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To make entire external walls of houses and offices from glass, in order to freeze inside in winter and in summer to suffer from glasshouse panic, is the worst sort of l'art pour l'art — a sin. His commented cycle "Religions" appeared in in the anarchist magazine "Assiette au beurre". This work has a precursor in the religion-critical portfolio "The development of the idea of God" of the Left Hegelian artist Theodor Kaufmann.
Both, Kaufmann and Kupka, were trained in a large time interval under the influence of Nazarene art, towards which they acted antithetical.
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Whereas Kaufmann restricted himself mostly to an analysis of the Judeo-Christian faith, Kupkas global frame of reference was shaped by his preoccupation with Theosophical syncretism. Against this speculative background his understanding of the characteristics of non-European religious practices from today's point of view must appear as rather limited.
On the other hand, some passages of the comments already reveal a strong interest in ethographical and archaeological research, that he would deepen in the following years. Zu Beginn des Seine kommentierte Bildfolge "Religions" war erschienen.
The depiction of social conflicts, of strikes, riots and mobs was one of the main subjects of special artists and faits divers-painters at the turn of the century. Some of them became masters of pictorial mass choreography and cataclysmic sceneries. It consists of a sequence of twenty etchings that were all made "after nature" and depict the most various kinds of rural housings for the poor on the periphery of the exploding metropolis of London.
The places are specified as precisely as possible, and in two cases even the names of the residents are mentioned. Furthermore, it includes an introductory essay by Smith dealing with - as the subtitles states - "Some observations, and Precepts relative to the Picturesque". Henrieke Ribbe belongs to the very few real masters in the empathic art of portraiture. Painting, as Henrieke says,"was the perfect medium for this task, because people who are generally uncomfortable in front of cameras were able to relax and open up, and were much more interested in and touched to have their portraits painted than their pictures taken, an acknowledgement of their accomplishments that the scrutinising lens of the camera does not convey.
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It was Jake's job to herd the tom cat family into the studio. After that, Henrieke began to paint them. When she finished, she had captured one hundred faces in oil on canvases, each 60 x 50 cm. The club scene in Berlin is a lively and fast-changing landscape. Clubs pop up and diminish like fish in an underwater reef. It's all very colorful and divergent, and soon to be relegated to the vague and inaccurate oral history of the underground culture.
Everything that isn't meticulously recorded in magazines and on the internet will generally be forgotten at some point, but it is exactly those places and moments that makes up the most integral and vital part of the scene, the crazy life behind the doors that say "employees only" on them. In these places, photos and videos are considered an intrusion, but for Henrieke painting these portraits was intended "as a respectful tribute.
After his retirement as a drawing teacher in Jan Vegter started to work intensely on the visualization of his memories of crucial periods of his life. To focuse his memory performance he decided to build detailed scale models of certain technical and topographic conditions. This amazing series was the first example of his meticulous art of memory. It is divided into three sketchbooks and refers to his juvenile experience of the outbreak of World War II.
His father was stationed then as a reserve-officer in the small town of Meppel, in the east of The Netherlands. He was able to bring along his familiy. In reality this "odd year" in Meppel lasted only a half-year, from December until April , when the threat of war increased in such a way that his father thought it was better to return the family back their home in Voorburg. The series also covers the German invasion, the bombardment of Rotterdam and the first days of the occupation.
All drawings are ink and color pencil. The varing sizes never exceed the sketchbook format 32 x 41 cm. The images are always on the right pages. The left ones have handwritten comments, translated here in English by Theo de Feyter. A few of them had to be slightly shortened for this pictorial. Rio was a pseudonym of Ralph Soupault , who became known in the s as the leading cartoonist of the French nationalist reaction. Later on he joined the French fascist party PPF.
Soupault was a supporter of the German occupying forces and became notorious for his anti-semitic propaganda. Pierre Laval, the former vice-president of the Vichy Regime was executed there in after a questionable treason trial, which was internationally taken for scandalous.
