Suchergebnisse

This monograph on Joseph Ignaz Mildorfer (1719-1775) consists of forteen chapters, that after having given an overall curriculum, depict the various stations in the painter's working process. Special emphasis has been given to such criteria as the socio-economic, political and esthetic impacts, that shaped the development of this intriguing artist.
Mildorfer was born into a distinguished family of painters in Innsbruck, where he was taught the basics of his profession. However, he was also exposed to the newly imported paintings from southern Germany, which at this time sparked Tyrolian tradition with international flavor. Partly due to those early stimuli, the young painter managed to instantly gain the renowned "big prize" of the Academy, upon his arrival in Imperial Vienna. This distinction was a prerequisite to any further career. Praised by his contemporaries as the most prodigious pupil of Paul Troger, Mildorfer soon was offered remarkable employments. His first major task, the complete decoration of the pilgrimage church at Hafnerberg near Vienna, comprising works in fresco and oil was soon to be followed by a commission from the Imperial court. But Austria was plagued by a raging War of Succession, which cast its shadow upon the job market, forcing Mildorfer to venture out into alternative fields. This he found in the painting of battlescenes. In this genre the young artist produced works of such rebellious intenseness that surpassed all his colleagues' endeavors and saved him a special niche. It might well be that those particular paintings drew the attention of the last great sponsers of the monarchy to Mildorfer, resulting in his being appointed painter of the court to the Duchess of Savoy, neé Maria Theresia Princess of Liechtenstein. (By way of scholarly work in the Princely Archives of Liechtenstein we have now established answers to questions regarding character and extend of Mildorfers work for the Duchess, that up till now has been obscured). In addition this period marked the beginning of a long lasting relationship with various branches of the Esterházy family, culminating in Mildorfer's appointment to Esterháza. Here he was commissioned to paint al fresco in Duke Nikolaus Esterházy's castle, one of the last manifestations of feudal style, the elaborate adornment of which promted the Duke with the attribute "The Magnificent".
When Mildorfer was elected Professor at the Academy (kaiserlich-königliche Hofakademie der Mahler, Bildhauer und Baukunst) this not only marked the zenith of his career but also had major impact on one of the most thrilling phenomena within eighteenth century Viennese art. It was under his leadership that a movement took center stage, that was aprostophized the "Einheitsstil der Wiener Akademie". Carried out by an array of his scholars, notably Franz Anton Maubertsch this faszinating manifestation had Mildorfer's ideas at its core. With his contributions in the Crown Lands of the Habsburg monarchy in mind, his work makes him a typical Central-European artist of the eighteenth century. However some of his lesser graspable traits can only be understood out of the "Zeitgeist" and must be explained under the term of "painter of the sensibility".
Since Mildorfer is the link between Paul Troger, his teacher and Franz Anton Maulbertsch, his student, a comprehensive biography of this artist is an absolute must. Only that makes a profound understanding of the third generation of Austrian barock-painting possible. - Die vorliegende Monographie über den Maler Joseph Ignaz Mildorfer (1719-1775) umfasst vierzehn Kapitel, die mit dem Lebenslauf beginnend die verschiedenen Etappen im Werk des Malers veranschaulichen. Dabei wurde grosser Wert auf die soziologischen, politischen und ästhetischen Kriterien gelegt, welche die Entwicklung dieses eigenwilligen Künstlers bestimmten.
In eine angesehene Malerfamilie in Innsbruck geboren, erlebte Mildorfer neben seiner konventionellen Ausbildung in der väterlichen Werkstatt hier auch den Beginn einer internationalen Monumentalmalerei, die erst durch den Import süddeutscher Maler auf tiroler Boden um sich griff. Mit diesen frühen Anregungen versehen, gelang es dem jungen Maler bei seiner Ankunft in der Kaiserstadt denn auch mit erstaunlicher Sicherheit den, für eine erfolgreiche Karriere imperativen, grossen Preis der Wiener Akademie zu gewinnen. Im Fahrwasser Paul Trogers, als dessen begabtester Schüler er von den Zeitgenossen gerühmt wurde, stellten sich in rascher Folge prestigereiche Angebote ein. Dem erstaunlich grossen Erstlingswerk, der malerischen Gesamtausstattung der Wallfahrtskirche am Hafnerberg, schloss sich bald der erste kaiserliche Auftrag an. Doch Österreich befand sich im Erbfolgekrieg, der die künstlerische Auftragssituation ernstlich bedrohte und auch Mildorfer zwang, nach Alternativen zu suchen. Und solche fand er in der Schlachtenmalerei. In diesem Genre schuf der junge Künstler Werke von einer aufrührenden Intensität, die ihn weit über seine Kollegen an der Akademie herausragen liessen, und ihm eine eigene Nische boten. Sicherlich machten gerade diese Bilder die letzten grossen Mäzene der Monarchie auf Mildorfer aufmerksam, was zu seiner Berufung als Hofmaler der Herzogin Maria Theresia von Savoyen, geborener Prinzessin von Liechtenstein führte, und eine lang anhaltende Zusammenarbeit mit den verschiedenen Zweigen der Familie Esterházy nach sich zog. Als Krönung rief Nikolaus Fürst Esterházy Mildorfer schliesslich nach Esterháza, um jenes Schloss zu freskieren, dessen aufwendige Gestaltung seinem Besitzer den Beinamen "der Prachtliebende" bescherte. (Die gründliche Aufarbeitung des Fürstlich Liechtensteinischen Archivs in Vaduz beantwortet nun endlich die Frage nach Art und Ausmass des tradierten, aber nie geklärten Arbeitsverhältnisses unseres Malers mit dem Hause Liechtenstein).
Mildorfers Wahl zum wiener Akademieprofessor markierte nicht nur den Höhepunkt dieses Künstlerlebens, sondern spielte auch ganz wesentlich in eines der spannendsten Kapitel der wiener Kunst des 18. Jahrhunderts hinein. Unter seiner Ägide nämlich entstand hier der vielzitierte "Einheitsstil der Wiener Akademie", der von der Fülle seiner Schüler, allen voran Franz Anton Maulbetsch getragen wurde und Mildorfer zum Urheber dieses faszinierenden Phänomens macht. Die Arbeiten in den ehemaligen Kronländern kompletieren sein Werk als das eines typischen Mitteleuropäers des 18. Jahrhunderts. Manche, der oft schwer nachvollziehbaren Eigenschaften dieses kontroversen Malers müssen allerdings aus dem Zeitgeist gedeutet, und unter dem Begriff "Maler der Empfindsamkeit" verständlich gemacht werden.
Mildorfer umfassend zu bearbeiten ist ein Desideratum, denn ohne ihn als Verbindungsglied zwischen Paul Troger, seinem Lehrer und Franz Anton Maulbertsch, seinem Schüler voll zu erfassen, wird immer ein Baustein im Gefüge der österreichischen Barockmalerei fehlen.

