Monsieur Kurt: neue Minitauren von der blauen Küste (German Edition)

Bartles [1] Gielen M.: Echos I [5] Sotelo M.: Bartles [1] Haubenstock-Ramati R.: Sonate in F-Dur op. Minuetto [3] Brahms J.: Allegretto grazioso [4] Cornick M.: Rrrondo [4] Liebermann R.: Essai 81 [4] Marcello-Bach: Sonate [5] Schubert F.: Allegretto grazioso [4] Skalkottas N.: Variable Besetzung Band 1: CD mit Live-Instrumenten aufgenommen. Aus Werken von J. Bach [3] Band II: Das Butterbrot, Grieg E.: Roelcke [1] Heft 1 Heft 2 Heft 3 Heft 4. Das Butterbrot, Couperin F.: Trio S, A, T [3]. Instrumentalmusik der Renaissance [3] Band 3: Brunner [2] Partitur und Stimmen Rivander P.: Waiting for a Bus.

Continuo und Violoncello oder Gambe ad lib. Concerto in d-Moll op. Sonata in c-Moll op. If Musick be the Food of Love. Sonate f-Moll TWV Sequenza I [5] Boulez P.: Mit Werken von Hindemith, J. Fit for the Flute: Mit Werken von V. Ein Fest in Wien. Joppig [2] Kuhlau F.: Braun [2] UE Panufnik R.: Duets for Storab [4] Blavet M.: Duette nach Werken von J.

Jahrhunderts Clardy [] Corelli A.: Haupt- und Residenzstadt Wien. Musik der Renaissance 2: Stolba [2] Grieg E.: Stolba [2] Guyonnet J.: Jahrhundert Petrenz Band 1: Adagio B-Dur nach dem 2. Pelleas und Melisande op. Hotteterre le Romain J.: Strom [] CD mit Live-Instrumenten aufgenommen. Notturno aus dem 2. Klarinette B ad lib. Clarinet Album Mit bekannten Werken wie: Konzert KV A-Dur. Eine Anleitung von James Rae. Allegro Feroce [] Bach J.

Andante e Rondo ungarese op. Graf [2] CD mit Live-Instrumenten aufgenommen. B und C Trompetenstimme Stockhausen K.: Dialog per trombone solo e sette esecutori Posaunenstimme in Bearbeitung von Christian Lindberg und Alfred Schnittke [5]. America mit CD Inhalt: Christmas mit CD Inhalt: With this series we want to give young musicians the opportunity to familiarize themselves with music cultures from all over the world.

It is of particular importance to us to present, by example, traditional folk music from various countries in authentic arrangements as well as pieces which were composed especially for this series. Rhythms, styles and instruments typical of a certain country are explained in short texts. The pieces are intended for modern ensemble instruction, in flexible instrumentation, and, thus can be employed in a variety of ways. Aside from a play-along version, the CD also contains an ensemble version with instruments typical of the respective style of music. UE UE Stimme in B Klarinette, Trompete, Saxophon u.

This series is for those teachers who want to encourage their pupils at an early stage to play in ensembles. Because titles have been carefully selected with their age group in mind, young musicians will be motivated right from the start to take part. La musique en groupe fait plaisir!

Vom Violinduett bis zum Streichorchester. Akt, Im Feuerstrom der Reben Birch [2]. All parts, including for the piano, are at level 2. Die leichten, schmissigen Arrangements sind in jeder denkbaren Kombination von Instrumenten spielbar. Our new series is designed particularly for the needs of the ensemble work in music schools. Violine Radanovics [2] Partitur und Stimmen.

Stimme 1 in C: Klarinette Stimme 2 in C: Klarinette Stimme 3 in B: Klarinette, TenorSaxophon Stimme 3 in Es: Alt-Saxophon Stimme 4 in C: Fagott Stimme 4 in B: Klarinette Stimme 4 in B: Andante aus der Symphonie Nr. A Guide to making Chamber Music Together.

Parvula corona musicalis ad honorem B. Streichtrio Partitur Stimmensatz Neuwirth G.: Essays zu einer Autobiographie, Nr. Streichtrio Studienpartitur Stimmensatz Schubert F.: Steuermann [5] Partitur und Stimmen Schostakowitsch D.: Concerto per due violini, viola e violoncello, Tp Cerha F.: Lyrisches Streichquartett, Partitur Rihm W.: Satz aus dem Streichquartett op.

Streichquartett, Tp Stimmensatz Schuller G.: Streichquartett, Tp Skalkottas N.: Ten Sketches for Strings. Streichquartett [4] Taschenpartitur Stimmensatz Webern A.: Vester , Partitur und Stimmen. Petite Suite Gauloise op. Partitur Klavierauszug und Stimmen leihweise. Musica da camera Picc. Klavierpart Taschenpartitur Stimmensatz ohne Klavierstimme. Vl 1, Hn, Kl 2. Der Wind nach einer Dichtung von J. Orgel und 2 Piccolofl. Partitur Stimmen leihweise Webern A.: Some Stars Above Magnitude 2.

Canzoni Popolari italiani, it. Kertsman, Cantiga de Ninar; R. Die stille Stadt; E. Das Grab des Hafis op. Hochroth, Ist alles stumm und leer. Auf der Campagna, m. Mein blaues Klavier, Sopran Nick E.: The Sorriest Cow of Capricorn op. Ore dolci e divine, h. La Canzone di Doretta, h. Cradle Song Wiegenlied op. Satz Litanei George , h. Ich darf nicht, m. In diesen Wintertagen, h. So tanzen die Engel, m. Du wunderliche Tove, m. Lied der Waldtaube, m. Aus den sieben Tagen dt. Bunte Lieder 22, h. Zwei Lieder Uray E.

