Galleries of special Image
Bruno Paul: Frankonia (Wandmosaik), Nürnberg,
Hauptbahnhof, Wartesaal, 1905, photograph: Bildarchiv Foto Marburg/ Uwe
Gaasch 10.2012 (Photo No. fmd471245)
EU Project "Partage Plus"
Since March 2012, the German Documentation Center for Art History -
Bildarchiv Foto Marburg has been taking part in „Partage
Plus“, an EU project on digital documentation of works from the art
nouveau period. The results are being published in "Europeana", the
major portal on European cultural heritage. To this end, digital
photographs and access data on a total of 75,000 works of art and
architecture in art nouveau style will be collected into a common
database up to February 2014.
As one of the twenty-three project partners in seventeen European
countries, Bildarchiv Foto Marburg has the special task of digitizing
around 10,000 items collected in various museums in Germany and
enhancing the access data. In addition, selected works of architecture
from the German art nouveau period are to be recorded in 2,000
photographs. The third task is to develop uniform technical terms for
all European project partners.
In charge of the EU project: Collections Trust,
German project partners (as of November 2012):
Project management in Germany:
Bracht, Tel. +49 (0) 6421 28 23 604
M.A., Project Coordination | Tel. +49 (0) 6421 28 23 600
Partage Plus 2012-2014 | Co-funded with support from
the European Commission
of the German project partners
Braubach, Marksburg, begun in 1231, view from the
north. Photograph: Bildarchiv Foto Marburg/Thomas Scheidt, July 2012
(Photo No. fmd469312)
Restoration of the Marksburg completed
The Marksburg stands enthroned on several levels above the town of
Braubach. It is the only medieval hilltop castle in the Middle Rhine
region that was never destroyed, and has been part of the UNESCO World
Heritage Rhine Gorge since 2002. Many consider this impressive
fortress, with its keep, great hall, outer ward, kennels and bastions,
as well as characteristic interior rooms, such as the castle kitchen,
knight's hall, ladies' chambers, chapel, armory, watchtower chambers or
wine cellars, to be the epitome of medieval castles. For more than a
hundred years, the facility has been owned by the Deutsche
Burgenvereinigung (German Castles Association), which has set itself
the task of not only preserving castles from ruin, but also saving them
from unprofessional renovation.
The expensive, highly complex restoration work begun in the late
1980s in cooperation with the State Office for the Preservation of
Historical Monuments was completed this past summer.
Bildarchiv Foto Marburg documented the ongoing results of the repair
work done from 2011 to 2012 and also has a valuable store of historical
black-and-white and color photographs of the castle complex.
Burgenvereinigung e.V. (DBV)
Nicholas Grimshaw, Exhibition Hall 3, Frankfurt am
Main, 2000-2001, photograph: Bildarchiv Foto Marburg / Waltraud Krase
Visit us at the 2012 Frankfurt Book Fair
We will be exhibiting, and inviting visitors to talk about book
publications, image databases, photography campaigns or takeovers of
The picture opposite was taken by the Frankfurt architectural
photographer Waltraud Krase, whose outstanding oeuvre, which extends to
30,000 photographs, we were able to add to our archives. Here we see
the high level of artistry with which this photographer documented
examples of major international architecture. It illustrates the
structure, materials and dynamics of the organically vibrant glass and
steel construction as convincingly as the structural function and
interplay with the reflection of Frankfurt's landmark Tower,
illuminated for the evening.
