warten auf die Reaktion des Anderen, die freilich im Endeffekt immer nur vom Betrachter ausgehen wird, der sich irgendwann abwendet und weiterwandert.<br />Der Wolf blickt und wartet weiter, zeitlos, eingefroeren, so dass beim Betrachten des Bildes, vielleicht auch durch die endzeitlich-karge Landschaft und den intensiven Blick des Wolfes Assoziationen an die Gruselliteratur nicht fern bleiben. Ende des 19. Jahrhunderts ist der Werwolf längst beliebte Schauergeschichte. In Märchen und Sagen hat der Wolf einen festen Platz, bedeutet zumeist große Gefahr für den Helden. Und dieses Wissen um die Gefahr, dieses Assoziationspotential, dessen sich der Künstler sicherlich bewusst war, verschiebt die Ruhe des Bildes ins Beunruhigende.<br /><strong><span style="font-weight: normal;">Wierusz-Kowalskis <span style="font-style: italic;">Wolf </span>ist damit nicht einfach <span style="font-style: italic;">nur</span> Tierbild. Es ist Stimmungsbild, mehr noch, es lädt zum Fantasieren ein, zum Geschichten erzählen im Kopf und ist darin wieder ganz typisch für die akademische Malerei des 19. Jahrhunderts und ihre Liebe zur Narration.</span></strong>randzeichnerhttp://www.blogger.com/profile/13349308117677989990noreply@blogger.com0tag:blogger.com,1999:blog-3783007639727328363.post-39256840766878579312008-06-05T11:25:00.000-07:002008-07-10T03:33:04.315-07:00Albin Egger-Lienz Ausstellung, Museum Leopold, Wien<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://upload.wikimedia.org/wikipedia/commons/thumb/8/8d/Albin_Egger-Lienz_Bergm%C3%A4her.jpg/800px-Albin_Egger-Lienz_Bergm%C3%A4her.jpg"><img style="cursor: pointer; width: 320px;" src="http://upload.wikimedia.org/wikipedia/commons/thumb/8/8d/Albin_Egger-Lienz_Bergm%C3%A4her.jpg/800px-Albin_Egger-Lienz_Bergm%C3%A4her.jpg" alt="" border="0" /></a><br /><div style="text-align: left;"><div style="text-align: left;">Albin Egger-Lienz,<span style="font-style: italic;"> Die Bergmäher </span>(I. Fassung), 1907<br />Öl/Lw., 94,3 x 149,7 cm<br />Wien, Leopold Museum, Inv. Nr. 716</div><br /></div>Im April zu Besuch in Wien, hatte ich die Möglichkeit die Sonderausstellung über AlbinEgger-Lienz (1868-1926) im <a href="http://www.leopoldmuseum.org/">Museum Leopold</a> zu besuchen.<br /><br />Diese Ausstellung war schon deshalb so spannend, weil sie, wie es im Pressetext lautet, ganz bewusst versucht, die <span class="copy"><span style="" lang="DE">"Einbindung des Werks von <a href="http://de.wikipedia.org/wiki/Albin_Egger-Lienz">Albin Egger-Lienz</a> in den internationalen Kontext, vor allem die Anknüpfungspunkte seines Oeuvres an die europäische Malerei und Plastik in einigen exemplarischen Beispielen" zu beleuchten.</span></span><br /><span class="copy"><span style="" lang="DE">Dies ist meisterhaft gelungen: schon allein wie der junge Künstler in seinem Frühwerk noch von seinem Lehrmeister an der Akademie, <a href="http://de.wikipedia.org/wiki/Franz_Defregger">Franz von Defregger</a> (1835-1921) beeinflusst war, wird in der Gegenüberstellung einzelner Arbeiten beider Künstler in der Gattung des Bauerngenres mehr als deutlich. </span></span>Albin Egger-Lienzs Gemälde, <span style="font-style: italic;">Das Kreuz</span> (1901/02), wäre ohne Defreggers <span style="font-style: italic;">Das letzte Aufgebot</span> (1872) schlicht undenkbar. Dies wurde mir noch um ein weiteres Mal deutlich, als ich vor ein paar Tagen die <a href="http://www.pinakothek.de/neue-pinakothek/kalender/kalender_index.php?haupt=ausstellungen&inc=ausstellung&action=&which=2780">Genremalerei-Ausstellung in der Neuen Pinakothek</a> sah, in der auch einige Bilder von Defregger ausgestellt waren. Defregger hat mit seinem historischen Bauerngenre Albin Egger-Lienz mehr als nur den Weg bereitet.