Search results for ""Otto""

Dem ersten König von Griechenland, Otto Friedrich Ludwig von Wittelsbach (1815–1867), ist das Otto-König-von-Griechenland-Museum in der ebenfalls nach ihm benannten Gemeinde Ottobrunn zugeeignet. Die beeindruckenden kunst- und kulturhistorischen Bestände widmen sich dem europäischen Philhellenismus und dem griechischen Freiheitskampf von 1821 bis 1829. Kunstvolle Objekte, die Ausdruck von Leben und Wirken des Namenspatrons sowie der bayerisch-griechischen Beziehungen im 19. Jahrhundert sind, bilden einen Sammlungsschwerpunkt. Die originalen Ausstattungsstücke aus dem persönlichen Besitz Ottos, Sohn des bayerischen Königs Ludwig I., und seiner Gemahlin Amalie vom griechischen Hof in Athen stellen dabei einen besonders kostbaren Teil dar. Ölgemälde, Aquarelle und Graphiken von Künstlern wie Leo von Klenze, Friedrich von Gärtner, Peter von Heß, Carl Wilhelm von Heideck, Georg Christian Perlberg, Karl Friedrich Schinkel und Carl Rottmann bereichern die Bildergalerie des Museums.

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Die nationalsozialistische Kunstpolitik prangerte Otto Dix (1891-1969) und sein veristisches Werk als »sittlichkeitsgefährdend« und »den Wehrwillen des deutschen Volkes beeinträchtigend« an. Als Reaktion wandelte sich Dix zu einem Maler, der motivisch und stilistisch zwischen Konservatismus und kritischer Stellungnahme oszillierte und trotz Verfemung nach Anerkennung suchte. Dieser erzwungene künstlerische Umbruch führte auch zu »verborgenen«, teils subversiven, teils widersprüchlichen Ikonografien, denen sich das vorliegende Buch widmet. Analysiert wird die Kunst des Malers vor dem Hintergrund der kunstpolitischen Entwicklungen in Deutschland von der Weimarer Republik bis in die Nachkriegszeit; sämtliche Gattungen – Landschaften, Porträts und (christliche) Figurenbilder – werden betrachtet.

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Text in German & English. When the stadium for a "Workers Olympiad" -- one of the most beautiful complexes in Europe, as the daily press put it -- was opened in 1931 on the occasion of the 10th anniversary of the Republic of Austria on the Prater site in Vienna, Otto Ernst Schweizer, the architect, was suddenly catapulted into the ranks of internationally acclaimed architects. The stadium, which can seat 60,000, was built as an amphitheatre on the model of its ancient predecessors, in particular the Colosseum in Rome, which Schweizer had studied intensively; the Viennese stadium seen as a reinterpretation of the enormous Roman structure on the basis of the constancy of things that were valid, which was one of the basic premises of his architecture. Otto Ernst Schweizer, born in 1890, and thus of the same generation as Le Corbusier, Hans Scharoun, Erich Mendelsohn and Ludwig Mies van der Rohe, had attracted attention even as a young architect with some outstanding competition entries, and was acclaimed for his planetarium on the periphery of the old town in Nuremberg and for the stands and the two cafés of the stadium complex there. He had left municipal service as an Oberbaurat to dedicate himself to planning and realizing the Milchhof in Nuremberg and also the stadium in Vienna. For thirty years he worked as one of the great teachers and researchers in the architecture faculty of the Technische Hochschule in Karlsruhe. He built -- after a long break forced upon him by National Socialist culture policy -- the II. Kollegiengebäude for Freiburg University. This was his last building, and once again Schweizer's approach to form and function was concentrated in it, almost as the quintessence of a rich creative life. And what remains of the stadium, this most beautiful complex in Europe, as has been said? The landscape around it has been wrecked and allowed to fray into randomness and Schweizer's reflecting lake in front of the arena has been filled in. The arena itself has been enlarged by almost double its appropriate cubature and its height increased, so generally it has changed to such an extent that the original is unrecognisable; hence this book.

