Ein Overkill an Deutschland an einem warmen Samstagabend. PKS hat Geburtstag und macht sich über Abby Warburg lustig. Peter Rauer trägt bei seiner Laudatio eine knallrote Brille unter dem weißen Pony. Der Champagner kann französisch, die Pasta würde gerne italienisch können. Über dem Fest im Treppenhaus, der Fries von Geyer, ganz ohne Frauen, Ausländer und Revolutionäre. #altenationalgalerie#nationalgalerie#museumsinsel#pks#peterklausschuster#forminganation
Ministerial Day today, part 1: Minister of State for Culture #MonikaGrütters in the morning. Architectural plans for #nationalgalerie#berlin our 20th century museum by Herzog & De Meuron @herzogdemeuron at the beginning of the day. @staatlichemuseenzuberlin
Die neuen Entwürfe von Herzog & de Meuron zum Bau des Museums des 20. Jahrhunderts. .
The new designs of Herzog & de Meuron of the Museum of the 20th Century
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Treasure: 👉 Self-Portrait - 1498
Artist: 🇩🇪 Albrecht Dürer
Where:📍#Madrid - Museo del Prado
Family: 🖼 @tesori_italiani | @worldart_treasures ⠀ ⠀ 🔹🔸🔹🔸🔹🔸🔹🔸🔹🔸🔹🔸🔹🔸🔹🔸🔹 In the same year that he published the Apocalipsis cum figuris, Dürer painted himself as a gentleman, dressed in light toned clothes and looking his best. He wears an open black and white doublet with a striped cap in the same colours, an undershirt trimmed with gold and a silk cord of blue and white threads holding up a grey-brown cloak that falls over his right shoulder. Dürer has sheathed the hands that he uses to paint in grey kidskin gloves indicative of high rank with the aim of elevating his social status from that of craftsman to artist and of locating painting among the liberal arts, as in Italy.The artist chose a half-length, three-quarter format with two focuses of attention: the face and hands. He located himself in a room that opens onto the outside through a window in the back wall, following Dieric Bouts’ Portrait of a Man of 1462 (London, National Gallery), a format that was subsequently widely adopted in Flanders and Italy. Basing himself on this Flemish format, Dürer added an Italian monumentality in the verticals and horizontals that create the window surround, also evident in the arrangement of his body which repeats the ‘L’ shape of the window in the bust, firmly supported by the arm leaning on the foreground ledge. 🔹🔸🔹🔸🔹🔸🔹🔸🔹🔸🔹🔸🔹🔸🔹🔸🔹 ⠀ ⠀⠀⠀⠀🏛 Share our Wonderful Heritage 🏛
#art#europeanart#artists#artwork 🎨 #german#germany#durer#germanart#deutsch#musee#artiste#masterpiece#kunst#deutschland#germania#allemagne#alemania#museum#alemanha#altenationalgalerie#nationalgalerie#dürer#kunstwerke#renaissance#albrechtdurer#sunset#albrechtdürer
Ernst Ludwig Kirchner | Atelierecke (1920)
From 1918 to 1923, Kirchner (1880-1938) lived near Davos in Switzerland. This is a view from his atelier at that time. Kirchner was very fond of the region, in his own words: "This is a country in which democracy has become reality. Here a man’s word still counts, and you need have no fears about sleeping with your doors open. I am so happy to be allowed to be here, and through hard work I should like to thank the people for the kindness they have shown me". In 1982, a Kirchner Museum was opened in Davos - certainly as a gesture of reciprocal love.