Lieder aus der Jugendzeit. Chansons Italiennes, Sopran, Fl. Partitur Stimmensatz Feldman M.: Sopran, Frauenchor ad lib. Streichorchester, Partitur Gaslini G.: Partitur und Stimmen Halffter C.: Samuel Beckett 2 Frauen u. Partitur deutsche Fassung, Partitur. Marienlied As-Dur; Schreker F.: Stimme und Orgel Monteverdi C.: From the Tibetan Book of the Dead Sopran, gem.

A minden-titkok titka, Solokantate Sopran, Fl. Celesta , Vibraphon, Frauenst. Herzog Blaubarts Burg, d. The Rime of the Ancient Mariner, Schuloper, e. Ein ZauberLustspiel von W. Te deum Schalk , lat. Te deum Kolneder , lat. Songs of Sunset, d. Heimkehr des verlorenen Sohnes, d. Der neue Orpheus op. German text only, unless otherwise indicated. Jenufa Mackerras, Brod , tsch.

Griechische Passion Milhaud D.: Vieira de Carvalho, U. Konzeption eines Wiener Operntheaters, in: Aber ich wollte keinen Film machen, der die Finanzkrise kommentiert. Als ich vor Jahren anfing das Drehbuch zu schreiben, war die Wirtschaft noch am Boomen. Aber es ist nicht meine Aufgabe, den Leuten zu sagen, was sie denken sollen. Das macht Michael Moore ja schon. Ich will Filme machen, die Fragen stellen und die Zuschauer bewegen.

Am Anfang hatte ich die Entlassungsszenen als Satire geschrieben. Aber mir war klar, dass ich selbst nicht die notwendige Lebenserfahrung hatte, um diesen Szenen die notwendige Wahrhaftigkeit zu verleihen. In letzter Zeit konzentriert sich die Schauspielerin auf kleine Filme aus Frankreich, zuletzt bei So viele Jahre liebe ich dich. Er soll einen Schuppen neben Suzannes Haus herrichten. Suzanne folgt ihrem Herzen und zieht zu Ivan.

Sie konstruiert ganz unaufgeregt einen kleinen Mikro-. Und so entwickelt der sonnendurchflutete Film einen gewissen Sog, in den einen Suzannes konsequentes Verhalten zieht. Mit ihnen drehe man in dieser Weltstadt eine Handvoll Kurzfilme, in denen es vor allem um eines gehen soll: Nun also New York.

Hier trifft man auf ein seit Urzeiten verheiratetes Ehepaar, das nicht mit- aber auch nicht ohneeinander kann. Hier wird ein Komponist zum Dostojewski-Lesen verdonnert, hier nimmt ein junger Mann eine Rollstuhlfahrerin mit zum Abschlussball. Um so ein Projekt zu stemmen, mussten sich die Filmemacher an strenge Auflagen halten: Das Grauen beginnt im zarten Alter von 19 — und wird fortan nur schlimmer.

Auf dem Weg zur Feier ihres Geburtstag einer Freundin, um verschiedene Altersstufen und Lebensphasen samt ihrer speziellen Haltungen einzubinden. Zudem wirkt das Szenario oft konstruiert, ist der Film allzu gediegen, harmlos und vorhersehbar. Der Titel ist bitterste Ironie. Denn willkommen ist die Hauptfigur Bilal in Frankreich keineswegs. Bilal ist irakischer Kurde auf der Flucht.

Dort, meint er, wartet seine Verlobte auf ihn. Das scheint seine einzige Chance. Nur — Bilal hat Schwimmen nie gelernt! In einem Hallenbad lernt er bei autodidaktischen Schwimmversuchen den grimmigen Bademeister Simon kennen. Gut recherchiert und genau beobachtend. Bademeister Simon ist ein Seelenverwandter zu Bilal. Politisch ist er zwar in Frankreich zu Hause. Noomi Rapace, Michael Nyquist; min. Es ist der, der Simons Hilfe an einen Illegalen an die Polizei verraten wird. Firat Ayverdi, Vincent Lindon; min. Kino ABC ab Wolfgang Reitherman; 78 min.

Chris Miller, Phil Lord; Animationsfilm; 90 min. Animationsspass auch in 3-D. Kino in der Brotfabrik. Die Lebensgeschichte des Rappers Bushido wird von ihm selbst gespielt. Max Manus Norwegen ; Regie: Joachim Ronning, Espen Sandberg; D.: Uma Thurman, Pierce Brosnan. Doch als man ihm nachsagt, dass er der Sohn des Meeresgottes Poseidon ist, wird es in seinem Leben phantastisch.

Der Fantasynachfolger von Harry Potter. Armored USA ; Regie: Matt Dillon, Jean Reno; 99 min. Das doppelte Lottchen Deutschland ; Regie: Getrennt wuchsen sie bei den geschiedenen Eltern auf. Nun hecken sie einen Plan aus Papa und Mama wieder zusammenzubringen. Muzika Slowakei ; Regie: In der Tschechoslowakei vor dem Umbruch will ein junger Ar-.

An Education GB ; Regie: Carey Mulligan, Olivia Williams. Das Drehbuch schrieb der britische Erfolgsautor Nick Hornby. Fly me to the Moon — 3D Belgien ; Regie: Gina Gallo, Domonic Paris; 88 min. Animationsspass in 3 D. Die Friseuse Deutschland ;Regie: Sandra Bullock; 99 min. Als albernes verliebtes Blondchen folgt eine total bekloppte Sandra Bullock einen Kameramann, der dauernd unterwegs ist. Nicolas Cage, Eva Mendes; min. Ein kleiner Junge verschwindet spurlos!

