The Flickr Menzel Image Generatr

Official Winter Test / International GT Open 2024 / Circuit de Barcelona

Official Winter Test / International GT Open 2024 / Circuit de Barcelona

Official Winter Test / International GT Open 2024 / Circuit de Barcelona

On display in the Alte Nationalgalerie in Berlin

www.smb.museum/en/museums-institutions/alte-nationalgaler...

Auf die grellen Lichter der Großstadt wird die Malerei noch bis kurz vor der Jahrhundertwende warten müssen. Noch ist es, auch bei Menzel, die so suggestive, milde blaue Nacht der Romantik, die den Stadtraum erfüllt, selbst wenn sie sich auf eine moderne Baustelle senkt (vgl. »Anhalter Bahnhof bei Mondschein«, um 1845/46, Museum Oskar Reinhart, Winterthur). Über Menzels Friedrichsgracht bleibt der Mond körperlos, er ist nur Licht, das aus einer Zone jenseits des Dunstes hervordringt und diesen erhellt.
Die Friedrichsgracht, die die alte Fischersiedlung Cölln westlich begrenzt, lag von Menzels Wohnung in der Ritterstraße nicht weit entfernt. Man hat den gedachten – nicht beim Malen eingenommenen – Standpunkt auf der Roß- oder der Grünstraßenbrücke vermutet und aus dem hoch stehenden Mond und dem Nebel auf eine Herbstnacht geschlossen (vgl. Die Kunst für Alle, 33. Jg., 1917, S. 103). In einer anderen Arbeit von 1859 plazierte Menzel auf einer Brücke in derselben Gegend eine Ganzfigur Chodowieckis (Museum Georg Schäfer, Schweinfurt). In unserem Bild erfaßt der Blick nach Süden zuerst Kähne und gleitet über die dunkle Wasserfläche bis zu einer Flußbiegung, in der sich nebelverhangene, spärlich erleuchtete Häuser zeigen. Die Stimmungseinheit des Bildes wird davon bestimmt, wie unter dem von kleinen rötlichen Lichtpunkten überstreuten, in langen parallelen Strichen aufgetragenen und stellenweise zerschabten Nachtblau das Braun der Untermalung immer wieder hervorschimmert.

On display in the Alte Nationalgalerie in Berlin

www.smb.museum/en/museums-institutions/alte-nationalgaler...

The Balcony Room is an oil-on-canvas painting by the German artist Adolph Menzel, executed in 1845. It is one of the main works of his early period and one of his most famous paintings.

The picture creates the atmosphere of a bourgeois apartment on a summer afternoon. The cool comfort of the room contrasts with the heat outside. The room is noticeably sparsely furnished or cleared out and is flooded with sunlight that penetrates through a white curtain. The curtain is slightly puffed, which suggests a weak gust of wind. In its emptiness, the room looks almost dull. It has just a few everyday pieces of furniture: a mirror, two arbitrarily placed chairs facing each other, a modest carpet and a dimly indicated sofa on the left edge of the painting, which appears more clearly in the mirror, are there. The room appears uncomfortable completely in contrast to the usual room paintings of the Biedermeier period that convey comfort, prosperity and a sense of style. It is deserted, carelessly furnished and unspectacularly usual. Nothing is staged or told here. In Menzel's representationally empty picture, the restrained colors alone appear independent, atmospherically fresh and lively. In particular, the incidence of light through the open balcony door gives the picture its enigmatic charm. The light illuminates the polished wooden floor and the wall mirror, which half reflects an indefinable gold-framed picture in the invisible area of the room above the sofa.

The wall, which takes up the entire left half of the picture, has a surface in a lighter color scheme with a recognizable structure of the paint application. Viewers asked themselves whether the picture was possibly unfinished there, whether it is a reflection of light or whether a new coat of paint on the wall has been interrupted. However, according to the art historian Claude Keisch, the composition of the left half of the picture with its shadowy sofa does not allow any “plasticity”.

German postcard by Verlag Hermann Leiser, Berlin-Wilm, no . 9407. Photo: Arthur Menzel.

Karl Elzer (1881-1938) was a German supporting actor on the Berlin stage and in silent films. He was a child performer from the age of eight. He was most prominent in films of the 1920s, often in the role of industrialists or nobility. His films included Die blaue Laterne (1918), Maud Rockfellers Wette (1924) and Luther (1928).