Frankfurt Book Fair, Hall 4.1., Stand J 511
Gallery of the
Archives - Waltraud Krase
The Blessed at the Last Judgment, Bamberg,
Cathedral, Prince's Portal, Tympanum (Detail), c. 1230. Photograph by
Walter Hege, c. 1927, Bildarchiv Foto Marburg, Neg.-No. 147.856
"Blessed Smiles and Hellish Laughter – Laughter in Medieval
Art and Culture" Exhibition at the Episcopal Cathedral and
Diocesan Museum in Mainz from April 27 to September 9, 2012
Ever since the novel "The Name of the Rose" by Umberto Eco, it has
been well known that laughter could be a delicate affair in the Middle
Ages. As a matter of fact, monastic circles considered loud, excessive
or foolish laughter to be reprehensible in the Early and High Middle
Ages, and it was often equated with hellish laughter. When various of
Aristotle's writings describing laughter as an essential human
characteristic resurfaced, a more positive opinion of laughter asserted
itself in the thirteenth century before the passionate devotion of the
Late Middle Ages began to hold crying in higher esteem and once again
to disparage laughter.
This exhibition is the first to take up this topic, presenting
outstanding medieval works of art, including prominent sculptures of
the thirteenth and fourteenth centuries, such as reliefs by the
Naumburg Master from the former rood screen of Mainz Cathedral.
Medieval authors are allowed to speak for themselves in early printed
books and illuminated manuscripts, tapestries and works of the
goldsmith's art round out the presentation of the theme. In the
exhibition catalog, articles by well-known experts provide an overview
of the social evaluation of laughter from ancient times to the Late
Middle Ages; the artworks on display unfold the whole panorama of
Bildarchiv Foto Marburg, a partner of the Episcopal Cathedral and
Diocesan Museum, is taking part in the exhibition and catalog with more
than fifty historic photographs.
Villa Tugendhat (1928-1930), Ludwig Mies van der
Rohe, dining area. Photograph: Foto Marburg, Dr. Franz Stoedtner
Archive, Neg.-No. 1.183.884, 1930/1931
|An Icon of Modern Architecture Once Again
Since March 2012, the Villa Tugendhat in Brno, one of the major
works of modern architecture, is once again open to the public.
Ludwig Mies van der Rohe (1886-1969) designed the building to be a
prestigious home for Fritz and Grete Tugendhat. Only a few years later,
the couple had to emigrate to escape the Nazis. The villa was plundered
and left to fall into disrepair for decades after. Added to the UNESCO
World Heritage list early as 2001, it was lavishly and thoroughly
renovated beginning in 2010.
Today's visitor finds once again the fascinating elegance and
simplicity of the spacious rooms, marked by the circumspect use of
valuable building materials. On the contemporary photograph from the
Franz Stoedtner Archive, we see the elegantly curved partition of
Macassar Ebony separating the dining area from the rest of the living
space as it originally appeared. Its costly veneer was lost for many
years, only being rediscovered through a fortunate coincidence in a
student cafeteria at Brno University.
Nicolaus Gerhaert, self-portrait (?), 1467,
sandstone, height 41 cm, Strasbourg, Musée de l’Œuvre Notre-Dame.
Photo: Helga Schmidt-Glassner (Neg. No. 1.556.729), photographed
|Niclaus Gerhaert. A Sculptor of the Middle Ages
Under this title, the Liebighaus in Frankfurt am Main will be
presenting until March 4, 2012 more than seventy sculptures from
international collections, including sculptures verifiably ascribed to
him and works by members of his circle and his successors.
Nic(o)laus Gerhaert von Leyden, a Dutchman presumably born c. 1430
in Leiden, began working in Strasbourg in 1462 and died in Wiener
Neustadt near Vienna in 1473. He is undoubtedly one of the major late
medieval artists. His works in wood and stone exhibit convincing
workmanship, a proximity to life and a strong spatial effect, and their
innovative quality can still be admired today. Famous sculptors such as
Tilman Riemenschneider, Veit Stoß, Michel Erhart or Michael Pacher
would have been inconceivable without him.
A central work in his oeuvre is the stone portrait bust in
Strasbourg Cathedral, which is presumed to be the artist's own
self-portrait. The impressive chin in hand motif has been seen as a
gesture of deep thought and melancholy since antiquity.