Moby Multiple Language Lists of Common Words by Grady Ward

Der erste knifflige Fall des Jungdetektivs Kalle und seiner Bande. Kultige Verfilmung des Astrid Lindgrenklassikers. Maschinen haben die Menschheit ausgerottet. Aber ein Mensch hat kurz vor seinem Ableben neun kleine Stoffwesen entwickelt. Invictus USA ; Regie: Morgan Freeman, Matt Damon; min. Gelungener Mischung aus Sport- und Politdrama. Benicio Del Toro, Emily Blunt. Diese Schauergeschichte aus viktorianischer Zeit "erfindet" die Legende vom Werwolf. Ewan McGregor, Pierce Brosnan. Bald schon ist sein Leben bedroht.

Leonardo Di Caprio, Mark Ruffalo. Marshal ermittelt ziemlich auf sich allein gestellt.

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Acht Personen in der ostdeutschen Stadt Wolfen. Zentral ist das Trio Simone, Anders und Robert. Simone und Anders sind ein Paar. Bis Anders die tristen Plattenbauten hinter sich lassen will und nach Amerika auswandert. Daneben gibt es noch Simones Bruder Micha.

Sie haben eine widerspenstige, cellospielende Tochter, Sarah, die sich auf Reisen in Anders verliebt. Der hat auf der schwedischen Insel Ven geforscht. Daher der Titel Heaven.

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Das kann Heaven leider nicht retten. Da helfen auch keine Videoprojektionen und Experimente mit dem Overheadprojektor. Aber vielleicht stimmt es ja. Ich bin einfach zu doof. Auch die Geschichte, die hinter dem Musikdrama steht, hat durchaus ihren Reiz. Wie weit darf der Homo sapiens in die Natur eingreifen? Steht einer von Menschenhand geschaffenen Kreatur das Privileg der Autonomie zu? Schon die Proben versprechen einen abwechslungsreichen und humorvollen Abend. Und dieses Versprechen halten die jungen Jecken auch.

So zeigt ein intelligenter Blick in unsere Zukunft, was wir zu erwarten haben, wenn die Bildungspolitiker weiter mit unseren Kindern herumexperimentieren: Session nichts im Wege steht. Weil sie es wagen, uns in unserer ureigensten Kernkompetenz was vorzumachen: Dat is Spass an der Freud, esu wie et sinn soll. Session des Pink Punk: Alle Vorstellungen sind ausverkauft. Es gibt aber an den Veranstaltungsabenden beim Theatereinlass jeweils ab Oktober ermordeten die Nazis im Zuchthaus Brandenburg dreizehn Menschen, die, wie Tausende in jenen Jahren, der Wehrkraftzersetzung oder des Hochverrats schuldig befunden worden waren.

Unter ihnen der Schriftsteller Axel Rudolph. Nur dass in Rudolphs Romanen, entsprechend den Regeln der so genannten Trivialliteratur, der Held am Ende eben nicht den Schurken unterliegt. Immer waren die Stories, die er wie nichts aus dem Hut zu zaubern vermochte, das Pfund, mit dem er wuchern konnte — und mittels dessen er es in den Jahren zwischen zu einem Autor mit Hunderttausender-Auflagen brachte.

Ein vorsichtiger Mann war er nicht. Zu laut seine Verachtung, zu prononciert zuletzt seine Abscheu wider Hitlers Terror. Dort, wo auch Rudolph von lebte, ist er dessen Geschichte n auf die Spur gekommen und hat daraus ein sehr spannendes und spannungsvolles Buch gemacht. Der Ire kann es ch bin nicht eines Morgens aufgewacht und habe gerufen: Gott will, dass ich ein Finder bin!.

Das ist doch Ihm so wurscht. Es gibt Gott und es gibt die irische Version. Die erlaubt es Ihm, nutzlos zu sein. Das aufregende Leben des Erfolgsschriftstellers Axel Rudolph. Was er findet, rechtfertigt mehr als nur einen Absturz. Das ist dichte, spannende Noir-Kriminalliteratur in Vollendung. Wie gesagt, Bruen ist Ire. Man sollte dort schleunigst eine Pinte nach ihm benennen. Comic Wechselbalg England im Eines Tages verschwindet ihr kleiner Sohn Peter spurlos. Die Familie folgt dem Strom in die Stadt, wo es harte, schlecht, aber immerhin bezahlte Arbeit in Londons Fabriken gibt.

Scrubby, wie der Wechselbalg gerufen wird, verliert seinen Vater im Arbeiteraufstand, die Mutter nimmt sich bald darauf das Leben. Scrubby und seine Schwester schlagen sich durch. Der Changeling muss zeigen, was in ihm steckt. Die Legende vom Changeling 1: Oder, wie der Untertitel sagt: Hier wird man auf das Lustvollste mit Spielereien rund um die deutsche Sprache konfrontiert.

Das Deutsche ist zwar nicht die schwerste Sprache auf der Welt, in der Oberliga spielt sie aber allemal mit… Doch sein Buch ist mehr als kluger Klamauk. Und find auch nicht, dass das a charaktadefizit is. Jede Sekunde stirbt ein Nichtraucher: Zwei Romane hat Alek Popov bislang geschrieben, Mission: London und Die Hunde fliegen tief, beide erhielten auch hierzulande positive Resonanz. Hier greift dann jener Vergleich mit Monty Python, den der Verlag werbestrategisch aufbietet.

Eines Tages muss er jedoch einsehen, dass es so nicht weitergehen kann. Bei dem Versuch, sein Leben endlich wieder in den Griff zu bekommen, ahnt Webster nicht, in welchen Schlamassel er sich mit seinem neuen Job begibt. Die Gewalt zieht ihn immer tiefer in ihren Sog. Bis zum Schluss bleibt es ein ideenreicher Thriller, bei dem man auch mal lachen kann. Keine Kohle ohne Kohle! Oder glaubt ihr, das wird hier mal so ne Art Kulturhauptstadt?

Eichborn , S. Roof Music , 2 CDs, Min. Neben solch assoziativen Auseinandersetzungen finden sich ganz konkrete Himmelsbilder wie die von Ulrike Arnold, die mit echtem Sternstaub aus Meteoritenkratern arbeitet. Rune Mields bezieht sich auf den Aspekt der kosmischen Unendlichkeit.