Like his friend, the groundbreaking novelist Celine, Soupault was a supporter of the German occupying forces and became notorious for his anti-semitic propaganda. In January Soupault published a detention report consisting of thirty-seven commented drawings. Here he developed a very peculiar graphic style consisting of an imaginative blend of mystical geometrical symbolism, cartoonish stereotypes and a detailled naturalistic approach. Reportage d'un temoin" appeared in a limited edition and was mainly distributed to his "friends and collaborators".
Soupault was released prematurely three years later due to health reasons. Afterwards, it was continued for one more year with a stricter conception in didactical terms under the patronage of Glavpolitprosvet GPP , a newly founded educational institution of the Ministry of Cultural Affairs. The hand-made propaganda picture prints were now outdated. Their woodcut-like rhetoric no longer met the more complex communication demands of the development years and the party also distanced itself more and more from the initiatives of the Futurist avant-garde.
Courtesy Gallery Thomas Flor, Berlin. The ROSTA graphics were not only influenced by the already declining art of the classical avant-garde, but also by the then highly topical culture of American daily strips. Communism and comics were not oppositional camps in the pre-Disney era, quite to the contrary. Particularly the windows of Mikhail Cheremnykh reveal a conspicuous stylistic proximity to comic cartooning.
The world he visualised reminds one more of Coconico Country populated by funny spinach sailors than of a country devastated by civil war, where kolkhoz farmers and Red Guards struggle for their existence. Shortely thereafter the initiative was taken up by the popular poet Vladimir Mayakovsky. He selected most of the news items and prepared them for pictorial realisation. They were organized in street gangs with special idioms and dress codes very similar to those of the London costermonger-subculture.
More than In Stommeln baumelt der Darsteller schlussendlich vom Wirtshausschild herunter. The fair maidens standing at the door are actually "two young women, girls of the district," who scornfully tie his hand to the bolt of a door while his horse, Rosinante, takes to her hooves: in Stommeln, the actor is left dangling from the inn? This stunt passes smoothly into the next: on the village green in front of the Trapp, Don Quixote is thrown from his horse at full gallop- and the mystery surrounding the movie?
Xiaopeng Zhou, born in in Guangzhou, has studied art the the Academy of his hometown until , but is now living in Germany and about to complete his Master exam at Academy of Art Berlin-Weissensee. The pictorial is an excerpt from his part series of reportage drawings created within four weeks - starting from this year's Bayram festivities, the fast breaking at the end of Ramadan - in Turkish and Kurdish butcher shops in Berlin-Kreuzberg.
The first military conflict covered by the illustrated popular press after its foundation in May was a war in Afghanistan. But the depictions of the defeat of the British occupation forces in the Asian borderland, which was of equally vital strategical importance for the British as for the Russian Empire, were solely fictitious and reconstructive.
Also the events of the following Afghan war, which took place three decades later during the heyday of pictorial reporting, were only witnessed by very few of the special artists of the illustrated press on site.
Most of the sketches appearing in the international journals came from members of the military forces. Among the few artists who had the courage and the experience to enter the rough and difficult terrain was William Simpson, the doyen of professional war illustration and one of its most brilliant representatives. In Afghanistan, Simpson also continued the extensive ethnographic and archeological studies of Asian culture he had begun in the early s in India and in the Himalayas.
The works of Thuringian graphic artist A. Paul Weber were strongly influenced by the visionary imaginations of Alfred Kubin. The "British images" were created on the artist's own initiative, and they reflect the radical anti-capitalist attitude of its author.
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Weber belonged to an anti-democratic, right-wing Bolshevik resistance circle who accused Hitler's Nazism of a fatal entanglement with Western financial capitalism. After a one year imprisonment, he arranged himself with the NS regime, which would then publish the "British images" as welcome propaganda material.
In the post-war period, Weber worked for the famous German caricature magazine "Simplicissimus," and became, with his anti-fascist legend, although admittedly enigmatic and gloomy, one of the foremost graphic artists of a West- German financial capitalist reality. Die "Britischen Bilder" sind in eigenem Auftrag entstanden und spiegeln die radikale antikapitalistische Gesinnung des Autors.
Nach einer kurzen Inhaftierung arrangierte er sich mit dem NS-Regime, das die "Britischen Bilder" als willkommenes Propagandamaterial publizierte. From the Communist side, these war atrocities were attributed to the American invading forces.