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BREAKING THE CODE: OTTO PREMINGER VERSUS HOLLYWOD'S CENSORS: PLUS: CODE BLUE, A PLAY BY ARNIE REISMAN & NAT SEGALOFF

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Otto Fried was born in Koblenz in 1922. Due to the emerging anti-Semitism in Germany, his family sent him to the United States, where he arrived in Portland, Oregon, United States in 1936. In 1943 he joined the U.S. Army Air Corps and was deployed to various theatres of war in India, China and Burma. Upon his return, he enrolled in the Art and Architecture Department at the University of Oregon in 1947. At the end of 1949 he travelled to France to work with Fernand Léger, in whose studio he worked for two years. In 1951 he received his first solo exhibition in the American Library in Paris. Works by him were shown in New York as early as 1952. The Metropolitan Museum of Art, NY, bought a monotype for the permanent collection in 1960. The exhibition catalogue offers an overview on Otto Fried’s career: works from the early days (1950s), which are presented with a few oil paintings and almost cubist-like drawings, form the foundation of an almost exclusively abstract visual language that the artist developed later. Compositions based primarily on cosmic disks and circles, of which Fried formulates numerous variations that are very lively in colour. This creates interweaving of depth and space, of a mostly melodic sound, which he concentrates in the center of the picture and allows it to subside towards the edges. Some sculptures expand the view of his work, which is multifaceted and varied to the present day. Text in English and German.

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Federico Fellini's masterpiece 8 1/2 (Otto e mezzo) shocked audiences around the world when it was released in 1963 by its sheer auteurist gall. The hero, a film director named Guido Anselmi, seemed to be Fellini's mirror image, and the story to reflect the making of 8 1/2 itself. Whether attacked for self-indulgence or extolled for self-consciousness, 8 1/2 became the paradigm of personal filmmaking, and numerous directors, including Fassbinder, Truffaut, Scorsese, Bob Fosse and Bruce LaBruce, paid homage to the film and its themes of personal and creative ennui in their own work. Now that 8 1/2's conceit is less shocking, D.A. Miller argues, we can see more clearly how tentative, even timid, Fellini's ground-breaking incarnation always was. Guido is a perfect blank, or is trying his best to seem one. By his own admission he doesn't even have an artistic or social statement to offer: 'I have nothing to say, but I want to say it anyway.' 8 1/2's deepest commitment is not to this man (who is never quite 'all there') or to his message (which is lacking entirely) but to its own flamboyant manner. The enduring timeliness of 8 1/2 lies, Miller suggests, in its aggressive shirking of the shame that falls on the man – and the artist – who fails his appointed social responsibilities.

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Text in English and German. Otto Ernst Schweizer (1890-1965), architect, philosopher and teacher, had a crucial effect on the path of Modern architecture. When the central dairy in Nuremberg was finished in 1931 it was the largest complex of its kind in Europe and was seen by critics as a work that deserved the rank of prototype.

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Otto es el mejor perro cartero de la ciudad, ayúdale a repartir sus paquetes! Busca al destinatario de cada paquete y luego encuentra los objetos escondidos en unos dibujos apretujados de cosas.Un libro lleno de sorpresas y abarrotado de detalles fascinantes y divertidos que te hipnotizará y te hará reír durante horas. Si te gustó buscar a Wally entre los miles de paisajes que ideó Richard Scarry, este es tu libro!

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The Flying Man – Otto Lilienthal, the World’s First Pilot Here is the little-known history of Otto Lilienthal, a daring man whose more than 2,000 successful flights inspired the Wright Brothers and other aviation pioneers. In 1862, balloons were the only way to reach the sky. But 14-year-old Otto Lilienthal didn’t want to fly in balloons. He wanted to soar like a bird. Scientists, teachers, and news reporters everywhere said flying was impossible. Otto and his brother Gustav desperately wanted to prove them wrong, so they made their own wings and tried to take flight. The brothers quickly crashed, but this was just the beginning for Otto, who would spend the next 30 years of his life sketching, re-sketching, and building gliders. Over time, Otto’s flights got longer. His control got better. He learned the tricks and twists of the wind. His flights even began to draw crowds. By the time of his death at age 48, Otto had made more than 2,000 successful glider flights. He was the first person in history to spend this much time in the air, earning the title of the world’s first pilot and paving the way for future aviation pioneers. Beautifully illustrated - this books will absorb you into the story with fascination, excitement and ease!

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An architect, philosopher, and teacher who had a crucial effect on modern architecture.