<br /><br /><div style="text-align: left;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://upload.wikimedia.org/wikipedia/commons/thumb/7/7b/AEL_Das_Kreuz.jpg/715px-AEL_Das_Kreuz.jpg"><img style="cursor: pointer; width: 218px; height: 182px;" src="http://upload.wikimedia.org/wikipedia/commons/thumb/7/7b/AEL_Das_Kreuz.jpg/715px-AEL_Das_Kreuz.jpg" alt="" border="0" /><span style="font-weight: bold;"> </span></a><br />Albin Egger-Lienz, <span style="font-style: italic;">Das Kreuz,</span> 1901/02.<br />Öl/Lw., 143 x 171,5 cm.<br />Wien Museum, Inv.-Nr. 27.091.<br />(Leihgabe im Museum Schloss Bruck, Lienz, Inv.-Nr. AEL 23)<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://upload.wikimedia.org/wikipedia/commons/thumb/2/2e/Defregger_Das_letzte_Aufgebot.jpg/794px-Defregger_Das_letzte_Aufgebot.jpg"><img style="cursor: pointer; width: 245px; height: 186px;" src="http://upload.wikimedia.org/wikipedia/commons/thumb/2/2e/Defregger_Das_letzte_Aufgebot.jpg/794px-Defregger_Das_letzte_Aufgebot.jpg" alt="" border="0" /></a><br />Franz von Defregger, <span style="font-style: italic;">Das letzte Aufgebot</span>, 1872.<br />Öl/Lw., 53.4 x 70.2 cm<br />Neue Pinakothek, München, Inv.-Nr. 9030<br /></div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.antiquescollaborative.com/items/572910/catphoto.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 61px; height: 142px;" src="http://www.antiquescollaborative.com/items/572910/catphoto.jpg" alt="" border="0" /></a>Von mindestens genauso großem Einfluss waren später dann die realistischen Franzosen: im Besonderen <a href="http://de.wikipedia.org/wiki/Jean-Fran%C3%A7ois_Millet">Jean-François Millet</a> (1814-11875) mit seinem <span style="font-style: italic;">Sämann </span>(1850) und der Bildhauer <a href="http://de.wikipedia.org/wiki/Constantin_Meunier">Constantin Meunier</a> (1831-1905) mit seinen Arbeiter-Plastiken, wie dem <span style="font-style: italic;">Dockarbeiter </span>(s. Abb.). So zeichnen sich Egger-Lienzs spätere Genrebilder durch einen gleichfalls gesteigerten Realismus aus, gröberen Pinselduktus und einem Millet und Meunier vergleichbaren Menschenbild. Egger-Lienzs Bauern sind nun ähnlich kantig, muskulös, wie die der französischen Realisten (s. Abb. oben <span style="font-style: italic;">Die Bergmäher</span>).<br /><br />Die kunsthistorische Tradition der Totentänze mit Albin Egger-Lienzs faszinierend beklemmenden Totentanz-Bildern lasse ich jetzt mal weg. Das wäre ein eigener Post.<br />Spannend sind im Oeuvre des Künstlers aber noch die vielen Kriegsbilder, die in erschreckender Deutlichkeit die Greuel des Krieges zu Tage führen. Den Krieg zu bebildern, hat Egger-Lienz dabei mit vielen seiner zeitgenössischen Künstler gemeinsam. Seine "Leichenhaufen" und ausgezehrten Kriegsopfer sind dennoch ungewohnt kritisch und verstörend.randzeichnerhttp://www.blogger.com/profile/13349308117677989990noreply@blogger.com0tag:blogger.com,1999:blog-3783007639727328363.post-6653678399074276752008-05-14T11:43:00.000-07:002009-06-06T11:53:26.513-07:00Fairy Tales and Christian Values<div class="entryText">In Bavaria, Germany, there is this tradition of painting murals on the facades of houses. It is called "Lueftlmalerei" (and sorry I have no clue how to translate that). This form of facade-painting is most popular in Upper Bavaria and Tirol and derives from the Italian Baroque facade-painting-tradition. In Germany it dates back to the 18th century, was mostly executed by craftsmen and showed the wealth and status of the citizens and farmers who ordered the facades to be decorated in such fashion. Spread by traders these buildings can be found mostly at marketplaces and on trade routes of the alpine regions. They show decorative or illusionistic medallions (trompe l'oeuil), Christian saints and episodes of the Bible, scenes of every day life. Oberammergau, a small town in the Allgau region, most popular for its passion-plays around Easter, has a variety of houses that are painted this way, but the chosen motifs do not belong to the Christian iconography or the everyday life as usual but show scenes from fairy tales.