Nicolaus Gerhaert in the image index
Frankfurt am Main, Museum für Moderne Kunst, Treppenhaus, Hans Hollein,
1987-1991. Foto: Foto Marburg, Waltraud Krase, Aufnahme 1991, Neg.-Nr. C454.097
|Architecture - Photography
The exciting relationship between architecture and photography is
the subject of an international conference being held by the German
Documentation Center - Bildarchiv Foto Marburg from November 10-11,
2011. It will seek to point up the reciprocal effects of interaction
between the oldest of the new visual media and the most monumental of
all forms of artistic creativity.
The first point of debate will be the photographic image of modern
and contemporary architecture, including its modification under the
conditions prevailing in the world of digital media. Various points of
view will be considered to discuss the historiographic context of
architecture-photography and to analyze the role it has played in the
process of designing architecture, as well as in the presentation,
communication and marketing of architecture.
Presentations by well-known photographers will be addressed to
assess the extent to which the photographic perspective on architecture
can be seen as an artistic interpretation and at the same time as
Jean Pascal Sébah: Kairo, Grabkomplex des Amir Khayrbak, Albuminabzug, um 1880 (Sammlung Frühe Fotopositive, Bildarchiv Foto Marburg)
|Early Photopositives in the Bildarchiv Foto
In the age of digital media, research is looking ever more closely
at the historical dimension of analog photography. Negative and print
are appearing in a new light, and are increasingly becoming the object
of research into art, media and history.
Recently, the Bildarchiv Foto Marburg has also begun viewing its
inventory increasingly in this light. In the process, we have been
focusing more on our own collection of photopositives, a systematically
catalogued “critical apparatus for art history” which has been growing
since 1889, serving the needs of teaching and research for decades.
This collection contains not only a large number of generally
well-preserved photographic prints, but also especially rare and
valuable specimens from the early days of documentary and travel
photography as a historical art form.
Since mid-September, the virtual exhibition “Salt, Silver and
Paper – Early Photopositives in the Bildarchiv Foto Marburg” has
been displaying a selection of these works. The aim of the
presentation, which was conceived and prepared as an upgradable project
in the course of a seminar at the Philipps University in Marburg, is to
make the material available to a larger section of the general public
and pave the way for further research.
Alfeld an der Leine, Fagus-Werk, Walter Gropius, 1911-1915. Foto: Bildarchiv Foto Marburg, Franz Stoedtner, 1915/1940, Neg.Nr. 1.129.008
|The Fagus Factory – a pioneering work of modern
In 1911, freethinking entrepreneur Carl Benscheidt contracted the as
yet unknown architect Walter Gropius to build a shoe last factory in
Alfeld an der Leine. The new, unadorned objectivity and clear esthetics
of the Fagus Factory, which was built in two phases, had an
epoch-making effect on modern industrial architecture.
Gropius, who later founded the Bauhaus School, designed a group of
buildings made up of clear cubes organized by function. The outer walls
of the main building dissolve almost entirely into windows covered over
by curtain-like stories and corners, giving the factory building a
lightness as yet unknown at the time. By separating the hidden,
structural framework and the curtained, transparent surface, Gropius
anticipates the curtain wall, which more than a decade later was to
become a salient feature of the “Neues Bauen” style of architecture. On
July 25, 2011, around 100 years after construction began, the UNESCO
declared the factory, which is still in operation, to be a World
As early as 1981, only a few years before its first extensive
renovation in 1984, Bildarchiv Foto Marburg documented the plant, which
had been declared a historic monument in 1946.
Rheinfelden (Baden), Altes Wasserkraftwerk,
Maschinenhaus vom Schweizer Rheinufer aus, Conradin Zschokke und Otto
Intze, 1895-1899, Foto: Foto Marburg, Thomas Scheidt 2010, Neg. Nr.
|Unique industrial monument demolished
The Alte Wasserkraftwerk hydroelectric plant in Rheinfelden in the
state of Baden, Germany started operating in 1898 and was the oldest
and largest hydraulic power station in Europe. Built according to the
blueprint of Swiss building engineer Conradin Zschokke, its 20 turbines
provided German and Swiss communities with 10 MW of electric power for
more than a century, making it a nucleus of today’s Europe-wide power
grid. The 150-meter long power house with facades in a historicized
style and furnished with unique equipment, as well as a steel frame
bridge over the Rhine (210 meters), was considered a technically and
architecturally outstanding industrial monument. Against all
opposition, which came primarily from historians and curators, it was
demolished in the autumn of 2010, when energy provider EnBW began
running its new plant.
