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Author: Petra Winter

be easy. But we will succeed at it. The view of the ruins of Potsdam and Berlin that I now have to stroll through each day should not be a cause for depression, but motivate me to new achievements.” 6 Museumsinsel (Museum Island), just like Berlin’s entire city center, was indeed a depressing sight

In: "Entartete Kunst" in Breslau, Stettin und Königsberg

celebrated for their proximity to the people and the “primevalness of their Silesian essence”. 21 Living in simple circumstances was also used as an argument in the case of Erich Fuchs. Fuchs, who had been documenting everyday life in the Sudetes region already for several years before the Nazis came to

In: "Entartete Kunst" in Breslau, Stettin und Königsberg
Author: Meike Hoffmann

that motivated the population. At the same time, the rejection of norms that inhered in expressionism in favor of individual value criteria was seen as a symbol of the democratic system. 44 Fig. 1.8 Das Deutsche Reich in den Grenzen vom 31.12.1937 / Germany’s Borders from December 31, 1937

In: "Entartete Kunst" in Breslau, Stettin und Königsberg

in general is tantalising in its incompleteness. Authentic reconstruction would be an impossible task, and we have not attempted it. Instead, we have operated by analogy; and in turning for the choreography to the dance styles of Java, we were motivated not so much by a desire simply to experiment

In: Choreonarratives

made me anticipate the possibility that he lived much longer, but the authorship of the drawing proves to be questionable. In this article I will present the known facts of the artist’s life and try to reconstruct his movements. This is followed by a discussion of works by or attributed to Willem

In: Oud Holland – Journal for Art of the Low Countries
Author: Tiziana Andina

representation, where the idea of a divinity appearing on stage and revealing itself through the bodies of those who venerate it publicly gives way to the idea of a divinity who is evoked through the capacity for representation of actors—actors who do not bring the divinity to life through their bodies but

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In: Brill Research Perspectives in Art and Law
Author: Barbara Haeger

for living one's life, because they believed that man could be per- 139 fected by following Christ and living in accord- ance with His teachings (J. Bruyn, Rembrandts keuze van bijhelse onderwerpen, Utrecht 1959, p. 12). As a result of these changes in exegesis, what Je- romc called the mystical

In: Oud Holland – Journal for Art of the Low Countries

not open the sealed virginity” 35 —and that at the same time converts her into a fountain overflowing with water—to wit, a dispenser of graces which, unlike Egyptian waters (i.e., worldly pleasures), do provide eternal life. 36 So, these three symbols—the sealed fountain, the well of living waters

In: Applied Emblems in the Cathedral of Lugo

. Juvenal’s criticism is not directed solely against the wealthy. He satirizes everyone who is so concerned with their worldly possessions that they go through life in a state of fear. Bosch’s traveler is not rich, but neither is he poor. Th e cumbersome pack on his back is large, he is fully clothed, a

In: Oud Holland – Journal for Art of the Low Countries
Author: Lucia Ruprecht

, going together with her words without establishing a mimetically motivated relation with them. She performs the quote in this way once, then starts again, only pronouncing its first line (“in order to make you understand, to give you my life”), while repeating the rest of her movement sequence in

In: Choreonarratives