<br /><br /><a href="http://pics.livejournal.com/schionatulander/pic/0001gsgc/"><img src="http://pics.livejournal.com/schionatulander/pic/0001gsgc/s320x240" alt="" width="320" border="0" height="213" /></a><br /><a name="cutid1"></a><div class="ljcut" text="come and look..."><br />The first frescoes were executed 1922-25 by the artist Throll who chose the fairy tale of <i>Hansel and Gretel</i> by the Brothers Grimm to decorate a children's home that was founded by a local friendly society that cared for children orphaned in the First World War. The frescoes depict one of the most generous donors - the opera singer Marie Mattfeld - in the center of the composition and - grouped around that - the scenes of the fairy tale.<br />Each scene is combined with distiches that interpret the scene in a distinct - mostly Christian - way that transforms each motif from a "simple" folk-tale-scene to a parable of Christian value. Comparable to the tradition of emblematas each of these fairy tale scenes consists now of an "icon" and an "epigramm" and so, the fresco motifs don't contribute solely to the narrative of the fairy tale, but are simultaneously a "book of wisdom" telling the observer about God's love and giving advice in the manner of common proverbs. For example, the text under the first detail-image says: Don't forget to pray at night - then angels protect you while you sleep.<br /> <br /><a href="http://pics.livejournal.com/schionatulander/pic/0001hwts/"><img src="http://pics.livejournal.com/schionatulander/pic/0001hwts/s320x240" alt="" width="320" border="0" height="189" /></a><br /> <br /><a href="http://pics.livejournal.com/schionatulander/pic/0001k53t/"><img src="http://pics.livejournal.com/schionatulander/pic/0001k53t/s320x240" alt="" width="320" border="0" height="202" /></a><br /><br /><br />In contrast to the political national pictorial program of the Kaiserpfalz the frescoes in Oberammergau do not have anything to say to the 19th century endavour of building a great nation. They are really a bit naive, simple folk sayings such as "beware of witches, you see what they do to Hansel" or "trust in God and everything will be fine". It's not exactly a pictorial programm developed by an acadamical educated artist.<br /><br /><br /><a href="http://pics.livejournal.com/schionatulander/pic/0001pr41/"><img src="http://pics.livejournal.com/schionatulander/pic/0001pr41/s320x240" alt="" width="267" border="0" height="203" /></a><br /><br />In 1926, the house was extended and Max Strauss decorated the newly acquired annex building with decorative frescoes still showing fairy tale figures such as <i>The Hare and the Hedgehog</i> or <i>The Valiant Little Tailor</i>, but now without telling a complete fairy tale.<br /><br /><a href="http://pics.livejournal.com/schionatulander/pic/0001q29e/"><img src="http://pics.livejournal.com/schionatulander/pic/0001q29e/s320x240" alt="" width="320" border="0" height="213" /></a> <a href="http://pics.livejournal.com/schionatulander/pic/0001rtk0/"><img src="http://pics.livejournal.com/schionatulander/pic/0001rtk0/s320x240" alt="" width="320" border="0" height="120" /></a><br /><br /><br />This fairy tale paintings were obviously so popular, that, in 1953, Max Strauss also decorated the house opposite to the children's home with frescoes to <i>Little Red Riding Hood</i>. As before, there is a strong Christian interpretation of the story provided that integrate the fairy tale motifs once again in the traditional iconography of the "Lueftlmalerei".