Gustav Wunderwald’s Paintings of Weimar Berlin – The Public Domain Review
►https://publicdomainreview.org/2017/05/31/gustav-wunderwalds-paintings-of-weimar-berlin
Gustav Wunderwald’s Paintings of Weimar Berlin
The Berlin of the 1920s is often associated with a certain excess and decadence, but it was a quite different side of the city — the “sobriety and desolation” of its industrial and working-class districts — which came to obsess the painter Gustav Wunderwald. Mark Hobbs explores.
Je ne le connaissait pas encore, alors #merci de me l’a fait découvrir !
▻https://de.wikipedia.org/wiki/Gustav_Wunderwald
et surtout
▻https://commons.wikimedia.org/wiki/Category:Gustav_Wunderwald?uselang=de
L’attribution géographique dans le titre est erronée - il s’agit de la Gartenstraße, le regard du peintre est orienté vers l’ouest . Le mur sur la gauche fait partie de l’enceinte de la gare Stettiner Bahnhof . En 1961 les bâtisseur du mur de Berlin l’ont incorporé dans leur fortification antifasciste. On peut le regarder dans le film Lola rennt juste avant la disparition des signes de cette époque désormais historique. Le pont derrière le pont sur le tableau est tombé en ruines entre 1961 et 1990 au point où seulement le train militaire francais entre Tegel et Strasbourg l’empruntait encore une fois par semaine.
En 2019 les maisons de la Gartenstraße à droite ont disparu après les bombardements de 1944/45 et la déstruction des anciens immeubles pendant la modernisation du quartier à partir des années 1960. A l’endroit de l’immeuble sur la droite se trouve une tour d’habitation et l’immeuble au coin de la Scheringstraße a fait place au point rond qui a remplacé le carrefour.
▻https://berlin.kauperts.de/Strassen/Gartenstrasse-10115-13355-Berlin
Ehemaliger Bezirk Nr. 1-27, 87-115 Mitte, Nr. 37-65 Wedding
Alte Namen Hamburger Landwehr (Mitte 18. Jh.- 1801)
Name seit 18.2.1801
Nach den ausländischen Gärtnerfamilien, die hier auf Befehl König Friedrichs II. nach 1770 angesiedelt wurden.
Am 21.4.1770 befahl König Friedrich II., der Große, daß hier ausländische Gärtnerfamilien angesiedelt werden sollen. Durch Grundbriefe vom 25.3.1772, ausgestellt von der Kurmärkischen Kriegs- und Domänenkammer und vom König selbst bestätigt, erhielten zuerst zehn Gärtnerfamilien je ein Haus und vier Morgen (etwa einen Hektar) Land.
Die Straße wurde, wie die Acker-, die Berg-, die Brunnen- und die Invalidenstraße, um 1752 angelegt. Sie hieß ab Mitte des 18. Jahrhunderts Hamburger Landwehr. 1801 erbaten Anwohner vom Polizei-Direktorium die offizielle Benennung der Straßen in der Rosenthaler Vorstadt, die auch erfolgte. Am 6. April 1833 wurde die Verlängerung der Gartenstraße ebenfalls Gartenstraße benannt. 1881 forderten Anwohner den Namen Humboldt-Straße. Dieser Antrag wurde jedoch abgelehnt.
Gartenstraße (Berlin-Mitte) – Wikipedia
▻https://de.wikipedia.org/wiki/Gartenstra%C3%9Fe_(Berlin-Mitte)#18._Jahrhundert
Bei der Besiedlung des Gebietes wurde neben der Brunnenstraße, der Ackerstraße und der Bergstraße auch die Gartenstraße angelegt, damals nur ein Sandweg, der zunächst als Hamburger Landwehr bezeichnet wurde. Im Jahr 1772 ließ der König im Gebiet der Gartenstraße zehn Gärtnerfamilien aus Sachsen ansiedeln, die unentgeltlich Haus, Hof und vier Morgen Land erhielten, jedoch mit der Verpflichtung, die Sandwüste zu begrünen und Obstkulturen anzulegen. Ihren Namen erhielt die Straße am 18. Februar 1801, der sich auf die hier nun wohnenden Gärtnersfamilien bezog.
#Berlin #Gesundbrunnen #Gartenstraße #Ackerstraße #Liesenstraße #Scheringstraße #S-Bahn #mur
Ogawa Kazumasa’s Hand-Coloured Photographs of Flowers (1896) – The Public Domain Review
▻https://publicdomainreview.org/collections/ogawa-kazumasas-hand-coloured-flower-collotypes-1896
RP-F-2001-7-1557B-1-edit
The stunning floral images featured here are the work of Ogawa Kazumasa, a Japanese photographer, printer, and publisher known for his pioneering work in photomechanical printing and photography in the Meiji era. Studying photography from the age of fifteen, Ogawa moved to Tokyo aged twenty to further his study and develop his English skills which he believed necessary to deepen his technical knowledge. After opening his own photography studio and working as an English interpreter for the Yokohama Police Department, Ogawa decided to travel to the United States to learn first hand the advance photographic techniques of the time. Having little money, Ogawa managed to get hired as a sailor on the USS Swatara and six months later landed in Washington. For the next two years, in Boston and Philadelphia, Ogawa studied printing techniques including the complicated collotype process with which he’d make his name on returning to Japan.