Karl Conrad Valentin Elzer was born in 1881 in Karlsruhe, Baden-Württemberg, Germany. At the age of eight, he made his stage debut as the "little Englishman" in 'Die Puppenfee' (The Doll Fairy). At the turn of the century, he began his professional career as a trainee under Albert Bürklin, the general director of the court theatre in Karlsruhe. Elzer also received private acting lessons from Wilhelm Wassermann. He then pursued a classical acting career with engagements in the German provinces: his stage stops were Gera, Flensburg and Stettin. At the Bellevue Theatre in the latter city in Pomerania, he was a partner of Viktor Schwanneke and the young Emil Jannings, who also directed, during the 1907/1908 season. In 1911, the director of the Schiller Theatre, Max Pategg, who had seen him on a suburban stage as Bertram in 'Robert and Bertram', brought him to the Schiller Theatre. He became a prominent supporting actor on the Berlin stage. He made his film debut probably at the Messter Studio on the side of Henny Porten in the romantic comedy Die Räuberbraut/The Robber Bride (Robert Wiene, 1916). Arthur Menzel who made the photo for the postcard was one of his co-actors. For Messter, he also appeared in Die blaue Laterne/The Blue Lantern (Rudolf Biebrach, 1918). Henny Porten starred in a double role as two dancing sisters and Elzer played a supporting part as a banker whom one of the girls marries. Karl Elzer was drafted for a time during the war and was seriously wounded at the front. After the war, he played leading roles in a series of films by director Franz Hofer, including Hängezöpfchen/Hanging Braids (Franz Hofer, 1919) and Das rosa Strumpfbändchen/The Pink Garter (Franz Hofer, 1919) both with Lya Ley, Olga Engl and Karl Platen, and Die feindlichen Reporter/The enemy reporters (Franz Hofer, 1919). In addition to his theatre and film work, he was also intensively involved in the Berlin cabaret scene.

During the 1920s, Karl Elzer appeared in dozens of silent films, mostly in supporting parts. He started with a series for National-Film. In 1921 he appeared in the melodrama Opfer der Liebe/Sacrifice of Love (Franz Eckstein, 1921) with Helga Molander and Ernst Pittschau. It was an adaptation of a novel by Hedwig Courths-Mahler with a screenplay by Rosa Porten. Maria Zelenka was the star of the comedy Bummellotte/Bumbling Lotte (Wolfgang Neff, 1922). Rita Clermont played Maud in Maud Rockfellers Wette/Mauud Rockfeller's Bet (Erich Eriksen, 1924) in which Elzer played John Rockfeller. For Terra-Film he played in Ewald André Dupont's Der Demütige und die Tänzerin/Her Fateful Marriage (1925) starring Lil Dagover and Junges Blut/Young Blood (Manfred Noa, 1926) with Lya De Putti. For International Film-Exchange, he appeared in such films as Venus im Frack/Venus in a tuxedo (Robert Land, 1927) with Carmen Boni, and for the Ufa in Luther/Freedom (Hans Kyser, 1928) starring Eugen Klöpfer as Martin Luther. One of his first sound films was Das lockende Ziel/The Alluring Goal (Max Reichmann, 1930), an Opera Star vehicle for Richard Tauber. He had small parts in other well-known sound films such as the historical drama Das Flötenkonzert von Sans-souci/The Flute Concert of Sans-Souci (Gustav Ucicky, 1930) and M - Eine Stadt sucht einen Mörder/M (Fritz Lang, 1931). His final film was Der Kampf mit dem Drachen/The Fight with the Dragon (Franz Seitz, 1935), a vehicle for Adele Sandrock, who plays a countess refusing to sell her family's three-hundred-year-old traditional brewery to a competitor. In the last years of his life, he was artistically associated with the Berliner Theater under the direction of Oscar Ingenohl and with the Theater der Jugend, "whose grateful and enthusiastic audiences he conveyed unforgettable impressions in 460 performances and in whose memory he will live on", as was stated in an obituary. Karl Elzer died in 1938 in Rottach-Egern, Bavaria, Germany, at age 57. He took his own life due to bladder cancer. Elzer was married to the writer Margarete Elzer, a daughter of Hedwig Courths-Mahler. His grave is in the Tegernsee cemetery.

Sources: Wikipedia (German and English) and IMDb.

And, please check out our blog European Film Star Postcards.

Lichtfest Leipzig am Burgplatz Videoinstallaition von Philipp Geist aka Videogeist.

Lichtfest Leipzig am Burgplatz Videoinstallaition von Philipp Geist aka Videogeist.

Copyright
Spektrum 2023
Philipp Geist
Wetzlar Alte Lahnbrücke
Fotograf Holger Menzel
(C) VG Bildkunst Bonn/ Philipp Geist

Copyright
Spektrum 2023
Philipp Geist
Wetzlar Alte Lahnbrücke
Fotograf Holger Menzel
(C) VG Bildkunst Bonn/ Philipp Geist

The Meeting of Frederick II and Joseph II in Neisse in 1769 is an oil on canvas history painting by Adolph Menzel, executed in 1855–1857, showing the meeting of Frederick II of Prussia with Joseph II, Holy Roman Emperor at Neisse on 25 August 1769. It is now in the Alte Nationalgalerie in Berlin.

Theme
In the War of Austrian Succession from 1740 to 1748 and in the Seven Years' War from 1756 to 1763, Prussia under Frederick II and Austria under Maria Theresa were bitter opponents. The long-standing struggles ended for the Habsburg monarchy with the loss of Silesia.