<br /><br /><a href="http://pics.livejournal.com/schionatulander/pic/0001swq9/"><img src="http://pics.livejournal.com/schionatulander/pic/0001swq9/s320x240" alt="" width="319" border="0" height="240" /></a> <a href="http://pics.livejournal.com/schionatulander/pic/0001wc06/"><img src="http://pics.livejournal.com/schionatulander/pic/0001wc06/s320x240" alt="" width="134" border="0" height="240" /></a><br /><br /><a href="http://pics.livejournal.com/schionatulander/pic/0001tb86/"><img src="http://pics.livejournal.com/schionatulander/pic/0001tb86/s320x240" alt="" width="240" border="0" height="240" /></a><br /><br />Just a few final words about the painting technique: They are frescoes. You can see the partition-lines where the fresh chalk plastering was applied and then the chalk colour before both fused together and dried out.<br />In 1951, the frescoes were redone in Keim mineral paints (look here for more information on these special paints: <a class="snap_shots" href="http://www.keimfarben.de/en/the_company/keimfarben/history/">http://www.keimfarben.de/en/the_com<wbr>pany/keimfarben/history/</a>)<br />and are probably retouched every twenty/thirty years at least.<br /><br />(photos by me, on a visit a few days back.)</div></div>randzeichnerhttp://www.blogger.com/profile/13349308117677989990noreply@blogger.com0tag:blogger.com,1999:blog-3783007639727328363.post-63556166299437388242008-04-12T06:51:00.000-07:002010-10-31T10:23:04.520-07:00Waldmüller, Die erschöpfte Kraft, 1854<a href="http://bilddatenbank.belvedere.at/media/big/3656.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"></a><br />
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Ferdinand Georg Waldmüller<br />
<b style="font-weight: normal;"><span style="font-style: italic;"> Die erschöpfte Kraft</span>, </b>1854<br />
Öl/Lw., 63 x 75,5 cm.<br />
Signatur: bez. rechts unten: "Waldmüller 1854" <br />
Wien, <a href="http://bilddatenbank.belvedere.at/sammlung.php?obid=2454">Belvedere</a>.<br />
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Bedenkt man, dass die meisten der Waldmüllerschen Gemälde Porträts oder Genrebilder weitestgehend idyllischer Natur sind, sonnenbefleckte Landschaften und glückliche Bauernkinder oder anderes ländliches Volk, erstaunt das Gemälde in seinem untypischen, schockierenden Realismus.<br />
Immerhin liegt die überanstrengte Bäuerin wie tot auf dem Boden vor der Wiege ihres unschuldig schlafenden Kindes. Durch die Lichtführung sieht man sie erst auf den zweiten Blick: schemenhaft beleuchtet durch die Nachttischlampe, die die ganze Szene in gemildertes caravaggieskes Licht taucht. Die Farben sind im Original zwar etwas weniger gelbstichig, aber das Inkarnat der Bäuerin schimmert auch dort in ungesunder, fiebriger Blässe. Ohne den Titel hält man die Frau wohl eher für tot, als für ohnmächtig. Und der Tod ist nichts, was man in einem Waldmüller-Gemälde erwarten würde.<br />
Sicher, um Genre, genauer Bauerngenre, handelt es sich auch in diesem Bild, aber der Realismus, mit der Waldmüller das Schicksal der überarbeiteten Bäuerin und Mutter schildert, ist ungewohnt ernst. Er ent-idyllisiert. Einen solchen Realismus erwartet man eher bei den Franzosen, beim zeitgleichen Millet beispielsweise. Es ist allerdings zu bezweifeln, ob hier wirklich eine Beeinflussung stattfand.<br />
So stellt sich die Frage, ob dieses Gemälde Waldmüllers für einen bestimmten Auftraggeber entstand, oder eher ein Gemälde war, das dem Künstler selbst am Herzen lag. In der Zeit um 1854 waren gerade Richters Holzstiche des idyllischen Land- und Volkslebens groß im Kurs, und es ist wohl anzunehmen, dass sich wenige Betrachter mit den Schattenseiten der harten Bauernarbeit wirklich befassen wollten. Umso mehr bewegt das Bild, gerade weil es sich gegen die erträumte Bauernidylle sperrt, die allenthalben in Kunst und Literatur heraufbeschworen wurde.<br />
