#hans bernhard

[nofatclips]

Gentle Pulsing Dust by Richard Reed Parry from the album Quiet River of Dust Vol. 1

[deutschland-im-krieg]

Luftwaffe Ritterkreuz mit Eichenlaub (Knight's Cross with Oak Leaves) award ceremony at the Berghof, 4 April 1944. L-R: 68 victory ace (67 at night) Oberst Werner Streib, 301 victory ace Major Gerhard Gerd Barkhorn, Generalmajor Erich Walther (he and his Fallschirmjäger regiment defended Monte Cassino), 112 victory ace (including 14 four engined bombers) Oberstleutnant Kurt Bühligen, 50 victory ace (31 at night) Oberstleutnant Hans-Joachim Jabs, Oberstleutnant Bernhard Jope (a medium and heavy bomber pilot who took part in sinking the Italian battleship Roma using Fritz X radio controlled guided bombs on 9 September 1943), 109 victory ace (9 with the Legion Condor) Major Reinhard Seiler, Adolf Hitler, 352 victory ace Major Erich Hartmann (blocked by Hitler), 166 victory ace Major Horst Ademeit (MIA 7 August 1944), 133 victory ace Major Johannes Wiese (including 50 IL-2 ground attack aircraft), Wachtmeister Fritz Petersen (air defense commander/flak), Major Doktor Maximilian Otte (a Junkers Ju 87 Stuka pilot with 1,179 combat missions who was KIA 20 May 1944 by Soviet flak during the First Jassy-Kishinev Offensive), 197 victory ace Hauptmann Walter Krupinski. Krupinski was one of the first to fly the Messerschmitt Me 262 jet fighter into combat, claiming 2 kills in April 1945 as a member of JV 44 led by 104 victory ace Generalleutnant Adolf Galland

[bradgeigerbillboardmusicawards]

[leitoracomcompanhia]

Em sonhos

“Anos mais tarde, sonhei muitas vezes com aquela casa. Os sonhos eram sempre parecidos, variações de um sonho e de um tema. Andando por uma cidade estranha, vejo a casa: está numa fileira de casas, num quarteirão que não conheço. Continuo a caminhar, confuso, porque conheço a casa mas não o quarteirão. Depois lembro-me de já a ter visto. Não a localizo na Rua da Estação da minha cidade, mas numa outra cidade ou num outro pais.”

Bernhard Schlink, “O Leitor”; pintura de Hans Baluschek.

[minayuri]

“You are right, Countess - nothing in the world is interesting in the long run! Except for one thing... Gambling with people and people’s fates!”

Dr. Mabuse der Spieler (1922) | dir. Fritz Lang

[rainingmusic]

Witchrider - Black

[joostjongepier]

Wat?   Bildnis eines Mannes mit Schlapphut (1660) door Frans Hals, Bildnis eines Mannes met Schlapphut (Kopie nach Frans Hals, 1907) door Lovis Corinth, Bildnis des Sanitätsarts Dr. Jacob Sachs (1878), Malle Babbe (1640-1646) door Frans Hals, Malle Babbe (Kopie nach Frans Hals, 1869) door Gustave Courbet, Malle Babbe (1640-1646) door Frans Hals (werkplaats), Malle Babbe (1760-1817) door Louis Bernhard Coclers, Malle Babbe (1932-1939) door Han van Meegeren en Wie die Alten sungen, so pfeifen auch die Jungen (1665-1670) door Jan Steen (met detail)

Waar?   Tentoonstelling Frans Hals, Meister des Augenblicks in Gemäldegalerie, Berlijn

Wanneer?   8 augustus 2024

Hoewel Frans Hals nooit echt in de vergetelheid is geraakt, werd hij toch lange tijd gezien als een tweederangs schilder. Zijn spontane techniek werd beschouwd als slordig. Dat verandert in de negentiende eeuw, wanneer hij wordt herontdekt als een van de grootmeesters van de zeventiende-eeuwse schilderkunst. Dit is niet in de laatste plaats te danken aan kunstcriticus Théophile Thoré-Bürger (1807-1869).

Impressionisten als Max Liebermann en Lovis Corinth zijn sterk onder de indruk van Hals’ levensechte schilderijen en zijn vrije, schetsmatige schilderstijl. Op de wand van de expositieruimte is een uitspraak van Lovis Corinth uit 1907 afgedrukt: “Frans Hals hat genau so gemalt wie ich. […]  Ich brauche mich gar nicht zu verstellen.” Zijn kopie van Hals’ man met slappe hoed illustreert zijn stelling. Liebermann neemt de houding van de man met slappe hoed over voor zijn portret van Jacob Sachs.