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Sie sieht weniger den Gegensatz objektive Forschung - subjektive Kunst als vielmehr die Gemeinsamkeiten. Dieses Zitat der CambridgeAsolventin Prof. April im Frauenmuseum Bonn, Im Krausfeld 10, di-sa , so h. Und bleibt dabei nicht im Abstrakten stecken: Palmstumpf, dessen Wedel scheinbar achtlos auf dem Boden verstreut liegen. Ist das jetzt naiv oder genial? Todestages James Cooks zu gedenken. Die dritte Expedition Cooks ist eine besondere. Anders als in den zuvor in Bonn gastierenden kulturhistorischen Ausstellungen Azteken, Thraker, Angkor etc.

Krankheiten, Ausbeutung und Versklavung waren die Folge. Im KV kann man sich einen Eindruck verschaffen, welche Ergebnisse die Lehrauffassung des engagierten Dahn aktuell zeitigt bis Deutsches Museum Bonn Ahrstr. Wie es Argelander und seinen Mitarbeitern gelang, die Positionen und Helligkeiten von Sternen allein mit einem Fernrohr, einer Uhr zu bestimmen, ist ein spannendes Kapitel Wissenschaftsgeschichte bis 5.

Hier bewahrte man antike Tradition und Gelehrsamkeit, hier wurzelt unser Rechtssystem. D Nicole Meyer-Habault Dieser war, in einer in Europa bis dahin einmaligen Einheitlichkeit, einem regen internationalen Austausch von Formen unterworfen. Die Schau konzentriert sich aber auf die Kerngruppe rheinischer Ma-. D Loriot — Die Hommage bis Die Auswirkungen auf den einzelnen Menschen stehen im Fokus der sehenswerten Schau bis 5. Arp-Allee 1, di-so u. D Hier und dort. Troisdorf Bilderbuchmuseum Burg Wissem Burgallee, di-so h, www.

Leben — sterben lernen, Sterben — leben lernen, Ausbildung als SterbebegleiterIn. Bar Scheck Briefmarken in kleinen Werten. Bar Scheck Rechnung Briefmarken Bankeinzug. Kostenloses Programmheft anfordern bei: Poppelsdorfer Allee 66, Bonn, Tel. Bilanzbuchhalterin verbucht Ihre lfd. Stiftsplatz 1, Bonn www. Berthavon-Suttner-Platz 19, Bonn, Tel.

Rufen Sie mich an! Konto Sparkasse Bonn. Neuer Tai Ji Kurs in Graurheindorf. Maximal 8 Teilnehmerinnen, kostenlose Schnupperstunde! Segeln, Surfen, Kajak, Wandern, Klettern u. Abenteuer Natur, Kinderferienprogramme, Natur-erlebnisgeburtstage. Auch Ferienabenteuer warten auf euch! Einzel- und Kleingruppenangebote auf Anfrage.

Randolph Stone Peter Rhiem, Dipl. Einzelstunden bei Shiatsu-Lehrer und Assistenten von Ohashi. Jeden Donnerstag 20 Uhr Bonn M. Auf Wunsch wird Gesang als Ressource einbezogen. Aulgasse 8, Siegburg, Tel.

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Wer bist du, im tiefsten Grunde deines Herzens? Heilkunst — Jin Shin Jyutsu, verschiedene Reflexzonenmassagen, psychol. Blankenbergweg 15, Bonn, Tel. Einzel- und Gruppenangebote auf Anfrage. Transpersonale Psychotherapie Spirituelle Krisen etc. Helmut Kames, Psychologischer Psychotherapeut. Baumhaus, Kunst- und Kulturinitiative e. Jetzt neu in Wachtberg-Holzem. Individueller Unterricht in kleinen Gruppen. Maler und Grafiker, Krahnhofstr. Absicherung, Geld-anlage , Lessingstr.

Jeden Dienstag 19 Uhr Anmeldung und Programminfo: Internationale Literatur, Politik und Geschichte, Kinder- u. Angst, Tinnitus Taichi-Quigong; Tanz u. Arbeitsrecht, Familienrecht, Mietrecht Tel. Lotus Tantra Sommerprogramm unter www. Koch Atem-, Sprech- und Stimmlehrerin , Tel. Schnauze voll von Konflikten? Dann sind Sie hier richtig! Seminare in Gewaltfreier Kommunikation nach M. Di-Fr , Sa Uhr. Farfalla Ein Spaziergang durch Formen u. Mo-Fr , Sa 8. Entspannen in klarer Luft und ruhiger Umgebung.

Angebote in der Nebensaison! Schirdewahn — Naturnaher Tourismus Siebengebirge: FeWo in den Belg. Zu jeder Jahreszeit auch ohne Segelkenntnisse. Am Hauptbahnhof 1, Bonn, Tel. Vom Reisebuch bis zum Lenkdrachen: Shuriryu-Karate ist mehr als Sport. Und ganz nebenbei fit werden und bleiben. An der Margarethenkirche 31, Bonn-Graurheindorf, Tel.

Lassen Sie sich beraten und erschaffen Sie Ihre einzigartige Wohnwelt. Zimmer zur Zwischenmiete ab SMS an Handy Wir proben jeden Dienstag Abend von Bei uns muss niemand vorsingen. Hineise werden dankend entgegen geommen. Sue Schlotte, 9 Donnerstage Jugendliche in Bonn, Ltg. Sue Schlott, 5 Samstage, Infos und Referenzen unter www. ClownSommer in Schleswig-Holstein 1. Internationale Workcamps in Deutschland - teilnehmen oder leiten. Soziales Lernen und — Schon in der 5. Besuchen Sie uns im Internet: Susanne Sonne, Bonn, Tel. Jahresgruppe in Bonn u. Prozessarbeitsworkshop in Bonn Fritz Wagner, Gestalttherapeut, Tel.