Dennoch ist auch Waldmüllers Gemälde nicht restlos unversöhnlich. Das spotlightartig beleuchtete Kind bildet in seinem friedlichen Schlummer, in seiner motivischen Annäherung an schlafende Christuskinder, den Gegenpol zum erschöpften Schlaf der Mutter und balanciert den Schrecken aus. Auf der einen Seite funktioniert die Lichtführung als Überraschungseffekt: man sieht erst das niedliche Kind, dann die zusammengebrochene Mutter. Die Idylle kippt dabei in Schrecken um. Auf der anderen Seite, im großen Ganzen gesehen, bildet das Kind, als Inbegriff des beginnenden Lebens, aber gleichzeitig zum möglichen (zukünftigen) Tod der Mutter den Gegenpol. Das ist der Lauf des Lebens: ungeschönt, aber nicht unversöhnlich.<br />
Und so macht das Bild vor allem eines: neugierig auf Waldmüller.randzeichnerhttp://www.blogger.com/profile/13349308117677989990noreply@blogger.com0tag:blogger.com,1999:blog-3783007639727328363.post-89880357776817933142007-11-18T12:08:00.000-08:002008-07-10T03:34:40.719-07:00Richard Teschner<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i95.photobucket.com/albums/l140/gardevias/Art/Teschner-DieHexe-1917.jpg"><img style="cursor: pointer; width: 247px; height: 267px;" src="http://i95.photobucket.com/albums/l140/gardevias/Art/Teschner-DieHexe-1917.jpg" alt="" border="0" /></a><br />Richard Teschner, <span style="font-style: italic;">Die Hexe</span>, 1917.<br />Öl/Pergament, Maße und Verbleib unbekannt.<br /><br />Vor ein paar Tagen war ich im Münchner Stadtmuseum und stieß dort überraschend auf Arbeiten von Richard Teschner.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i95.photobucket.com/albums/l140/gardevias/Art/Teschner-Nachtstck-1922.jpg"><img style="cursor: pointer; width: 257px; height: 155px;" src="http://i95.photobucket.com/albums/l140/gardevias/Art/Teschner-Nachtstck-1922.jpg" alt="" border="0" /></a><br />Richard Teschner, <i>Nachtstück</i>, 1922.<br />Historische Aufnahme einer Bühne mit Marionettenfiguren für Teschners Marionettentheater.<br /><br />Richard Teschner (1879-1948) studierte an der Prager Kunstakademie und der Wiener Kunstgewerbeschule, war Mitglied der Wiener Werkstätte, Bildhauer und Puppenmacher, der seine eigen Marionetten entwarf und bastelte. Er komponierte sogar die Musik seiner eigenen pantomimischen Marionetten Stücke, deren Figuren heute beispielsweise im <a href="http://www.theatermuseum.at/flash/page/sammlung/figuren/text.htm">Oesterreichischem Theatermuseum</a>, Palais Lobkowitz in Wien, zu sehen sind, oder eben in der momentanen Sonderausstellung des Münchner Stadtmuseums über das <a href="http://www.stadtmuseum-online.de/aktuell/brann.htm">Marionettentheater München</a>.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i95.photobucket.com/albums/l140/gardevias/Art/Teschner-DieUnbeteiligten-1916.jpg"><img style="cursor: pointer; width: 199px; height: 241px;" src="http://i95.photobucket.com/albums/l140/gardevias/Art/Teschner-DieUnbeteiligten-1916.jpg" alt="" border="0" /></a><br />Richard Teschner, <span style="font-style: italic;">Die Unbeteiligten</span>, 1916.<br />Stich. Maße und Verbleib unbekannt.<br /><br />Neben seiner kunstgewerblichen Tätigkeit, illustrierte und malte Teschner allerdings auch. Schuf Bilder von ähnlich fantastischen Gestalten, wie er sie für seine Marionetten entwarf. Und so entstanden seltsam skurrile Bilder, die ein bißchen an den Symbolismus zurückerinnern, oder an Richard Dadd's fairy paintings.<br /><br />Schade, dass er heute fast vergessen ist.randzeichnerhttp://www.blogger.com/profile/13349308117677989990noreply@blogger.com0tag:blogger.com,1999:blog-3783007639727328363.post-72740734819234558122007-10-10T10:56:00.000-07:002008-07-10T03:34:14.342-07:00Caravaggio und Derek JarmanWie von einem Film über einen Künstler zu erwarten, ist Derek Jarmans Film <a href="http://www.imdb.com/title/tt0090798/">Caravaggio<span style="font-style: italic;"> </span></a>(1986) voller Anspielungen auf das Werk des italienischen Malers Caravaggios (1571-1610). Im Gegensatz zu dem Vermeer-Film <a href="http://www.imdb.com/title/tt0335119/"><span style="font-style: italic;">Das Mädchen mit dem Perlenohrring</span></a> schafft Jarman aber kein "Historiengemälde" mit historisch exakten Kulissen (, wobei auch hier einzelne Kameraeinstellungen betont stillebenhaft und geschult an der niederländischen Malerei des 17. Jahrhunderts inszeniert sind), sondern liefert eine Interpretation des Künstlers, seines Lebens und seiner Kunst im Allgemeinen. Die in den Film verwoben kunsthistorischen Referenzen beziehen sich dabei nicht nur auf Caravaggio, und die Inkonsistenzen in der historischen Ausstattung eröffnen Blickwinkel auf Caravaggios Kunst, die zum Nachdenken anregen und die Reflexion über den Künstler befruchten. Das macht den Film nicht zu einem primären Unterhaltungsfilm, sondern zu einem Film über die Kunst allgemein, und darin ungemein spannend.<br />Jarmans Film zeigt Gemälde Caravaggios nicht nur im Entstehungsprozess, sondern verarbeitet auch eine ganze Reihe von Bildern in die eigentlich Handlung, überträgt die früheren Bildinhalte auf die Biographie des Künstlers und macht die ursprünglichen Gemälde zu "lebenden Bildern" im Wortsinn. Dadurch greift Jarman auf einen bildkünstlerischen Trick des 19. Jahrhunderts zurück, den Werner Busch in ganz anderem Zusammenhang einmal als Säkularisierung der christlichen Bildinhalte beschrieb. Durch die Übernahme der christlichen Bildtradition auf ein profanes Thema werden selbige aber nicht nur säkularisiert, das dargestellte profane Thema wird stellenweise auch entschieden aufgewertet: die Assoziierung mit dem ursprünglichen christlichen Bildinhalt legt sich über die nun profane Darstellung und erweitert die Bedeutung.<br />So legt Jarman einer Szene bezeichnenderweise ein Gemälde Caravaggios zugrunde, das den zweifelnden Thomas zeigt, wie er die Wundmahle des auferstandenen Christus berührt, und ersetzt Christus durch Caravaggio selbst. Diese Gleichsetzung des Künstlers mit Christus ist nicht zufällung und in der Kunstgeschichte gerade in der Gattung "Selbstproträt" nicht neu, erinnert sei nur an <a href="http://i95.photobucket.com/albums/l140/gardevias/Art/DrerSelbstbildnis-1500.jpg">Albrecht Dürers Selbstporträt </a>(1500, Holz, 67 × 49 cm, München, Alte Pinakothek).<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://pics.livejournal.com/schionatulander/pic/0000ht7r/s640x480"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 220px; height: 124px;" src="http://pics.livejournal.com/schionatulander/pic/0000ht7r/s640x480" alt="" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br />Filmszene<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i95.photobucket.com/albums/l140/gardevias/Art/IncredulitdisanTommaso.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 220px; height: 180px;" src="http://i95.photobucket.com/albums/l140/gardevias/Art/IncredulitdisanTommaso.jpg" alt="" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />Caravaggio<br /><span style="font-style: italic;">Doubting Thomas</span>, 1602-03.<br />Oil/canvas.<br />Potsdam, Sanssouci.<br /><br />Im Kontext der Filmnarration, ist sie aber bewusst gewähltes Stilmittel und spiegelt nicht das Selbstverständnis des Künstlers wieder, sondern die Interpretation des Regisseurs, der das Leben Caravaggios grundsätzlich voller Anspielung auf die Leidensgeschichte Christi erzählt: da wird die Idee des Judas-Kusses aufgegriffen, wenn der junge Liebhaber Ranuccio aus dem Gefängnis entlassen wird. Deswegen wird die zweifelhafte Lena, die im Film bezeichnenderweise als Maria Magdalena posiert, in einer relativ engen Beziehung zum Künstler gezeigt und so die Idee der Maria Magdalena als Geliebte Christi aufgegriffen. Nicht zuletzt und vor allem ist dies der Grund, warum Jarman den Tod Caravaggios wiederum über die Komposition des Gemäldes Caravaggios zu Christis Grablegung visualisiert.