Ook realist Gustave Courbet was een fan van Frans Hals. Dat blijkt in het volgende deel van de tentoonstelling. Een verhoging biedt een podium aan Malle Babbe. Toen dit schilderij in 1869 op een tentoonstelling in München werd geëxposeerd, nam Courbet de gelegenheid te baat om er een kopie van te schilderen. Hij blijft dicht bij het origineel, zij het dat hij Frans Hals’ monogram en het jaartal 1645 zelf toevoegt. Het is beslist geen slechte kopie, maar vooral de mond haalt het niet bij het origineel. Het vreemde lachje van Malle Babbe blijkt niet zo gemakkelijk na te maken.

De kopie van Courbet hangt links van het origineel. Rechts hangt een andere versie van het werk uit The Metropolitan Museum of Art in New York. Hoewel het werk eerder wel aan Hals is toegeschreven, wijst onderzoek uit dat het afkomstig is uit zijn werkplaats. Dat Malle Babbe al snel een bekend motief was in de schilderkunst, blijkt uit een prent van Louis Bernhard Coclers (1740-1817) naar de New Yorkse versie van het werk. Heel interessant is Malle Babbe in de stijl van Hals door meestervervalser Han van Meegeren  (1889-1947). Het werk werd in 1939 in zijn atelier in Nizza in beslag genomen. De toestand van het werk is niet al te best. Ondanks dat laat het schilderij zien dat Van Meegeren beslist een kundig schilder was. Ik vind zijn Malle Babbe als werk van Hals een stuk overtuigender dan de in de jaren ’30 en ’40 aan hem toegeschreven ‘Vermeers’.

Het hoofdstukje ‘Malle Babbe’ wordt afgesloten met een schilderij van Jan Steen: Zo de ouden zongen, pijpen de jongen. De reden voor de aanwezigheid op deze tentoonstelling is dat er in het door Steen geschilderde interieur twee werken van Frans Hals hangen, waaronder: Malle Babbe.

[rwpohl]

die gläserne zelle, hans w. geißendörfer 1978

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[famoushindi]

Hans Albert Einstein | 68+ Mind Blowing Albert Einstein quotes

Today we are going to read Mind Blowing Hans Albert Einstein quotes and Albert Einstein short biography. Albert Einstein was born into a Jewish family in Württemberg, Germany. His father Harman Einstein was an engineer and salesman. His mother’s name was Paulin Einstein. Although Einstein initially had difficulty speaking, he excelled in studies. His mother tongue was German and he later learned…

[craft2eu]

TWENTY: Solothurn (CH) bis 16.12.2023

Nach 20 Jahren Engagement für zeitgenössischen Schmuck und Objekte lädt die Galerie S O Sie ein, diese spannende Reise in der Galerie S O in Solothurn zu feiern. Hans Stofer, heart 2022, iron, stainless steel Die Galerie S O Solothurn zeigt zum 20-jährigen Bestehen eine Rückschau mit Werken und Arbeiten von Künstlerinnen und Künstlern aus dieser Zeit – eine Gruppenausstellung aus dem Bereich…

[brudnopis]

Beton

Wreszcie stanęliśmy przed jednym z tych tysięcy zabetonowanych, marmurowych czworoboków, z którego mogliśmy odczytać właśnie świeżo wykute nazwisko Isabella Fernandez. Młoda Härdtl miała teraz łzy w oczach i próbowała umocować na marmurowej tablicy przyniesione ze sobą zdjęcie męża, co początkowo jej się nie udawało. Ja jednak przypadkowo włożyłem do kieszeni rolkę z resztką taśmy klejącej i nią przykleiłem zdjęcie do marmuru. Młoda Härdtl napisała kiedyś ołówkiem pod nazwiskiem Isabella Fernandez nazwisko swego męża Hans Peter Härdtl. Deszcz nieco już rozmył nazwisko, lecz było jeszcze dość czytelne.

Thomas Bernhard, Beton, tłum. Ernest Dyczek, Marek Feliks Nowak, Oficyna Wydawnicza ATUT-Wrocławskie Wydawnictwo Oświatowe, Wrocław 2001

[germanpostwarmodern]

With his participation in the first documenta exhibition in 1955, Fritz Winter (1905-76) cemented his status as one of the leading German abstract artists. A former Bauhaus student and disciple of Paul Klee and Wassily Kandinsky, Winter never fully uncoupled his art from nature and objects but developed a highly individual, constantly evolving artistic language. Particularly after his return from his long war imprisonment in 1949 color became an increasingly important aspect of his art that marked a decided departure from his work of the 1920s and 1930. During an R&R in 1944 Winter created the significant small format works of the „Triebkräfte der Erde“ [Driving forces of nature] series that directly relate to Winter’s observation of the nature surrounding him.