Ich freue mich auf Antworten unter unternehmungen-bonn web. Jeden Mittwoch von Zentrum, Am Frankenbad 5, Bonn. Naherholung in den Ardennen. Biohof mit Pferden - Vollwertkost - Massagen - Nichtraucherhaus. Sympathischer, humorvoller, vorzeigbarer Topf m. Lama-Wandern, Bowling, Badminton, Kochduell und vieles mehr. Kinder bis 6 J. Auf Extratour im Bus mit netten Leuten, Tagestouren ab 15,-: Naturpark Hoge Veluwe, Frau reizt es, einen Mann 39, schlank, attraktiv, etwas passivdev.

Ich w, 44 wandere am Wochenende gern, u. Eigener Zeltplatz, Service rundum. D Blue Shell, Luxemburger Strasse 32 Bach, Webern, Berg, Schubert u. Seit ist die Berliner Band dabei, ihre ganz speziellen Lieder mit dem folkrockigen Sound und den wunderbaren Texten immer wieder weiterzuentwickeln. Markenzeichen der Band sind die abwechslungsreich instrumentierten und apokalyptisch anmutenden Soundkonstrukte mit sozialkritischen Texten.

D Carpe Noctem, Wesselstr. D Blue Shell, Luxemburger Strasse Schostakowitsch, Schnittke und Beethoven. Er war der beliebteste D Theater Platz 3 D Theater im aktuelle Clubtracks und PartyclasVon 17 c. Eine rabenschwarze Justizdrea Grugel, Tel. Sven Regener gibt auch im Happy Hour von Uhr. D Rose Club, Luxemburger Str. Divertissementke Hoffmann, Wieland, Tieck und chen der Theaterabteilung, D Theater Marabu in der Brotfabrik, Kreuzstr.

Empfohlen ab 7 Jahren. D Junges Theater Bonn, Hermannstr. Ihre heimliche Leidenschaft sind die Oper und der fesche Bariton Titko. Mit Geschichten, die direkt aus dem Leben kommen und in die Lachmuskeln gehen. D Haus der Springmaus, Frongasse D Theater im D Comedia Theater, Von Leute, die Lutherkirche, Reuterstr. D ration zwischen Sammlern und knecht und Maite Kelly.

Das etwas andere karnevals-Konzert! Hierbei handelt es sich um , Venloer Str. An international conference on Kubler was recently held in Cologne: Arab, Persian, Turkish or Saracen art. Of course, a strict tripartite division is impossible because, as with the shifting political realities, influences of one school on another have shifted back and forth. The second point involves the scope of this exhibition. This exhibition was the largest exhibition ever mounted on Islamic art. The almost 3, objects were displayed in 80 rooms.

Franzl Lang Auf und auf voll Lebenslust 360p

The exhibition consisted of textiles, ceramic works, illustrated pages of manuscripts and the so-called art of the book, metalwork objects, articles of weapons and armour, pieces of jewellery, carpets as well as other objects made of stone, wood, ivory, glass, rock crystal and even European paintings and photographs of Oriental flavour. The exhibition consisted of manuscripts in Arabic, 49 in Persian and Turkish, 34 book covers and an additional 24 manuscripts looted during the wars with the Ottomans.

The curators of the exhibition were well aware of the other exhibitions on Islamic art that heralded their own of , and even enumerated them in the introduction of the Amtlicher Katalog. One of the principal achievements of the exhibition was presenting Islamic art from a broad perspective rather than in the thencommon sectarian fashion.

The opening of a wider perspective on the arts of Islam in the exhibition provided the Western beholder for the first time with a nearly complete picture of the arts from the Muslim lands, and thus established a solid foundation for further scholarly studies of this art. The last issue to highlight in this brief introduction concerns the novel mode of presenting the Islamic objects in this exhibition.

As already noted by several scholars, as far as the staging of the Oriental object is concerned, this exhibition marks a pictorial turn. It created new paradigms for the scholarly exhibition of Islamic art: The object appears, even if just for a short time, as an aesthetic pleasure to the eye—a masterpiece of art production. This novel display influenced the organization of the museological space of Islamic art for years to come, as Roxburgh argues in this volume.

Although the curators and organizers of this exhibition clearly state that the exhibition spaces were not intended to evoke a museum-like atmosphere, the following paragraph is worth citing for this discussion: The exhibition of Muhammadan art does not have the character of a museum. In fact, both the interior design concept that shaped the installation and the relation of the exhibits to this interior design follow a principle completely different from that of museums.

Indeed, the exhibition of the single objects followed a strictly scholarly plan, which was drafted by the two commissaries, Dr. Yet the artists who created the framework for this scholarly organization not only fulfilled with their interior design the dictates of expediency, but in its sobriety and functionality were also able to capture the spirit of Muhammadan art in an autonomous and discrete fashion without lapsing into a superficial and false imitation of Oriental architecture […].

Thus the exhibition sought to avoid appearing like an imitation of the Orient or a purely scholarly. This paragraph and several statements within it merit discussion. The wish of the curators to present viewers with the Geist of Islamic art was, and to some extent still is, rooted in the Eurocentric wish to see the Orient and, as a result, Islamic art as one homogenous entity—the major Other of the Occident. As recently demonstrated by Marchand,11 Bohrer,12 Berman13 and Lemke,14 as far as the Orient is concerned—and I do stress the Orient, which in the German-educated mind encompasses also the ancient Orient Alter Orient —there were at the time two main polarizing factors in play.

These were the scholarly, scientific Orient and the popular one. In fact, it was the popular imagination that brought about reform in the manner in which the Orient was perceived, not only within the public sphere but also within the scholarly community. This important factor should be reconsidered, especially while discussing the year See mainly the references in footnote 3. Photographs of the Orient—imaginary and fictitious as they were, and perhaps still aspire to be—show individual faces, streets and specific landscapes.

