Author: Katharina von KellenbachPublish On: 2013-07-25
Matthias Defregger, “Solidarität mit den Opfern: Brief an die Priester und Gemeinden im Erzbistum München und Freising,” Münchner Katholische Kirchenzeitung, Sonderdruck, July 1969. Friedrich Meichsner, “Für einen getöteten Soldaten ...
Author: Katharina von Kellenbach
Publisher: OUP USA
In The Mark of Cain, Katharina von Kellenbach draws on letters exchanged between clergy and Nazi perpetrators, written notes of prison chaplains, memoirs, sermons, and prison publications to illuminate the moral and spiritual struggles of perpetrators after the war.
Franz von Defregger ( 1835-1921 ) , whom Günther had suggested as Co- rinth's next teacher , had been Piloty's student and continued to work in the spirit of the aging but still influential master . He was especially famous for a type ...
Author: Horst Uhr
Publisher: Univ of California Press
Studie over het werk van de Duitse schilder (1858-1925)
BY FRANZ VON Defregger . THE painter of the Tyrol ! You will not say , Who is he ? but rather , Oh ! that is Defregger ! The life of the peasants , those always picturesque , heroic , and yet homely — to use the word in an English sense ...
The Makart , or a peasant to Defregger , each learnt the treatment whole region , in fact , north and south of the Alps , has been appropriate to the occasion . And neither was accounted permeated with a certain mongrel and composite ...
Neue Pinakothek , Munich , Inv.-Nr. WAF 771.20 Franz von Defregger , “ Das letzte Aufgebot ” ( The Last Reserves ) , 1872 . Neue Pinakothek , Munich , Inv.-Nr. 9030. 21 Franz von Defregger , “ Heimkehrender Tiroler Landsturm im Krieg ...
Author: Hans A. Pohlsander
Publisher: Peter Lang
No century in modern European history has built monuments with more enthusiasm than the 19th. Of the hundreds of monuments erected, those which sprang from a nation-wide initiative and addressed themselves to a nation, rather than part of a nation, we may call national monuments. Nelson's Column in London or the Arc de Triomphe in Paris are obvious examples. In Germany the 19th century witnessed a veritable flood of monuments, many of which rank as national monuments. These reflected and contributed to a developing sense of national identity and the search for national unity; they also document an unsuccessful effort to create a «genuinely German» style. They constitute a historical record, quite apart from aesthetic appeal or ideological message. As this historical record is examined, German national monuments of the 19th century are described and interpreted against the background of the nationalism which gave birth to them.
a RANZ DEFREGGER was born at Botzen , in the Austrian Tyrol , a picturesque town , wherein , at the weekly markets and annual fairs , gather into groups peasants in costumes most inviting to the amateur sketcher and the painter of genre ...
Koehler clearly welcomed this trend and adopted it in his own work.2 The shift to brightly illuminated action paintings may also have been encouraged by Defregger, who in the 1870s produced a series of canvases commemorating the heroism ...
Author: James M. Dennis
Publisher: Univ of Wisconsin Press
Every work of art has a story behind it. In 1886 the German American artist Robert Koehler painted a dramatic wide-angle depiction of an imagined confrontation between factory workers and their employer. He called this oil painting The Strike. It has had a long and tumultuous international history as a symbol of class struggle and the cause of workers’ rights. First exhibited just days before the tragic Chicago Haymarket riot, The Strike became an inspiration for the labor movement. In the midst of the campaign for an eight-hour workday, it gained international attention at expositions in Paris, Munich, and the 1893 Chicago World’s Fair. Though the painting fell into obscurity for decades in the early twentieth century, The Strike lived on in wood-engraved reproductions in labor publications. Its purchase, restoration, and exhibition by New Left activist Lee Baxandall in the early 1970s launched it to international fame once more, and collectors and galleries around the world scrambled to acquire it. It is now housed in the Deutsches Historisches Museum in Berlin, Germany. Art historian James M. Dennis has crafted a compelling “biography” of Koehler’s painting: its exhibitions, acclaim, neglect, and rediscovery. He introduces its German-born creator and politically diverse audiences and traces the painting’s acceptance and rejection through the years, exploring how class and sociopolitical movements affected its reception. Dennis considers the significance of key figures in the painting, such as the woman asserting her presence in the center of action. He compellingly explains why The Strike has earned its identity as the iconic painting of the industrial labor movement.
Defregger : 66 P. K. Rosegger , Wie Defregger Maler wurde . Oesterr . - ungarische Kunstchronik , ” 1879 , III . 2 . Friedrich Pecht , Franz Defregger , sein Leben und Wirken . " Vom Fels zum Meer , " III . 1 .
The execution of Defregger's pictures is at times Defregger returned to Munich , where he bought a little careless , notwithstanding his great technical for himself a house and large garden in the palatial skill .