Maria Theresa's son Archduke Joseph, Emperor of the Holy Roman Empire since 1765, admired the enlightened monarch Frederick for his military, administrative and economic successes and from 1766 tried to meet him. After initial resistance from Maria Theresa, the encounter took place in 1769 in the residential town of Neisse, near the border, where Frederick was staying for military maneuvers. Joseph, as Count von Falkenstein, arrived in Neisse around noon on August 25 and went straight to the prince-bishop's palace, where Frederick received him. The encounter was attended by senior nobles and military officials from both sides. The Kaiser and the King stayed in Neisse until August 28th. During the day they watched the Prussian maneuvers, in the evening they visited the Opéra comique. wiki
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s644a Halbheft 23.10370 Garten1904 Zusammenkunft Friedrichs II. mit Kaiser Joseph II. von Österreich in Neiße in 25.VIII. 1769, Schlesien, Polen. Nach dem Gemälde von Adolph Friedrich Erdmann von Menzel (8 December 1815 – 9 February 1905) Die Gartenlaube. Illustrirtes Familienblatt. Begründet von Ernst Keil 1853.

Adolph Friedrich Erdmann von Menzel (8 December 1815 – 9 February 1905) was a German Realist artist noted for drawings, etchings, and paintings. Along with Caspar David Friedrich, he is considered one of the two most prominent German painters of the 19th century, and was the most successful artist of his era in Germany. First known as Adolph Menzel, he was knighted in 1898 and changed his name to Adolph von Menzel.
en.wikipedia.org/wiki/The_Meeting_of_Frederick_II_and_Jos...
His popularity in his native country, owing especially to his history paintings, was such that few of his major paintings left Germany, as many were quickly acquired by museums in Berlin. Menzel's graphic work (and especially his drawings) were more widely disseminated; these, along with informal paintings not initially intended for display, have largely accounted for his posthumous reputation.

Although he traveled in order to find subjects for his art, to visit exhibitions, and to meet with other artists, Menzel spent most of his life in Berlin, and was, despite numerous friendships, by his own admission detached from others. It is likely that he felt socially estranged for physical reasons alone—he had a large head, and stood about four foot six inches.


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Description
Der Stoff führt in die Friedensjahre nach dem Siebenjährigen Krieg. Im Bestreben, ein Bündnis gegen Rußland zu erreichen, näherten sich die langjährigen Feinde Preußen und Österreich einander an. Maria Theresias Sohn, der junge Kaiser Joseph, der Reformen anstrebte und den Preußenkönig verehrte, suchte diesen im bischöflichen Palast im schlesischen Neiße auf und bestätigte den Verzicht Österreichs auf die Provinz Schlesien. Die beiderseits herzliche Begrüßung fand, wie Augenzeugen berichteten, auf der Treppe statt, eine Situation, die Metaphern wie ›Aufblicken‹ und ›Entgegenkommen‹ buchstäblich abbildbar macht. Zwei Bewegungsimpulse von unterschiedlicher Dynamik aus zwei verschiedenen Richtungen – das Motiv des herabgleitenden Mantels wird man in der »Ansprache Friedrichs des Großen an seine Generale vor der Schlacht bei Leuthen1757« (1859–1861, Nationalgalerie, Inv.-Nr. A II 839) wiederfinden –, zwei Temperamente, zwei Höhen, zwei Begleitergruppen, die beide die Kurve der Treppe nutzen und die Tiefe des Raumes erschließen, ein Licht, das im Raum verschwebt, aber wenige Figuren scharf erhellt: Das alles dient letztlich einer psychologischen Charakterisierung, die in bildfüllenden Figuren der ausgeführten Fassung (Nationalgalerie, Inv.-Nr. A III 340) aufs intensivste ausgearbeitet ist. Hier ist, zumindest bei Friedrich, der Schwung der Bewegung zurückgenommen und der Ausdruck ungewohnt stark in das Gesicht gelegt. Auch dieses Bild entstand im Auftrag, diesmal der neugegründeten Verbindung für historische Kunst.
Mit dem gleichzeitig von der Verbindung in Auftrag gegebenen Gemälde von Moritz von Schwind »Kaiser Rudolfs Ritt zum Grabe« (Kunsthalle Kiel) durchlief die »Begegnung in Neiße« die übliche Ausstellungsrunde durch deutsche Kunstvereine; der Kontrast zwischen Schwinds idealistischer und Menzels realistischer Auffassung von Historienmalerei gab Anlaß zu grundsätzlichen Polemiken, namentlich in der Zeitschrift »Die Dioskuren« (Jg. 7, 1862, S. 65 f.), in der Max Schasler an Menzels Werk die höhere historische Bedeutsamkeit, die Würde und Hoheit überhaupt vermißte. | Claude Keisch

@Alte Nationalgalerie, Berlin

Foto: v.L. Moderatorin Sheila Bejat im Gespräch mit den Autoren Manuel Rivas (Spanien) und Drago Jančar (Slowenien).

Foto: v.L. Moderatorin Sheila Bejat im Gespräch mit den Autoren Manuel Rivas (Spanien) und Drago Jančar (Slowenien).

Foto: Guestroll, Handover Cermony Spanien/Slownia.

Katja Stergar (Slowenien) mit der Gastrolle für Slowenien die auf der Buchmesse 2023 Ehrengast sind.