This revolutionary change in Orient-Occident visual communication should be emphasized and studied further. With the photographic revolution circa , the ancient Orient Assyriology and Egyptology was better defined and no longer belonged to the popular Orient. The Biblical Orient, mainly due to Biblical archaeology, became, to some extent, a distinct field of study. Orient and Islam were used then as synonyms. The Orient was also given a specific place in history, and Islamic art was divorced from the ancient and Biblical Orient. The art of display was no less important than the scope, quantity, and strict scholarly approach to the object.

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In fact, the art of display at the exhibition of played an important role in changing Western views of Islamic art. It must be admitted that we are typically more responsive to the notion that words change views, and the history of ideas clearly illustrates to us how particular books and the expression of ideas have had a strong impact on us, the readers. These written or sometimes verbal ideas usually offer new visions or perspectives for understanding and interpreting evidence from our past.

As Kubler says in the above-cited paragraph, the new idea causes the former way of thinking or acting to lose its validity. Similar to the power of words, a number of exhibitions seem to have also changed our paradigm of thinking. The exhibition in Munich was also designed for and aspired to shifting paradigms of thinking about the Orient. Its novel display was wholly wedded to this concept, and suggests a new mode of looking. Thus, the change in behaviour, in this case in the way of looking, forced the visitor to re-think as they stood before the Islamic artefacts,.

Lermer demonstrates in her article in this volume that the impulse for this innovative display derived exclusively from the Munich designers and artists involved in the display of this exhibition. It is then the particular Zeitgeist of modern Munich of that enhanced the new paradigm of understanding the Orient. But the modern impulse injected into the art of the display of Islamic art in , namely the presentation of masterpieces, appears to have maintained its power up to the present day.

German Colonialism and Its Legacy, eds. Blair and Jonathan M. Orientalism and Visual Culture. Visual Culture in Europe and Latin America , ed. Claire Fargo, New Haven and London , pp. A Changing Discipline and Its Institutions, ed. Elizabeth Mansfield, London , pp. Grabar Oleg Grabar: Hillenbrand Robert Hillenbrand: Horovitz Robert J.

Modernism and the Middle East: Kracauer Siegfried Kracauer: Kubler George Kubler: The Shape of Time: Remarks on the History of Things, New Haven Kubler Interview with George Kubler, 2 vols. Lee Pamela M. On Time in the Art of the s, Cambridge, Mass. Lemke Wolf-Dieter Lemke: Levy Ellen K. Marchand Suzanne Marchand: German Orientalism in the Age of Empire: Religion, Race and Scholarship, New York Miller Mary Miller: Direktorium der Ausstellung, 4th ed.

Nelson Rob Nelson: Friedrich Sarre and Fredrik Robert Martin, 3 vols. Shalem Avinoam Shalem: Rabbat Nasser Rabbat: Reese Thomas F. Studies in Ancient American and European Art: Rice Shelley Rice: Vernoit Stephen Vernoit ed. Scholars, Collectors and Collections, London , pp.

Wolf Reva Wolf: How unimaginably our knowledge has been, from all sides, enriched!



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What new perspectives have been opened for us in all, absolutely all, areas of scholarship! One is breathless and can hardly keep pace. We live in an era of electricity, even in scholarship! Writing to his contemporary and fellow orientalist on the eve of the Great War, Enno Littmann could hardly contain his excitement about the progress of oriental studies in the previous decade and a half. There were new university chairs, especially in Indology and Assyriology. As studies of the Hellenistic and Byzantine periods exploded in numbers, new light was thrown on periods of rich East-West cultural exchange.

And, as Littmann emphasized, changes were underway in perspective, as well: Littmann, like Becker, a multi-talented, well-connected professor of oriental languages, was certainly a partial observer—but he was right; by , not only was the non-biblical, non-classical East much better known than it had been two decades earlier—it was also, increasingly, 1 Littmann to Becker, 7 Sept. In that same year, the Kaiserreich established leasehold over Qingdao, on the Shandong peninsula, and, after the murder of the German ambassador, sent troops to help the Qing dynasty put down the Boxer Rebellion.

Culturally, too, the Orient was more visible than ever before. There were new digs and new museum departments, and curators and excavators who were interested in non-classical artefacts and sites. Many of the classic texts of Asian philosophy, religious devotion and literature were now available in inexpensive translations—the public could now read for itself the words of the Buddha, or of Confucius, or of the Rig Veda.

Moreover, for non-academics, too, new perspectives on oriental material were now available: Avant-garde artists and writers, in particular, began looking eastward for spiritual and aesthetic inspiration. Collecting activity, once restricted to high nobles and esoteric travellers, was booming; a new cadre of young scholars was taking up studies of the field with the desire to promote the unique qualities of Asian art.

The production of both sophisticated picture books and scholarly articles reached unprecedented levels, and the mounting of exhibitions, private and public, became increasingly common. And within the academy, at least, perspectives were changing: The fate of the peoples of Europe is ever more intertwined with that of the peoples of other continents. Where we once were horrified by ritual suicide ceremonies of the Japanese, today we admire the willing suicide of field marshal Nogi; where once we admired colourful porcelains we now see art and wisdom.

In the essay, Strzygowski made a pitch for the development of a global, comparative art history, which would dispense with classicism as its basis and with aestheticizing as its end object; instead it would be a truly historical and universal science. When Friedrich Sarre, F. While the Orient had played a relatively small part in Central European cultural life in the nineteenth century, now it seemed to be everywhere. The numbers of those employed remained low, and even among the employed, most continued to hold jobs with little or no salary. In Austria-Hungary, Strzygowski had a chair, and a few students, but remained lonely in pursuit of parity for Asian art in part, too, because of his obstreperous personality.