Bildarchiv Foto Marburg documented the outdoor installations of the
building complex in June 2010, before the demolition.
Cathedral Museum in Hildesheim, reliquary in the
form of the head of St. Oswald from the cathedral treasures, Hildesheim
c. 1185-1189, silver, parcel gilt, niello, filigree, enamel, stone and
pearl trimming, oak core, height 45.5 cm. Inv. No. DS 23.
Photo: Foto Marburg/Cathedral Museum, Hildesheim Neg.Nr. dmhds23_05
|Exhibition, “Treasures of the Faith”
Bode Museum is displaying masterpieces of Medieval religious art from
Hildesheim and Berlin.
For the first time, the most famous examples of religious art from
late antiquity to the late Gothic period from the Cathedral Museum in
Hildesheim and the Berlin Arts and Crafts Museum are being exhibited
together, facilitated by the renovation work currently ongoing at the
two museums. From September 2010 to September 2012, the museum is
opening its basement to visitors, where they can see a Medieval
treasure chamber featuring outstanding works carved from ivory or made
by goldsmiths, as well as book illuminations. On display are not only
cimelia from the manuscript department of the Berlin State Library, but
also one-of-a-kind works from the renowned Guelph Welfenschatz, the
Basel Münster, and the Church of St. Michael and the Cathedral in
Hildesheim. Some of the best pieces from Hildesheim are a large gold
Madonna, a silver Bernward Cross, two Bernward candlesticks or the
reliquary in the form of the head of St. Oswald.
Along with the cathedral and the church of St. Michael, the
Hildesheim cathedral treasure is also considered a UNESCO World
Cultural Heritage. The associated image archive of the cathedral museum
in Hildesheim has been on permanent loan to Bildarchiv Foto Marburg
since 2010 and is accessible in the online image index.
Exhibition, Treasures of the Faith
The Cathedral Museum in Bildarchiv Foto
London, Wellington Arch (Decimus Burton, 1883) with
Quadriga (Adrian Jones, 1912), in front, a detail from an artillery
monument. Photo: Foto Marburg, taken by Reinhart Koselleck c. 1980.
|Reinhart Koselleck’s estate (1923-2006) on political
iconography and iconology
While preparing for a publication in 2002, Reinhart Koselleck wrote
that his photographs were not always of the best quality, except for a
few of the more “original”. Roughly 30,000 pictures on political
iconography and iconology in general, and on violent death in
particular, including war memorials and equestrian monuments, as well
as holocaust memorial sites, found a place in Koselleck’s picture
collection. However, this is by no means merely a purely iconographic
collection of motifs. Rather, Koselleck’s own photographs in particular
testify to the critical potential of a political form of iconology. In
this sense, political iconology is also a matter of viewpoint and
perspective. The chosen photo was taken in London around 1980. It shows
Wellington Gate with Quadriga, in a broken perspective and thereby
“brought back down to earth”, so to speak, along with an “unknown
soldier” (cf. also Koselleck, Reinhart: “Der Unbekannte Soldat als
Nationalsymbol im Blick auf Reiterdenkmale” (“The Unknown Soldier as a
National Symbol with Regard to Equestrian Monuments”), in: “Vorträge
aus dem Warburg-Haus“, vol. 7, 2003).
In the spring of 2009, the Deutsche Dokumentationszentrum für
Kunstgeschichte – Bildarchiv Foto Marburg took over the collection of
pictures left by Reinhart Koselleck, a historian who died in 2006,
while the written works went to the Deutsche Literaturarchiv Marbach.
