top – Claude (1600-1682), Landscape with Jacob and Laban and his Daughters, 1654,
Petworth House, Sussex [ 1435 x 2515 mm ]

bottom – Joseph Mallord William Turner (1775‑1851), Appulia in Search of Appulus, vide Ovid, 1814,
Tate [ 1485 x 2410 mm ]

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

top : Orion II 1968 Marx Collection, Berlin
bottom : Free Wheeler 1955 Marx Collection, Berlin

from the exhibition description :

To consider the works of painter Cy Twombly only within the context of the art movements
of the 20th century would not do full justice to his work. His gestural, lavish compositions
are too complex, interspersed with small figurative sketches, numbers, words, and quotations.
In many cases his canvases are covered with a thick impasto; in others his compositions
suggest a generous sense of emptiness. Twombly draws unusual associations between
geometric order and chaotic knots of color, figuration and abstraction, image and concept,
painting and literature.

Cy Twombly, who was born in 1928 in Lexington (Virginia) and died in 2011 Rome, lived
in Italy as of 1960. This move inspired Twombly s intensive study of European art history.
In his work he established relationships to the Italian artists who had left Italy for France in
the 16th century, founding the ‘Ecole de Fontainebleau’, as well as to 17th-century French
artists who were influenced by this school, such as Nicolas Poussin (1594-1665).

The Fontainebleau school is a Mannerist decorative style, which was developed in the mid
16th century in the Fontainebleau Chateau. The French king François I commissioned
two Italian artists Rosso Fiorentino (1494-1540) and Francesco Primaticcio (1504-1570)
to decorate his chateau. Under their direction, Fontainebleau was transformed into a
Gesamtkunstwerk, which unfolded ist luxurious splendor through its architecture, gardens,
and extremely complex decorations.

Fiorentino and Primaticcio not only designed the paintings, frescos, tapestries and sculptures
required for the official representation of the court, they also used graphic media to disseminate
their programmatic repertoire. Hamburger Bahnhof presents a selection of these art works
from the collections of the Kupferstichkabinett and the Kunstbibliothek (Staatliche Museen
zu Berlin), offering an unusual dialogue with works by Cy Twombly from the Marx Collection.

Location: Hamburger Bahnhof – Museum für Gegenwart – Berlin, Invalidenstraße 50, 10557 Berlin, Germany

 

 

 

 

 

 

 

 

 

 

 

Der Schweigen von Marcel Duchamp wird Überbewertet.

The silence of Marcel Duchamp is overrated.

Location: Hamburger Bahnhof – Museum für Gegenwart – Berlin, Invalidenstraße 50, 10557 Berlin, Germany

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

history 1932-1990

in 1930 karl and martha lemke buy a double piece of land by the lake obersee. in february 1932 mies van der rohe is given the contract to design a house for the couple. numerous designs are produced. in july 1932 permission is granted for the execution of the architectural plans; some changes to the project ensue. in august 1932 building work begins, by September 15th the structural inspection is complete and in march 1933 the final inspection is carried out. in may 1933 further additions to the project are granted building permission. from 1933-1945 the house is occupied by the lemkes. some pieces of furniture are probably designed for the house by lilly reich – the garden is landscaped by the studio of karl foerster. in may 1945, soviet troops requisitioned some of the houses by the obersee, including the lemke country house. the house is used by the soviet army as a garage and storage space and serious structural damage occurs. e.g. demolition of the entrance area and bricking in of the terrace windows. in 1962 the east german ministry of state security takes control of the house. further alterations are made to the structure of the building and to the garden.

As of today it has been fully renovated.

Location: Oberseestraße 60, 13053 Berlin, Germany

 

 

 

 

 

 

 

 

 

 

 

 

 

the reliefs are extraordinary – the mosaic extremely beautiful

top : Pergamon Altar-Athena Frieze c. 170 BCE
bottom : Parrot mosaic Early to mid-2nd century BCE [ 3030 x 1700 cm ]

Location: Pergamon Museum, 10178 Berlin, Germany

 

 

 

 

 

 

 

 

Thomas Cole – The Oxbow – 1836
Hudson River School
Location: METROPOLITAN MUSEUM OF ART, 1000 5th Ave, New York, NY 10028, USA

 

 

 

 

 

 

 

 

 

 

 

Pinax [ votive tablet ] of Persephone opening the “Liknon Mystikon”. Found in the holy shrine of
Persephone at Locri in the district Mannella. Locri was part of Magna Graecia and is situated on the
coast of the Ionian Sea in Calabria in Italy.

more

derivation of name | wikipedia :

In a Linear B (Mycenean Greek) inscription on a tablet found at Pylos dated 1400?1200 BC, John
Chadwick reconstructs the name of a goddess *Preswawho could be identified with Persa, daughter of
Oceanus and finds speculative the further identification with the first element of Persephone.
Persephonē (Greek: Περσεφόνη) is her name in the Ionic Greek of epic literature. The Homeric form of
her name is Persephoneia (Περσεφονεία,Persephonēia). In other dialects she was known under variant
names: Persephassa (Περσεφάσσα), Persephatta (Περσεφάττα), or simply Korē (Κόρη, “girl, maiden”).
Plato calls her Pherepapha (Φερέπαφα) in his Cratylus, “because she is wise and touches that which
is in motion”. There also the formsPerifona (Πηριφόνα) and Phersephassa (Φερσέφασσα). The existence
of so many different forms shows how difficult it was for the Greeks to pronounce the word in their
own language and suggests that the name has probably a pre-Greek origin.

Location: Soprintendenza Per I Beni Archeologici Museo Nazionale Di Locri, 89044 Locri, Province of
Reggio Calabria, Italy

 

 

 

 

 

 

 

 

 

 

The Medici Sleeping Ariadne in the Villa Corsini near Florence.

 

 

 

 

 

 

 

 

 

 

Study Of Four Women Bathing c 1879 – 1882
Museum Boijmans Van Beuningen

Location: Beuningen, The Netherlands

 

 

 

 

 

 

 

 

 

Bathers c. 1897 – 1900
Location : Japan, 〒104-0031 Tokyo, Chuo, Kyobashi, １丁目１０−１ Bridgestone Museum of Art

 

 

 

 

 

 

 

 

 

Pot And Soup Tureen 1888-90
National Museum of Western Art (Kokuritsu Seiyo Bijutsukan), ７ Uenokoen, Taito, Tokyo, Japan