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Helmet of the Italo-Chalcidian Type, Anatomical Cuirass, and Left Greave – Etruscan, probably Vulci – The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/748484

[Paul Munro-Walker, Bournemouth, Dorset, United Kingdom, before 1972; sold to Vecchi]; [Virgilio Costantino Vecchi, V. C. Vecchi & Sons, London, until 1972; sold to a private collector]; private collection, Switzerland (1972–2017; sold through Plektron Fine Arts A
Lauder, Friends of Arms and Armor and Malcolm Hewitt Wiener Foundation Gifts, 2017

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Antonio Ratti Textile Study and Storage Center | The Metropolitan Museum of Art

https://www.metmuseum.org/art/libraries-and-research-centers/antonio-ratti-textile-center-and-reference-library

Whether created for insulation, comfort, or decoration, out of utilitarian or luxurious raw materials, textiles represent the iconographic and ornamental expressions of their respective civilizations, as well as the geographic and historical paths by which the techniques and motifs employed in their creation have traveled from one civilization to another. Their portability, in fact, has made them one of the most significant commodities in human history.
The department also holds important archives of textile-related material from the Wiener

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Petrus Christus – Head of Christ (Ecce Homo) – The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/435897

The Artist: For a biography of Petrus Christus, see the Heilbrunn Timeline of Art History.The Painting: This mesmerizing image of Christ derives from the Gospels of Mark (15: 17–18) and John (19: 1–5) wherein Jesus was beaten, crowned with thorns, and dressed in a purple robe, subsequently to be presented by Pilate to the jeering crowd of Jews with the words „Ecce Homo“ (Behold the man)
Wiener Kunstgeschichtliche Forschungen.

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Design, 1900–1925 – The Metropolitan Museum of Art

https://www.metmuseum.org/essays/design-1900-25

By the turn of the twentieth century, a new stylistic vocabulary—with distinct regional characteristics—had been firmly established. Whether realistic or abstract, exuberant or restrained, curvilinear or geometric, there was a consistency in the purposeful rejection of outmoded tastes and exploration of new design influences.
1904 Washstand Charles Rennie Mackintosh 1904 Tea service Josef Hoffmann Wiener

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