These two institutions are working together on the inventories and
making them accessible to researchers. Now for the first time, a
convention will be held in Marburg from November 18 – 20, 2010 to
present the initial findings of research into the topic of “Reinhart
Koselleck – Political Iconology” and to discuss them in a broader
For the convention
Stuttgart Central Station, southeast wing, Paul
Bonatz.& Friedrich Eugen Scholer, 1911-1928, Foto: Foto Marburg,
Rose Hajdu 2009, Neg. Nr. fmd445859
|Stuttgart Central Station
Stuttgart Central Station was built between 1914 and 1928, and was
designed by architects Paul Bonatz (1877–1956) and Friedrich Eugen
Scholer (1874–1949). The building unites traditional elements of
prestigious monumentality with progressive features exhibited in the
compositional principle or the largely flat roofs. This monumental
structure is therefore considered to be a representative of the
so-called “Other Modernism”, which played a significant part in the
architectural history of the twentieth century.
Although an historic monument, this terminal station is slated to be
torn down to make room for an underground through station which is part
of the controversial traffic and urban development project known as
“Stuttgart 21”. Recently the side wing of the building has already
begun to be demolished in spite of vehement protests.
Bildarchiv Foto Marburg commissioned a documentation in the summer
of 2009 to record the original state of this endangered historic
building in photographs showing the outer facades, along with important
details, as well as views of various interior rooms.
Günter Behnisch : Munich, Olympic stadium, photo:
Foto Marburg, Neg. No. B 16/5
Born in Leipzig in 1922, the famous German architect Günter Behnisch
studied architecture in Stuttgart and set up his architect’s office
there in 1952. Closely allied to his many innovations in structural
engineering were his ideas of building “for people”, with the
non-hierarchically structured, open and transparent configurations
which put their stamp on the shape of buildings in post-war Germany. He
gained worldwide renown with the Olympic Park in Munich (1967-1972),
whose key feature is the daring, floating tent roof construction he
developed together with Frei Otto. The plenary assembly room of the
German parliament in Bonn (1992-1993) provides further prominent
testimony to the creative quality of this “master builder of German
democracy”. From 1967 to 1987 he was a professor at the Technical
University in Darmstadt. Until 2000, he taught at the Sächsische
Akademie der Künste (Saxon Academy of the Arts) which he had helped to
found in 1996 in Dresden .
Günter Behnisch died at the age of 88 on July 12, 2010. The photo
series compiled by Bildarchiv Foto Marburg in 1972 documents the Munich
Olympic buildings just before the completion of construction.
Hagen, Folkwang Museum, exhibition room, paintings
by Emil Nolde and Lasar Segall, combined with ancestral portraits from
New Guinea (taken around 1920). Photograph: Foto Marburg, Neg. No.
|Expressionism and Exotica
Karl Ernst Osthaus (1874-1921), a collector and patron of the arts,
brought together an exquisite collection of non-European sculpture and
classic modern works for the Folkwang Museum he had founded in Hagen in
1902. By designing his collection as a confrontation of non-European
art with Expressionist works, he raised to the rank of high Western art
artifacts which were otherwise only displayed in an ethnological
Since 1921 Essen has been the home of the Folkwang Museum. The
current exhibition, marking the museum’s reopening, shows the
collection’s treasures in the combination of avant-garde art and
sculptures of antiquity, the Orient or tribal societies in Africa and
Asia, as conceived by Osthaus.
The “Photographien- und Diapositivzentrale” (“Photography and Slide
Center”) housed 20,000 photographs on the collection founded in Hagen,
as well as on selected art works of many countries and epochs. Among
the focal points of this educational portion are also works of
Expressionism and Impressionism, arts and crafts, Art Nouveau and
examples of non-European art. In 1933, four years before the Nazis
confiscated key works from the Essen collection, ownership of the
renowned photo archive was transferred to Bildarchiv Foto Marburg.
The Osthaus Archive in Bildarchiv Foto Marburg
Exhibition ‘The Most
Beautiful Museum in the World’
Stadtarchiv Cologne, order number 7010 (W) 312, fol.
