Lasar Segall was a Brazilian Jewish painter, engraver and sculptor born in Lithuania. Segall’s work is derived from impressionism, expressionism and modernism. Not to be confused with Hyman Seal who worked in St Ives,Cornwall.
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GERHARD RICHTER
KING FRIEDRICH´S POTATOES
KREUZBERGED - BERLIN COMPANION
Alfred Graff´s portrait of Friedrich II (1781)
Born on this day in 1712 Prussian king Friedrich II went down in history as Friedrich der Große, or Frederick the Great. Many of his deeds were memorable, some of them certainly merit being described as impressive but where does “the Great” in his name really come from?
The answer to this and many other questions about der Alte Fritz (Friedrich II´s common name) – some of them you did not even know you actually had – can be found in a brilliant BBC Radio 4 podcast “In Our Time” where the show´s host, Melvyn Bragg, discusses Friedrich´s story with some of the best British experts in the field. Apparently, it was the King himself who ordered Berlin press to refer to him as “der Große” in their reports from the Silesian front: he had the local newspapers and bulletins call him “the…
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KARL HOFER
Fascinating painter-great courage and integrity!
JOACHIM RINGELNATZ
Just before the outbreak of the First World War, Lovis Corinth was at the peak of his career, and with his wife Charlotte and their two young children, was enjoying everything that Berlin had to offer. He had also worked hard: by the end of 1911, he had painted more than three hundred substantial works in oils.
Lovis Corinth (1858–1925), The Model’s Break (1909), oil on canvas, 60 × 42 cm, Staatliche Kunstsammlungen Dresden, Germany. Wikimedia Commons.
Corinth seized the moment during The Model’s Break (1909) to capture a more informal and natural full-length portrait of her. This is not an uncommon ruse, which has resulted in some excellent paintings by other artists, and worked well for him too. This was exhibited in the 1913 exhibition of the Berlin Secession.
Lovis Corinth (1858–1925), Ice Rink in the Berlin Tiergarten (1909), oil on canvas, 64 × 90 cm, Private collection…
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Thanks-some lovely sketches-it must be quite cold there now!
Arsenal, Venedig war im 15. Jahrhundert mit 16.000 Arbeitern die größte Schiffbaustädte der Welt.
Einfahrt des alten venezianischen Hafen Arsenal (c) Foto von Michael Fanke
In der kleinen Welt um Arsenal wurden Alte und Kranke versorgt und es gab ein eigenes Schulsystem. Es standen sogar Werkswohnungen für die Beschäftigten zur Verfügung. Es wurden neben den Schiffen auch Waffen und Reiseproviant hergestellt.
Venedig 2016 (c) Zeichnung von Susanne Haun
Heute ist Arsenal eine Industrieruine, der Zugang zum Gelände ist nichtsdestotrotz sehenswert, das Tor ist 1460 gebaut worden und eines der ersten Renaissancebauten Venedigs. Die Marmorlöwen wurden aus Piräus, Athen und Delos erbeutet.
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Quelle: Henning, Christoph, Venedig, Ostfildern 2015, S. 74.
Another very interesting painter!
Since Corinth had joined the Berlin Secession in 1901, and two years later married Charlotte Berend, his career had not looked back. Although early family and social life had reduced the number of paintings he produced, their quality remained consistently high, and he was living up to his reputation as ‘the painter of flesh’.
Lovis Corinth (1858–1925), The Childhood of Zeus (1905-6), oil on canvas, 120 × 150 cm, Kunsthalle Bremen, Bremen, Germany. Wikimedia Commons.
The Childhood of Zeus (1905-6) shows Zeus, the senior god among the Greek pantheon, as a young boy at its centre. According to various myths, he was the son of the Titans Cronus (not Chronos, personification of time) and Rhea. Cronus swallowed his other children, so to save Zeus from that fate, Rhea gave birth to him in Crete, and handed Cronus a rock disguised as a baby, which he promptly swallowed.
Rhea then…
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A happy vicar I might have been
Two hundred years ago
To preach upon eternal doom
And watch my walnuts grow;
But born, alas, in an evil time,
I missed that pleasant haven,
For the hair has grown on my upper lip
And the clergy are all clean-shaven.
And later still the times were good,
We were so easy to please,
We rocked our troubled thoughts to sleep
On the bosoms of the trees.
All ignorant we dared to own
The joys we now dissemble;
The greenfinch on the apple bough
Could make my enemies tremble.
But girl’s bellies and apricots,
Roach in a shaded stream,
Horses, ducks in flight at dawn,
All these are a dream.
It is forbidden to dream again;
We maim our joys or hide them:
Horses are made of chromium steel
And little fat men shall ride them.
I am the worm who never turned,
The eunuch without a harem;
Between the priest and the commissar
I walk like Eugene Aram;
And the commissar is telling my fortune
While the radio plays,
But the priest has promised an Austin Seven,
For Duggie always pays.
I dreamt I dwelt in marble halls,
And woke to find it true;
I wasn’t born for an age like this;
Was Smith? Was Jones? Were you?
Commentary
This appears in a new collection and their is a witty comment at https://www.theguardian.com/books/shortcuts/2015/nov/04/love-george-orwell-never-read-poems-poetry
It somehow reminds me of a favourite poem by Louis Mac Neice in its energetic and upbeat tempo- Bagpipe Music. Perhaps it is not surprising that Mac Neice sounds so much like Auden-but it certainly surprised me!
ALEXANDER KANOLDT
Even more fascinating work!!!

































