In 2018 the Pinakothek der Moderne showed a selection of works from the Stiftung’s collection that was accompanied by the present catalogue: „Fritz Winter - Ausgewählt. Kernbestand Fritz-Winter-Stiftung“, published by Kehrer Verlag, provides an overview of the collection as well as Fritz Winter’s life and work: Bernhard Maaz e.g. in his comprehensive essay recounts the genesis of „Triebkräfte der Erde“ and discusses its motives and creation context during Winter’s military service. Anna Rühl on the other hand takes the collection as point of departure for an overview of Winter’s different work phases and provides particularly interesting insights into his postwar career: even before his release from war imprisonment in 1949 friends and supporters placed his works in exhibitions and prepared the ground for his return on the scene. With his first postwar works Winter introduced large color areas and clearly bounded forms that gradually developed into black ribbons and bars influenced by Hans Hartung and Pierre Soulages. By the late 1950s these black elements gradually fade into the background and are replaced by vibrant color spaces that only in his late works again gain definition.

Despite its handy dimensions the present book offers a comprehensive overview of Fritz Winter’s life and work and is therefore warmly recommended to anyone interested in this pivotal abstract artist.

[merovingian-marvels]

Germanic first names

In Northern and Western Europe exist two major name groups. Christian names (Greek/Latin) and Germanic names. Most Christian names are derived from saints and apostles, such as Johannus (John, Hans, Johan, Janus). Their meaning is often based on what the saint/apostle represents.

Germanic names consist of many sub-language forms, with many names originating from titles, pet names and even descriptions of character. Animal related names were popular, such as Bernhard or “As tough as a Bear”. It is possible that a person could change names throughout their life by achievements, rank in society or skills. Theodorik of Bern was probaply not “King of the People” when he was born, but took the name during his life.

Anyone from English, German, Frisian, Nordic descent has a possibility of having a Germanic name with similar versions existing in these languages. For example “leader” in Old Norse (Akar), Old English (Aca), Old High German (Ahho), Low Franconian/Low Saxon (=predecessor of Dutch) Aka.

Sources in Dutch:

Taaldacht.nl

Meertens Instituut

Digitale Bibliotheek voor de Nederlandse Letteren (DBNL)

[pwlanier]

Bernhard Strigel (German, Memmingen 1460–1528 Memmingen), Hans Roth (recto); Roth Coat of Arms (verso), 1527.

Oil on linden panel.

Courtesy Alain Truong

[beguines]

Productive force determinism and the base-superstructure model continued to haunt Marxist debates about the state until the 1970s, where scholars such as Nicos Poulantzas, Ellen Meiksins Wood, members of the Conference on Socialist Economics and participants in the German state derivation debate parted ways with orthodox Marxism and opened up new theoretical perspectives. They all attempted to carve out a path between the crude instrumentalism of classical Marxism and the social democratic view of the state as a neutral arena, and many of them did so by moving beyond the exclusive occupation with the content of state policy, i.e., the question of who benefits from this policy. Instead, they posed the more fundamental question of the very form of the state, a question which was aptly formulated by Evgeny B. Pashukanis as early as 1924:

"[w]hy does class rule not remain what it is, the factual subjugation of one section of the population by the other? Why does it assume the form of official state rule, or—which is the same thing—why does the machinery of state coercion not come into being as the private machinery of the ruling class; why does it detach itself from the ruling class and take on the form of an impersonal apparatus of public power, separate from society?"

Such an approach allows us to circumvent the artificial conceptual gulf between the economic and the political taken for granted in both classical Marxism and Poulantzas's Althusserian social ontology, in which the base-superstructure-model and the distinction between an economic and a political "level" or "instance" was supposed to be a feature of all modes of production. In an important contribution to these debates, Wood demonstrated the inadequacy of the base-superstructure-model and suggested to conceptualise the separation of the political and the economic in capitalism as "the differentiation of political functions themselves and their separate allocation to the private economic sphere and the public sphere of the state". Bernhard Blanke, Ulrich Jürgens and Hans Kastendiek likewise rejected "the commonplace (scientific) notion of the relation between politics and economics [that] contains the assumption that only politics has to do with domination, that economics on the other hand has to do with 'material laws'". In general, the participants in the state-derivation debate proceeded from "an interpretation of Marx's Capital not as a theory of the 'economic' but as a theory of the social relations of capitalist society", in the words of Simon Clarke. This acknowledgment of the social nature of the political and the economic is a fundamental prerequisite not only of a theory of economic power but also of a theory of the state.

Søren Mau, Mute Compulsion: A Theory of the Economic Power of Capital

[minayuri]

Die Nibelungen (1924) : Siegfried | dir. Fritz Lang