10v: illustrated page in the Gospel Books from St. Pantaleon, around
1140. Photograph: Bildarchiv Foto Marburg / Michael Jeiter, around 1980
(Negative No. fmc439791)
|Cologne City Archive – The first anniversary of the
The first anniversary of the collapse. The Historical Archive of the
City of Cologne, the largest municipal archive north of the Alps,
boasted until 2009 more than 65,000 documents, 26 kilometers of shelves
filled with files, 104,000 maps, 50,000 posters, 818 estates and
collections, and more than 1,000 medieval manuscripts. Owing to
irregularities in the construction of the underground rail system below
the archive building, it collapsed on March 3, 2009.
The cultural loss is equal to that of the catastrophe of Weimar,
where the Anna Amalia Library burned down in September 2004. In the
meantime, 85 percent of the archives have been recovered, including
most of the medieval manuscripts. The damage is currently calculated at
35 percent severe and 50 percent heavy to moderate damages to the
In memory of the archive catastrophe and as part of the German
nationwide Day of the Archive on March 6-7, around 100 loans from the
inventories of the Cologne Stadtarchiv are on display in the Martin
Gropius Building in Berlin, including Albertus Magnus’ “Liber de
animalibus” (13th century) and the St. Pantaleon Book of Gospels shown
here. In addition, the exhibition intends to provide information on the
extent of the destruction and the restoration work.
Although the originals are irreplaceable, their pictorial
documentation is of key importance. Nearly all papers and documents in
the archives dated prior to 1815 have been documented in around ten
million pictures on more than 6,000 microfilms and are kept permanently
safe in the central underground archive of the Federal Republic of
Germany, an enlarged mine shaft near Freiburg i. Br. Later inventories,
by contrast, were not entirely put on film, and only a few have been
Around 2,750 photographers from the Rheinisches Bildarchiv in
Cologne and the Bildarchiv Foto Marburg are documenting objects from
collections in the Cologne Stadtarchiv. Our picture shows a
high-resolution color picture kept in Marburg of an illumination from a
superb twelfth-century manuscript.
Note on exhibition:
Cologne in Berlin. After the collapse: the Historical Archive.
March 6 to April 11, 2010
Berlin, Martin Gropius Building
Istanbul, Hagia Sophia (construction started in 532,
dedicated in 537) seen from the southeast, picture taken by Richard
Hamann-Mac Lean, 1955
|Istanbul – European Capital of Culture in 2010
The vote of the international jury of the European Union for the
first city of a non-member state underscores the significance of this
city on the Bosporus as a center of both European as well as oriental
art and architecture.
Founded 2600 years ago as Greek Byzantium, the city had grown by the
late Roman period into an important center of trade marked by dynamic
building activity, finally becoming Constantinople, the capital of the
Byzantine empire. From the tenth to the twelfth century, the then only
world-class city in Europe enjoyed a new heyday. Following the Ottoman
conquest in 1453, Stambul (called Istanbul since 1930) became a melting
pot of oriental and occidental culture whose art has been developing
vigorously up to the present day.
The last great work of architecture in late antiquity, Hagia Sophia
– which was built in the form of a domed basilica during the rule of
Justinian I in the sixth century – began to be used as the coronation
church of Byzantine emperors starting in 641. With the Ottoman conquest
in 1453, the church was converted into a major mosque. Since 1934, the
building has been used as a museum.
Karl Wilhelm Diefenbach and Hugo Höppner in the
studio, taken by Carl Teufel, c. 1889
|Munich Artist’s Studio
A unique collection of more than 370 photographs on the Munich
Artist’s Studio has been part of the inventory of Bildarchiv Foto
Marburg since 1935. The pictures, taken by Carl Teufel (1845-1912) in
1889-1900, represent a valuable cross-section of the Munich studio
culture of Historicism. The unusual example shown here features the
eccentric painter, pacifist and proponent of the Lebensreform
back-to-nature movement Karl Wilhelm Diefenbach (1851-1913) together
with his pupil Hugo Höppner (referred to as “Fidus”) in his studio.