Intro -- INHALT -- 1 EINLEITUNG -- 2 KAISERIN MARIA THERESIA, DER HOF UND DIE THEATER -- 3 STAATSKANZLER WENZEL ANTON KAUNITZ' KULTURPOLITIK -- 4 HINTERGRÜNDE UND GRUNDLAGEN VON HILVERDINGS BALLETTREFORM -- 5 HILVERDINGS REFORMKONZEPT AUS ANGIOLINIS PERSPEKTIVE -- 6 HILVERDINGS BALLETTREFORM IN DER PRAXIS -- 7 HILVERDINGS REFORMBALLETTE IM RAHMEN DER ÖFFENTLICHEN INSZENIERUNGEN DES HOFES -- 8 VERSCHIEBUNG DER LEERSTELLEN? ZUSAMMENFASSUNG UND AUSBLICK -- Abbildungen -- Abkürzungen -- Quellen -- Literatur.

Anton Pannekoek (1873-1960), prominent astronomer and world-renowned socialist theorist, stood at the nexus of the revolutions in politics, science and the arts of the early twentieth century. His astronomy was uniquely visual and highly innovative, while his politics were radical. Anton Pannekoek: Ways of Viewing Science and Society collects essays on Pannekoek and his contemporaries at the crossroads of political history, the history of science and art history.