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://pics.livejournal.com/schionatulander/pic/0000kgab/s640x480"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 217px; height: 122px;" src="http://pics.livejournal.com/schionatulander/pic/0000kgab/s640x480" alt="" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br />Filmszene<br /><br /><span style=""><i> </i></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i95.photobucket.com/albums/l140/gardevias/Art/GrablegungChristi-1602-1604.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 156px; height: 234px;" src="http://i95.photobucket.com/albums/l140/gardevias/Art/GrablegungChristi-1602-1604.jpg" alt="" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />Caravaggio<br /><span style="font-style: italic;">Christ's entombment</span>,1602-1604.<br />Oil/canvas, 300 × 203 cm.<br />Rome, Pinacoteca Vaticana<br /><br />Deutlicher kann man die Lebensgeschichte eines Künstlers nicht mehr als Leidensgeschichte inszenieren.<br />Universalität gewinnt diese Inszenierung durch ihre ahistorische Ausstattung, die am Theater orientierte Verweigerung illusionistischer Lebensnachahmung, sowie durch kunsthistorische Referenzen auf Gemälde anderer Epochen, so wie Jaques Louis Davids <a href="http://www.avizora.com/publicaciones/PINACOTECA/JACQUES%20LOUIS%20DAVID.%201748-1825.%20NEOCLASICISMO%20FRANCES/0004_death_marat.jpg">Tod des Marat</a> (1793, Brüssel, Musées Royaux des Beaux-Arts) bei der Darstellung des Kunstkritikers. Hier geht es mehr um die sich über die Zeiten kaum verändernden Strukturen der Kunstvermarktung. Der französische Salon <a href="javascript:void(0)" tabindex="10" onclick="return false;"><span>Post veröffentlichen</span></a>wurde im späten 18. Jahrhundert für den Bilderverkauf gerade auch für Künstler wie David von Bedeutung und so ist es nicht verwunderlich, dass Jarman ausgerechnet den Kunstkritiker in die Maratsche Badewanne setzt.<br />Die Anspielungen Jarmans sind dabei mehrdeutig, hier wird kein platter Vergleich geliefert, sondern mit Assoziatiossträngen gespielt, die, wie gesagt, zur Reflexion anregen. Wenn man so will, ist Jarmans Filmerzählung arabesk, im Sinne des 19. Jahrhunderts. Und so kann man bei jedem Mal sehen man ein bißchen mehr entdecken.randzeichnerhttp://www.blogger.com/profile/13349308117677989990noreply@blogger.com0tag:blogger.com,1999:blog-3783007639727328363.post-44421457169951349742007-09-30T10:20:00.000-07:002008-07-10T03:39:18.119-07:00Otl Aicher, Bilderbogen zu Wilhelm von Ockham, 1986<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.hfg-archiv.ulm.de/ausstellungen/imgs/Postkarten-wvo.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 397px; height: 139px;" src="http://www.hfg-archiv.ulm.de/ausstellungen/imgs/Postkarten-wvo.jpg" alt="" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br />Otl Aicher, <span style="font-style: italic;">Bilderbogen zu Wilhelm von Ockhaum</span>, 1986<br />Ausstellung im <a href="http://www.stadtmuseumffb.de/ffb/stadtmuseum_ffb.nsf/id/pa_home.html">Kloster Fürstenfeld</a><br /><br /><br /><a name="cutid1"></a>In Zusammenarbeit mit Reinfriede Bettrich und Sophi von Seidlein entwarf Otl Aicher (1922 - 1991), deutscher Graphiker und Autor, diesen Bilderbogen-Zyklus 1986 für eine Ausstellung über den mittelalterlichen Franziskanerbruder und bedeutenden mittelalterlichen Philosophen Wilhelm von Ockham für eine Bayerische Versicherungsgesellschaft.<br />Otl Aicher erzählt das Leben und einzelne Aspekte der Theorien Wilhelm von Ockhams, der von der päpstlichen Inquisition fliehen musste und 1328 am Hof des bayrischen Königs Ludwig des Bayern Asyl fand, in einem Zyklus von dreißig großen Plakaten, die nicht gemalt oder gedruckt sind, sondern deren Details aus eigens angefertigtem Farbpapier geschnitten und zu einem Gesamtbild zusammengefügt sind. Aichers graphisches Abstraktionsvermögen wird dabei genauso deutlich, wie sein Gespür für Farben, die hier inhaltsbezogen gegeneinander gesetzt werden.