The Villa Stuck in Munich will be hosting the exhibition “Karl
Wilhelm Diefenbach – Lieber sterben, als meine Ideale verleugnen!” (“ –
I’d rather die than repudiate my ideals!”) until January 17, 2010. This
is the first time a comprehensive selection of the works and rebellious
cultural ideas of this artist and ‘prophet of nature’ have been
Berlin Palace, start of construction 1443, final
appearance 1699-1706 by Andreas Schlüter, destroyed 1950/1951, oblique
aerial photograph taken 1920/1940
|Reconstruction of the Berlin des Berlin Palace
Just in time for the German federal elections, the conflict
surrounding the reconstruction of the Berlin Palace, which was thought
to have been decided, has flared up into a new phase. The Federal
Antitrust Office recently declared the contract between the builder,
the Federal Government, and the winner of the competition, Franco
Stella, to be invalid on grounds of legal defects. The start of
construction on the "Humboldt Forum" planned for 2010 has thus been put
off for now. Now the Agency for the Preservation of Historical
Landmarks is going to intensify its demands that the preserved Baroque
foundations and cellar of the West Wing be integrated into the planned
new building, which the developer has so far rejected for financial
reasons. Along with the comprehensive evidence on the history of the
Hohenzollern Castle, which an ongoing archeological investigation
around the Eosanderhof has been bringing to light for more than a year,
additional evidence of a late medieval settlement is suspected to lie
below the area of the court.
Balthasar Jenichen, Portrait of the Humanist Scholar
Philipp Melanchthon, 1577, etching, 14 x 11.5 cm, Marburg, University
|Digital Portrait Index
The Deutsche Forschungsgemeinschaft (German Research Foundation;
DFG) has recently approved the application for the project "Digital
Index of Early Modern Portrait Prints". The project is located at
Bildarchiv Foto Marburg and eight further partner institutions. The
objective of the project is to digitalize and index more than 200,000
portraits from seven major collections. The Austrian National Library
is its foreign partner. All data and images will be made available free
of charge by way of a dedicated portal on the internet. The "Digital
Portrait Index" is tied in with library information infrastructure
through a link to the personal name file (PND) of the German National
The copperplate engraving shown here is an example of early modern
portrait art, an image of humanist Philipp Melanchthon (1497-1560).
Along with Martin Luther, Melanchthon was a theologian who served as
one of the driving forces of the Reformation in Germany and Europe.
Digital Portrait Index
Walter Gropius: Former state Bauhaus Dessau, view
into the stairwell in the workshop, 1925-26, photo fmc440924 of 1990.
Photographer: Gert von Bassewitz
|The Bauhaus turns 90
Flooded with light, well suited to the materials and functional down
to the smallest detail: this is Bauhaus architecture, as can be seen
here in the stairwell of the former State Bauhaus in Dessau. Architect
Walter Gropius created the building in 1925-26 for his school of
architecture, design and art.
What was new about this building were the differently designed parts
of the structure, in which areas such as workshop or teaching
institution were functionally separated and at the same time combined
in a single building complex. The Curtain Wall, the workshop's facade
visible here from the inside, which is made entirely of glass to
provided transparency and airiness, also created a stir.
The Bauhaus idea of reuniting architecture and handicraft was
developed six years earlier, however. Ninety years ago, Walter Gropius
founded the State Bauhaus in Weimar. The Klassik Stiftung Weimar is
putting on a comprehensive exhibition for the anniversary.
Collage of photographs from the Bildarchiv Foto
|Part of a canon?
Is there anyone who is not familiar with Dürer's 'Adam and Eve', the
Villa Rotonda or the Bamberg Horseman? Are these examples of a group of
art works that are especially well known, or especially important to
art history? The science of art deals with classification- or
judgment-related questions like these again and again. In the process,
experts not infrequently refer to a canon of art history, which is not
only asserted, but also called into question and even challenged.