Many of the excavations underway by had only begun after the date of the founding of the Deutsche Orient-Gesellschaft , and many were hardly more than shirt-tail operations, funded by private money while much more extensive public funds were poured into the extraction of classical artefacts. Herzfeld to Becker, November 30, and July 2, , in: For more on Herzfeld, see Gunter and Hauser In , the once-infamous Old Testament scholar Julius Wellhausen was shocked by how little resonance his major contribution to Islamic studies, Das arabische Reich und sein Sturz found, even in the academic world.

Everybody is fascinated with the Old Testament and cuneiform. No one wants to read through many-layered [weitschichtige] Arabic literature, even most professors do not do it. Those who devoted themselves to the study of oriental art, or to its excavation or collection, were in their own way just as avant-garde as the artists experimenting with abstraction or with musical dissonance; they were working in a niche market, producing products in this case scholarship, or exhibitions for a small clientele—though that clientele might, in its turn, become the taste-makers of the next generation.

In what follows, I hope to sketch some of the contradictions and complexities of oriental studies around the time of the Munich Exhibition of , showing how far, indeed, the specialists had come, but also noting the 9 I want to underscore, here, that the wider political and economic context matters deeply: But the age of imperialism did not entirely remake taste, nor did it do so in predictable ways.

Similarly, scholarly institutions were not transformed overnight, and continued to emphasize the study of the ancient, and especially classical world. Humanists continued to focus on words, not on material culture, even as a succession of antiquities rushes drove archaeologists and museum bureaucrats to collect artefacts on a vast and unprecedented scale.

At the end of the day, we can say that the Munich Exhibition was rather typical of efforts at outreach by orientalist scholars of the day—that is, new materials were made accessible to the public, and some success was made in getting new perspectives across to a wider audience.

But as is the case in most avant-garde efforts of the day, grand expectations were inevitably disappointed. Germanspeakers went on Crusades, and brought back stories and mementoes; afterwards, parts of Central Europe and the Balkans came under Ottoman control. From the seventeenth century forward, artists and readers could consult a wide range of pattern books or illustrated works in which eastern styles and architectural masterpieces were After , the picture only gets more complicated as new consumers and new scholarly specialists get involved, but it seems to me that scholarly and consumer culture touch only occasionally, and perhaps even less often than before.

Thanks to the support of a few bureaucratic and private patrons, specialized philologies certainly did develop over the course of the nineteenth century—but they did so without earning their practitioners anything like the prestige and cultural significance of classical philology, and without finding many customers for books and essays focused heavily on the ancient Orient. See Marchand , chapter 1. For more on mid-century oriental philologists, see Marchand , chapters 2 and 3. No wonder visitors to the Munich Exhibition expected to see belly-dancers and camels: On circuses, see also Otte , pp.

Still, it is remarkable how much the new styles were drawn from a narrow set of sources: In the period between and , as Annette Hagedorn has shown, academic scholars largely ignored oriental art, while theorists of the reform movement in the applied arts published more than sixty books and articles on Islamic applied arts especially on ceramics and carpets. Generalizations about oriental art outside the circle of travellers, architects, and designers continued to be based not on actual encounters with artworks or even reproductions of authentic works, but instead on texts.

This was especially apparent in Islamic art, for non-Muslims were forbidden from entering all but a few mosque interiors. For its expansion thereafter, see Haja and Wimmer Thanks to Garth Fowden for recommending this important. Archaeological investigations in the East, too, developed slowly, and were long overshadowed by the quest to bring home classical sculptures.

Of course, there were some influential traveller-collectors, like Carsten Niebuhr, whose works were widely circulated, and one large-scale campaign, that of Richard Lepsius in Egypt, , brought home large amounts of Near Eastern booty. With the founding of the Deutsche Orient-Gesellschaft , a new era of hyper-activity began during which time the Germans excavated at Babylon, Assur, Tell el Amarna, Boghazkoi Hattusa , Axum, Samarra, Jericho and numerous other sites in the eastern Mediterranean and Anatolia, and sent four expeditions to the Turfan plateau in Chinese Turkestan.

The study and collection of Byzantine and early Christian art and artefacts also surged, and new museum departments, if not full exhibition spaces, were created to give specialists access to the materials, and jobs if often unpaid ones sorting and cataloguing the new objects. But once again we should not romanticise, or over-inflate, these endeavours. Some of the excavations, like those of Robert Koldewey in Babylon, came to define modern, scientific archaeology; others, like that of Ernest Sellin in Jericho clearly digging through everything else in search of big walls can hardly be called scholarly endeavours at all.

Everyone was in a hurry, but nonetheless, when the Great War came, many of these operations remained unfinished, and objects continued to dribble back to the Reich for years afterwards. Proper cataloguing and study of the massive new materials the Turfan Expeditions alone brought back over Excavations certainly were important, but to really understand how the study of oriental art got off the ground it seems to me that we have really to take seriously the contributions of a handful of private collectors, connoisseurs and travellers, Europeans employed by the Ottoman, Japanese, or Chinese governments or businessmen especially those involved in textiles.

Long before the state-funded expeditions commenced, these individuals began collecting Persian gems, Arabic manuscripts or Chinese porcelain for themselves; probably many had local friends and informants, or began buying from British, French, Dutch or Russian collectors, and then travelled abroad to seek their own fortunes. But we still know relatively little about these private collectors and collections.

What we do know about the collections and habits of a few of these individuals—like the Swede F. Martin or the Frenchman Albert Goupil—is tantalizing, and the depictions of their private collections show us how elaborate some were, and how much they must have influenced scholarship and museum practice as well as overlapped with department store window displays. After all the major aim of the early department stores was to sell textiles! Indian art was representational—but as Partha Mitter showed many years ago, its representations were considered monstrous.