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Frei Otto ist einer der innovativsten deutschen Architekten der zweiten Hälfte des 20.Jahrhunderts. Er lehrte am MIT in Cambridge, bevor er 1964 in Stuttgart das Institut für leichte Flächentragwerke gründete, ein Forschungsinstitut mit Weltruf. Seine intensive Beschäftigung mit der Natur und das Studium der Naturformen haben ihn sinnvolle Strukturen entwickeln lassen, die sich – erarbeitet in zahllosen Experimenten am Modell – aus den Gegebenheiten bildeten und nie dem Gebäude auferlegt wurden. Zu seinen Hauptwerken gehören der Deutsche Pavillon für die Weltausstellung 1967 in Montreal; das Münchner Olympiadach (mit G.Behnisch), die Ökohäuser der IBA 1985 in Berlin, zahlreiche Zeltbauten für Saudi-Arabien, temporäre Zelt- und Schirmkonstruktionen, z.B. für die «Pink Floyd»-Tournee 1977, Mitarbeit am japanischen Pavillon für die EXPO 2000 in Hannover und am Großprojekt Hauptbahnhof Stuttgart In Einzelkapiteln werden die wichtigen Aspekte seines Schaffens von namhaften Autoren diskutiert, ferner beinhaltet das Buch ein ausführliches Werkverzeichnis der 200 Bauten und Projekte aus den Jahren 1951 bis 2004.

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Esta es la historia de Otto, un pequeño perro que cada primavera recorre el camino del muro hasta su campo de fresas para disfrutar de la deliciosa fruta. Pero un día, encuentra una enorme piedra en el camino que le impide el paso. Primero, se enfadó con la piedra, pero la piedra no se movió, se enfadó con la montaña, se enfadó con su suerte, con el mundo! Gritó, se quejó y pataleó... hasta que se cansó y fue capaz de ver mucho más allá de la piedra que le impdedía el paso. Un álbum sobre cambiar la perspectiva y hacer de los obstáculos un medio para encontrar nuevos caminos. Un divertido álbum, tierno, sencillo. Porque a veces para superar los problemas solo necesitamos un pequeño cambio de actitud. Un libro sencillamente inspirador.

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Otto Normal and his mom have moved to Monsterton, but there’s one problem—they’re not monsters. In this first book of the hauntingly beautiful and highly illustrated Monsterton series with graphic novel pages interspersed throughout, Otto and his friends embark on a journey to find the legendary White Pine Beach. But the friends find much more than they bargained for when one of their own goes missing . . . possibly forever.In this hauntingly delightful, highly illustrated first book in a new series, eleven-year-old Otto and his mom move to Monsterton, a gorgeous island on the border of the Belcarra forest and a mysterious place called The Dark. Monsterton is picturesque and beautiful; it's an idyllic place for monsters to be themselves. There's Hamish and his brother Ben, who have been created and sewn together by their pirate father; the royal vampires, Red and Rose, who are followed around by their dutiful guards; Remi, a g

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A portrait of the Finnish immigrant experience in Minnesota during the early twentieth century—now in paperback After journeying across the Atlantic with his mother and two sisters, young Otto Peltonen joins his father in the iron ore mines of northern Minnesota, experiencing the harsh labor conditions that were common at the time, as mining companies cared more about making a profit than for their workers’ safety. Writing in his journal about his family’s struggles and the hard life Finnish immigrants endured in the early twentieth century, Otto ultimately strengthens his resolve to find the freedom his family had first sought in America.