At the XXXth Art History Convention in Marburg from March 25 to 29,
2009, the canons of art history will once again be discussed and
The Deutsche Dokumentationszentrum für Kunstgeschichte - Bildarchiv
Foto Marburg will not only be presenting itself there with an
exhibition stand, but will also be taking an active part in the
sections and forums.
Elisabeth Clothing the Naked, Marburg, Church of St.
Elisabeth, Elisabeth Window. Cologne (?), around 1245-50, photo
fmc426930 made in 1998.
|Elisabeth Clothing the Naked
The glass window showing 'Elisabeth clothing the naked' is part of
the Elisabeth Window made around 1245-50 in the choir of the Church of
St. Elisabeth in Marburg. The twelve medallions depict scenes from the
life of St. Elisabeth and her deeds for the poor and sick, portrayed in
the Christian works of mercy. In this scene, with its radiant colors
and animated design, Elisabeth is draping a coat with full sleeves over
a scantily clad man, while a barefoot woman carrying her son and a man
with crippled legs raise their hands in supplication to the saint.
This window, among others, is discussed in the richly illustrated
Volume 3 of the Corpus Vitrearum Medii Aevi Deutschland Series, now
enhanced by the latest research: Parello, Daniel: Die mittelalterlichen
Glasmalereien in Marburg und Nordhessen (Medieval Stained Glass
Paintings in Marburg and North Hesse), Berlin 2008.
Andrea Palladio: Villa Pisani in Bagnolo di Lonigo
(Vicenza), garden facade, built starting in 1542, photograph: Gert von
|On the 500th birthday of Palladio
The Villa Pisani near Vicenza is one of the many villas in Veneto
created by Andrea Palladio, one of northern Italy's major Renaissance
architects. The 500th anniversary of his birth was celebrated on
November 8, 2008.
The villa, which was begun in 1542, was the first country residence
built by Palladio to meet agricultural needs as well as the upper-class
standards of his influential employers. As with many of his other
buildings, he turned to antiquity for inspiration.
This photograph shows the very simply designed back view of the
villa, from which a wide stair leads to the rambling country estate.
This picture, so full of 'atmosphere', is one of the roughly 4,500
color photographs on architecture in Europe which photographer Gert von
Bassewitz gave to Bildarchiv Foto Marburg in 2007.
Portrait of Reinhart Koselleck. Bielefeld City
Archive, photographer: Jobst Lohöfener
|The estate of historian Reinhart Koselleck
The German Documentation Center for Art History - Bildarchiv Foto
Marburg, together with the German Literature Archive in Marbach, has
received the estate of the Bielefeld historian Reinhart Koselleck
(1923-2006). Both institutions are going to index the estate and
collection, make it available to researchers and undertake their own
research. Koselleck's extensive collection of pictures and other
material related to political iconography, which is now in the care of
Bildarchiv Foto Marburg, contains pictures of war and other memorials,
equestrian statues and objects associated with the history of violent
death, as well as the topics of power and dominance.
Frankfurt am Main, Liebieghaus, Myron's Athena,
Roman copy of a bronze group from around 450 B.C.E., inventory no. 195,
marble, 173.5 cm, photograph: Foto Marburg, c. 1937
The stone "Frankfurt Athena" is part of the best preserved Roman
copy of a lost group of Athena and Marsyas from around 450 B.C.E. which
was originally made of bronze and stood on the Acropolis in Athens. The
Greek sculptor Myron here combines several elements of the myth of
Marsyas. What gives the work its extraordinary artistic quality is its
innovative interpretation of the figures' movement.
For the reopening of its restaged antiquity collection, Liebieghaus has
brought together the legendary Myron group – Athena is placed together
with sculpture of Marsyas, also Roman and a loan from the Vatican
museums to Frankfurt. The special exhibition "Launen des Olymp. Der
Mythos von Athena, Marsyas und Apoll" ("Whims of Olympus. The Myth of
Athena, Marsyas and Apollo") will remain on display up to September 21,