I. Introduction to Franz Brentano's Philosophy -- 1. Problems of Interpretation -- 2. General -- II. The Early Position -- 1. About the concept of truth. Early criticism of the correspondence theory -- 2. Arguments for the Existence of entia rationis -- III. The Transition -- 1. Analysis of Linguistic Function -- 2. Arguments against the Existence of entia rationis -- IV. The Transition and Background -- 1. Mental Acts -- 2. Judgements -- 3. An attempt to retain the correspondence theory without entia rationis -- V. Late position (critical part) -- 1. Criticism of the correspondence formula res -- 2. Criticism of the correspondence formula intellectus and adequatio -- VI. Late position (positive part) -- 1. Truth -- 2. Evidence -- VII. Ramifications of the analysis of truth -- 1. Self-evident judgements, 'a priori' and 'a posterioir' -- 2. The relation between self-evident and demonstrable knowledge -- Concluding Remarks -- Appendices.

Anton Marty (Schwyz, 1847–Prague, 1914) contributed significantly to some of the central themes of Austrian philosophy. This collection contributes to assessing the specificity of his theses in relation with other Austrian philosophers. Although strongly inspired by his master, Franz Brentano, Marty developed his own theory of intentionality, understood as a sui generis relation of similarity. Moreover, he established a comprehensive philosophy of language, or "semasiology", based on descriptive psychology, and in which the utterer's meaning plays a central role, anticipating Grice's pragmatic semantics. The present volume, including sixteen articles by scholars in the field of the history of Austrian philosophy and in contemporary philosophy, aims at exposing some of Marty's most important contributions in philosophy of mind and language, but also in other fields of research such as ontology and metaphysics. As archive material, the volume contains the edition of a correspondence between Marty and Hans Cornelius on similarity. This book will interest scholars in the fields of the history of philosophy in the 19th and 20th centuries, historians of phenomenology, and, more broadly, contemporary theoretical philosophers.

Wilhelm Anton Amo is probably the only African personality that took part with his own writings in the intellectual discourses of the 18th Century in Europe. There is no contradiction between his personal thought and the general spirit of the Enlightenment. Amo debated on all the important questions of philosophy at the time - from metaphysics through logic and epistemology to political philosophy and philosophy of language. But his intellectual works remain till today unknown. The present increasing interest in his person no doubt arises from the growing importance of intercultural philosophy

Did you ever wonder how and why Franz Conrad von Hötzendorf (1852-1925) earned his reputation for brilliance, while failing so miserably during the First World War? In examining Conrad's life and career, including his years as a military writer, teacher of tactics, and a peacetime troop commander before 1906, this first modern biography offers a fascinating and impressive explanation of his thoughts and actions. Franz Conrad von Hötzendorf (1852-1925) served as Austro-Hungarian chief of the general staff between 1906 and 1917, and was a leading figure in the origins and conduct of the First World War. In no other country did a single general serve as the leading prewar tactician, prewar and wartime strategist, and wartime army commander. Because Conrad filled all of these roles in Austria-Hungary, he had no equal among the military men leading the old order of Europe to destruction in 1914-1918

"Rosemary Lévy Zumwalt tells the remarkable story of Franz Boas, one of the leading scholars and public intellectuals of the late nineteenth and early twentieth centuries. The first book in a two-part biography, Franz Boas begins with the anthropologist's birth in Minden, Germany, in 1858 and ends with his resignation from the American Museum of Natural History in 1906, while also examining his role in training professional anthropologists from his berth at Columbia University in New York City. Zumwalt follows the stepping-stones that led Boas to his vision of anthropology as a four-field discipline, a journey demonstrating especially his tenacity to succeed, the passions that animated his life, and the toll that the professional struggle took on him. Zumwalt guides the reader through Boas's childhood and university education, describes his joy at finding the great love of his life, Marie Krackowizer, traces his 1883 trip to Baffin Land, and recounts his efforts to find employment in the United States. A central interest in the book is Boas's widely influential publications on cultural relativism and issues of race, particularly his book The Mind of Primitive Man (1911), which reshaped anthropology, the social sciences, and public debates about the problem of racism in American society. Franz Boas presents the remarkable life story of an American intellectual giant as told in his own words through his unpublished letters, diaries, and field notes. Zumwalt weaves together the strands of the personal and the professional to reveal Boas's love for his family and for the discipline of anthropology as he shaped it." -- Publisher's description