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Mei 1468: na de voltooiing van zijn Laatste Avondmaal voor de Sint-Pieterskerk kreeg Dieric Bouts (†1475) van het stadsbestuur de opdracht om nieuwe schilderijen te maken, bestemd voor het stadhuis. Het betreft een triptiek met Het Laatste Oordeel en vier panelen met het verhaal van De Gerechtigheid van keizer Otto III. Van die vier Gerechtigheidspanelen werden er slechts twee afgeleverd: De Vuurproef met de gravin-weduwe die Bouts zelf in 1473 voleindigde en De Onthoofding van de graaf die pas na zijn dood in 1482 werd afgewerkt.Het verhaal van de Gerechtigheid werd zo’n 180 jaar na het overlijden van de Rooms-Duitse keizer Otto III (980-1002), door Godfried van Viterbo (†ca 1196) vastgelegd in een lang Latijns gedicht. Vier personages raken er verwikkeld in een rechterlijke dwaling: keizer Otto, zijn gemalin Maria, een Italiaanse graaf en diens echtgenote. De graaf die deavances van de manzieke keizerin afwijst, wordt uit wraak door haar valselijk beschuldigd en onthoofd. Zijn onschuld wordt later door zijn weduwe met de vuurproef aangetoond. Voor haar valse aantijging en haar losbandig gedrag belandt de keizerin op de brandstapel. Het thema heeft talrijke auteurs geïnspireerd: tientallen Latijnse, Duitse en Franse versies die in handschriften en zeldzame drukwerken circuleren, zijn in dit boek opgenomen en voor het eerst van een Nederlandse vertaling voorzien. Het originele Gerechtigheidsdiptiek van Bouts werd in 1827 aan de Nederlandse koning Willem I verkocht, maar keerde in 1861 naar België terug. De kopieën die in het Leuvense stadhuis hangen dateren van 1888/89. Al die wetenswaardigheden, evenals de figuur van Dieric Bouts, zijn werkomgeving en zijn werkrelatie met stadsschilder Hubrecht Stuerbout, worden aan de hand van meerdere archiefstukken uit het Leuvense stadsarchief ruim toegelicht.

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Vuelve el perro cartero más famoso del mundo!Después del gran éxito del primer volumen, Otto está más ocupado que nunca y tiene que entregar nuevos paquetes, encontrar a sus destinatarios y localizar objetos escondidos en divertidos escenarios abarrotados de cosas.Heredera del creador de "Dónde está Wally?, Martin Handford, Tor Freeman nos propone un libro lleno de detalles fascinantes y divertidos que hipnotizarán a grandes y pequeños y te harán reír durante horas y horas.

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Entramados mercantiles, diplomáticos deshonestos, militares conspiradores, agentes secretos sin principios, traficantes de armas, periodistas filonazis. todo ello conforma el caldo de cultivo que se dio en España tras la derrota de los fascismos europeos. Tramaron los nazis su resurgimiento a través de células clandestinas fuera de Alemania? Qué papel jugó España en la ayuda a fugitivos nazis? Tuvieron sus conspiraciones alguna opción de éxito? Cómo evolucionó el nacionalsocialismo en nuestro país? Está aún presente el legado de esos ?refugiados??El periodista Francisco José Rodríguez de Gaspar ha tratado de dar respuesta a éstos y otros muchos interrogantes en una investigación cargada de documentación que tiene al coronel de las SS Otto Skorzeny como protagonista. El denominado por los norteamericanos como ?hombre más peligroso de Europa? vivió tranquilamente en España al terminar la Segunda Guerra Mundial. Nunca fue reclamado por sus crímenes y jamás se arrepintió de su pasado. N

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Torna el gos carter més famós del món!Després del gran èxit del primer llibre, l'Otto està més enfeinat que mai i ha de lliurar nous paquets, enxampar els seus destinataris i trobar els objectes amagats en divertits escenaris atapeïts de coses.Hereva del creador de "On és Wally?", Martin Handford, Tor Freeman ens proposa un llibre ple de detalls fascinants i divertits que hipnotitzaran a gran i petits i et faran riure durant hores i hores.

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Schon immer gehören zum Wesen der Religion auch Momente, die an Angst erinnern. Peter Schüz verfolgt in seiner theologischen Studie zum Verhältnis von Angst und Religion eine Spurensuche zu jenen Momenten religiösen Erlebens, die in der Religionsgeschichte seit Jahrtausenden als Gottesfurcht und heilige Scheu überliefert werden. Im Rekurs auf das Werk des Theologen und Religionsphilosophen Rudolf Otto lassen sich jene Grundmotive religiösen Fühlens als Begegnungen mit dem "mysterium tremendum", mit dem ehrfurchterregenden Geheimnis des Göttlichen beschreiben, die sich von gewöhnlicher Angst auf eigentümliche Weise unterscheiden. Dahinter steht die Skizze einer theologischen Frömmigkeitstheorie, die von den Ausdrucks- und Darstellungsformen der Religion auf die Urgründe religiösen Erlebens zu schließen versucht.

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