<br /><br />Die Bezeichnung der Plakate als "Bilderbogen" stammt dabei von Aicher selbst, so dass sein Zyklus unmittelbar und ganz bewusst an jene Zeitungen und druckgraphischen Blätter anknüpft, die seit dem Mittelalter der Belehrung des analphabetischen Volkes dienten und neben anderem die Leidensgeschichte Christi, Szenen aus Heiligenlegenden und Tugend- und Lasterkataloge verbildlichten. Der Begriff "Bilderbogen" kommt dann erst im 19. Jahrhundert auf, als sich die Themenkataloge der Bilderbogen erheblich erweiterten. Aichers Zyklus ist thematisch eher den mittelalterlichen Bilderbogen verpflichtet, erzählt aber über einen Zyklus von Einzelblättern, nicht auf einem einzelnen Blatt.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA0cZ-HOEjz7JQWMkzz0cV09MTUofuYmJhi2WZS5R0MeSGP9uyY5xGy3v3WbvqhrF2-Z8_Zp_Jn2SfuP5bRh68R7ku0_y-4hbdy0NRaeTTg9z9INudQEtbfauZhzut3-pNLBtB34fEHnDr/s1600-h/kaiser-ludwig.gif"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 201px; height: 284px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA0cZ-HOEjz7JQWMkzz0cV09MTUofuYmJhi2WZS5R0MeSGP9uyY5xGy3v3WbvqhrF2-Z8_Zp_Jn2SfuP5bRh68R7ku0_y-4hbdy0NRaeTTg9z9INudQEtbfauZhzut3-pNLBtB34fEHnDr/s320/kaiser-ludwig.gif" alt="" id="BLOGGER_PHOTO_ID_5219611670930817618" border="0" /></a>Dennoch weist die programmatisch gewählte Bezeichnung des Mediums als Bilderbogen auf ein wichtiges Motiv von Aichers Arbeit voraus: seine Auseinandersetzung mit der Kunstgeschichte. Und so sind Aichers Bilderbogen nicht nur in ihrer Herstellungstechnik faszinierend, in den reduzierten Formen, dem unterschiedlichen Erzählen im Bild (beispielsweise werden einzelne Szenen in Leisten übereinander in die Fläche aufgelöst), oder den leuchtenden Farbkontrasten, sondern vor allem auch wegen der historischen Spurensuche des Künstlers.<br />Da sind nämlich nicht nur die Gesichter der einzelnen Hauptakteure mit historischem Quellenmaterial abgeglichen, oder die einzelnen Stadtumrisse oder Architekturen am Original orientiert, es werden auch allenthalben Motive aus der Kunstgeschichte zitiert. Man sieht beispielsweise Gottvater, der die Welt mit einem Zirkel entwirft, wie aus der <i>Bible moralisé </i>bekannt, oder es begegnet Dürers schlafender Landsknecht wieder, hier wie dort mit dem Pferdehintern in Richtung des Betrachters gewendet. Und wenn man sich darauf einlässt, ist noch eine ganze Menge mehr zu entdecken.<br /><br />Literaturtipp: Aicher, Otl: <span style="font-style: italic;">Wilhelm von Ockham. Das Risiko modern zu denken</span>. München: Callwey, 1986.randzeichnerhttp://www.blogger.com/profile/13349308117677989990noreply@blogger.com0tag:blogger.com,1999:blog-3783007639727328363.post-50531830774429119242007-09-25T06:54:00.000-07:002008-07-30T06:55:03.439-07:00Randzeichnungen1808 gelangte das <span style="font-style: italic;">Gebetbuch Kaiser Maximilians</span> (1515), das Albrecht Dürer, Lukas Cranach, Hans Baldung Grien und andere mit feinen Randzeichnungen in farbiger Tinte illustriert hatten, durch eine lithographische Teilreproduktion an die Öffentlichkeit.<br /><br />Nepomuk Strixners Faksimile Lithographien sparten den Text aus und zeigten 43 Auswahlblätter unter dem Titel <span style="font-style: italic;">Albrecht Dürers christlich-mythologische Handzeichnungen</span>.<br />Diese Randzeichnungen Dürers wurden von Goethe und seinen Zeitgenossen begeistert aufgenommen und waren für die romantische Arabeske von großer Bedeutung. Als Arabeske wurde die Randzeichnung in der Illustration des 19. Jahrhunderts immer wieder dazu verwendet, den Inhalt einer Erzählung zusammenzufassen (Titelblatt) oder ergänzend zu erweitern (Textillustration). Werner Busch betonte dabei v.a. für die Anfangszeit der romantischen Arabeske ihre Bedeutung als Reflexionsform.<br /><br />Um nichts anderes geht es hier, als um Reflexionen speziell zur Kunst: Randnotizen zu einzelnen Themengebieten aus Malerei, Graphik, Bildhauerei und Architektur; Ideen, Beobachtungen, Entdeckungen.randzeichnerhttp://www.blogger.com/profile/13349308117677989990noreply@blogger.com0