In 1884, Ogawa opened a photographic studio in Tokyo and in 1888 established a dry plate manufacturing company, and the following year, Japan’s first collotype business, the “K. Ogawa printing factory”. He also worked as an editor for various photography magazines, which he printed using the collotype printing process, and was a founding member of the Japan Photographic Society.
The exquisite hand-coloured flower collotypes shown here were featured in the 1896 book Some Japanese Flowers (of which you can buy a 2013 reprint here), and some were also featured the following year in Japan, Described and Illustrated by the Japanese (1897) edited by Francis Brinkley.
Grandville, Visions, and Dreams – The Public Domain Review
▻https://publicdomainreview.org/2018/09/26/grandville-visions-and-dreams
The poet Charles Baudelaire greatly admired the graphic arts, writing several essays about the major caricaturists and illustrators of his day. He found something positive to say about each of them with one exception, the artist Jean-Ignace-Isidore Gérard, known simply as Grandville (1803–1847). And yet, despite Baudelaire’s antipathy, Grandville is arguably the most imaginative graphic artist of the nineteenth century, as well as the most influential on subsequent generations. Baudelaire was well aware of Grandville’s gifts, but his aversion was that of a true classicist:
There are superficial people whom Grandville amuses, but as for me, he frightens me. When I enter into Grandville’s work, I feel a certain discomfort, like in an apartment where disorder is systematically organized, where bizarre cornices rest on the floor, where paintings seem distorted by an optic lens, where objects are deformed by being shoved together at odd angles, where furniture has its feet in the air, and where drawers push in instead of pulling out.1
Baudelaire’s comments were perceptive: these are the very characteristics that, while making him uncomfortable, appealed to the next century’s surrealist artists and writers who saw in Grandville a kindred spirit who shared their interest in the uncanny, in the dream state, and in the world of imagination.
The work of a graphic artist was always collaborative, undertaken at the behest of a publisher. Graphic artists worked mostly on commission; paid by the piece, they considered themselves fortunate if contracted to produce all the drawings for one of the richly illustrated editions that were so popular with nineteenth-century audiences. The standard procedure was that the artist provided the drawing, which would then be translated into an incised wood engraving, printed and hand-colored by specialists. Grandville did his share of these commissioned works, producing illustrations for Don Quixote, Gulliver’s Travels, and Robinson Crusoe, among others, but because of this expensive and time-consuming production process, graphic artists were rarely allowed to follow their own inclinations. Nonetheless, Grandville’s most inventive work did just that, departing from the conventional understanding of illustration as subservient to text; Grandville’s drawings stand alone.
Class of 2016 | The Public Domain Review | Otto Neurath est monté dans le domaine public l’année dernière...
▻https://publicdomainreview.org/collections/class-of-2016
Top Row (left to right): Le Corbusier; Malcolm X; Winston Churchill
Middle Row (left to right): Paul Valéry; Käthe Kollwitz; Béla Bartók; Blind Willie Johnson
Bottom Row (left to right): T. S. Eliot; Lorraine Hansberry; Martin Buber; #Otto_Neurath
Pictured above is our top pick of those whose works will, on 1st January 2016, be entering the public domain in many countries around the world. Of the eleven featured, five will be entering the public domain in countries with a ‘life plus 70 years’ copyright term (e.g. most European Union members, Brazil, Israel, Nigeria, Russia, Turkey, etc.) and six in countries with a ‘life plus 50 years’ copyright term (e.g. Canada, New Zealand, and many countries in Asia and Africa) — those that died in the year 1945 and 1965 respectively. As always it’s a sundry and diverse rabble who’ve assembled for our graduation photo – including two of the 20th century’s most important political leaders, one of Modernism’s greatest poets, two very influential but very different musicians, and one of the most revered architects of recent times.
To New Horizons (1940) | The Public Domain Review
▻https://publicdomainreview.org/collections/to-new-horizons-1940
The film is just amazing.
Promotional film from General Motors created to champion their “Highways and Horizons” exhibit at the 1939-40 New York World’s Fair. The film presents a vision of the future, namely of 1960 seen through the eyes of those living in 1940, and imagines the world of tomorrow which the narrator describes as “A greater world, a better world, a world which always will grow forward”. The 1939-40 New York World’s Fair was the first to focus on the future and the General Motors’s Futurama exhibit consisted of a ride carrying 552 people at a time and showing a diorama designed by Norman Bel Geddes wherein the roads and city planning of the future include elevated pedestrian walkways as well as highways with 7 lanes for cars traveling at different speeds. The exhibit was a hit and easily became the most popular event among the visitors as the promise of a brighter future was welcomed by the Americans who had experienced the Great Depression. Of course, the next five years — which saw war rage across the world on an unprecedented scale — would bring anything but this utopian vision.
Gustav Wunderwald’s Paintings of #Weimar #Berlin | The Public Domain Review
►https://publicdomainreview.org/2017/05/31/gustav-wunderwalds-paintings-of-weimar-berlin
Je viens de découvrir cet artiste magnifique, je partage l’émotion.
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The Berlin of the 1920s is often associated with a certain excess and decadence, but it was a quite different side of the city — the “sobriety and desolation” of its industrial and working-class districts — which came to obsess the painter Gustav Wunderwald. Mark Hobbs explores.