The few who did evince real interest in the history of the Islamic world, and especially of medieval Spain, were liberal Jewish practitioners of the Wissenschaft des Judentums, and a small circle of positivist Arabists centred in Leipzig. Tiring of western forms, and especially of the all-too-bourgeois admiration for classical casts and Raphael madonnas, artists learned from the World Exhibitions or from esoteric travellers and collectors to appreciate Japanese woodcuts and African masks. The impact of non-western forms on artists See Schorsch , pp.

In , William Morris pronounced: But the diversification of art historical studies was also generated from within. As the store rooms filled up, new discoveries were made and the museums sought to extend their collecting activities to new fields, it became common practice for university professors—many of them trained as philologists, not as archaeologists or art historians—to head up individual departments and for credentialed scholars in certain fields, especially young ones awaiting a call, to work for a time in the museum.

Naturally, orientalists in such positions—such as Adolf Erman or Friedrich Delitzsch—hired their own students or other university-trained orientalists to take these jobs. For a time, these collections served primarily as laboratories where scholars who depended on objects—art historians, natural historians, archaeologists, folklorists, and ethnographers—spent most of their time simply sorting, authenticating, and trying to date and catalogue the mass of new objects.

On Zimmer, see Marchand For a time, these apprentices confined themselves to producing inventories and catalogues; but in the process, they developed detailed knowledge about a diverse and noncanonical set of artefacts which could be used to vastly expand the canon of art historical scholarship. Working outward and eastward from Byzantine art, Strzygowski drew architecture and the minor arts into polemical studies in which he insisted upon Asian origins for medieval Christian art.

Though the Deutsche Orient-Gesellschaft and the Kaiser ploughed significant sums into acquiring more and more diverse artefacts, very little of the new material could be displayed, or certainly displayed intelligibly; the Ethnographic Museum was notoriously overcrowded, and its exhibits a jumbled mixture of cultures and. By , Bode was pushing for the creation of an Islamic Museum, to be stocked with materials removed from the arts and crafts and ethnography museums. Bode managed to realize his plans by the roundabout method of acquiring something so big and impressive the Mshatta Gate that it could not be put in the storehouse and by getting Friedrich Sarre to agree to be the unpaid director of the new department, and to put his own collections on display.

Instead, state money went for the building of the chiefly classical Pergamon Museum. See Marchand , chapter 6. Lory Alder and Richard Dalby: The Dervish of Windsor Castle: Becker Carl H. Brisch Klaus Brisch: Kolloquium zum sten Geburtstag von Wilhelm von Bode, ed. Gaehtgens and Peter-Klaus Schuster, pp. Einstein Carl Einstein: Ettinghausen Richard Ettinghausen: A Symposium on the Meeting of East and West, ed. Glaser Curt Glaser: Gunter and Stefan Hauser, Leiden Hagedorn Annette Hagedorn: Scholars, Collectors, and Collections, , ed.

Stephen Vernoit, London , pp. Kourelis Kostis Kourelis: Lewis Beth Irwin Lewis: Deutsche Orientalistik im Archaeology and Philhellenism in Germany, , Princeton Foundations of the Modern Cultural Sciences, ed. Miller, Toronto , pp. Collecting and Exhibiting Islamic Art, ca. Altchristliche, byzantinische, muhammedanische, karolingische Kunst, 2nd ed. From Text to Context: Leopold von Schroeder, Leipzig , pp. McMullan Collection, London , pp. How did the Munich exhibition and the monumental catalogue which appeared after the event communicate this claim, how were the objects defined in terms of Kunstwissenschaft, and what effect did it have on the Western perception of Islamic art in the 20th century?

The exhibition guide plainly expresses the general approach to the staging and presentation concept: Visitors were to contemplate the exhibits without the burden of history, but also without ethnographical connotations, or indeed without any presuppositions at all. All translations, unless otherwise indicated, are mine. This was meant to emancipate the object, freeing it from its historical background to become pure exhibit, which, incidentally, also serves as a justification for its Western contextualization. While the ambitions of the Munich exhibition were entirely concordant with the larger philosophical context of the time, did it really play out like this in the exhibition context?

I would like to put this to the test by examining some epistemic evidence. The best way to proceed is to take a little tour through our exhibition. Immediately after entering we find ourselves in an elegant foyer with pointed arches and 3 4 5 6 7. Yet this is a mere prelude to the monumental entrance hall designed by the Munich architect Ernst Fiechter fig. Even though individual motifs were clearly inspired by monuments from Ardabil or Isfahan, 8 the design is not a verbatim citation of a specific historical example.

The ornamentation even bears allusions to contemporary secessionist aesthetics. So what effect does it have on the exhibited objects? For the local prehistory of this discovery and the role of crown prince Rupprecht, see Troelenberg Starting from this point, the visitor would be offered a route that followed vaguely chronological and regional patterns fig. However these categories were very broadly outlined, with a significant blurring of their borders and commingling of objects.

Halfway through the exhibition, we will see another example of architectural citation lacking precise historicism. The interior design of the so-called mosque fig. When the carpets were finally laid out on the floor, there could be no other result than to evoke the atmosphere of a mosque. Again, clear spatial and temporal indications are absent. The carpets on display originated from nearly every period and.

Larger parts of the exhibition, which altogether encompassed 80 rooms, followed this formula in an even more moderate fashion. Take as examples rooms 62 and 65 figs. The few pictures we have were taken before the installation of the exhibits was completed, but we can already see the show10 Munich , pp. Only one of them would later be included in the large illustrated three-volume-folio.

On the whole, a universal style was created as a background for the exhibits. This presentation permitted a rather flexible handling of the exhibits; successive editions of the small catalogue accompanying the exhibition reveal major rearrangements of whole groups of objects while the show was open. At first glance this evidence seems to fit quite well with our a priori claims.

As we continue, even more questions arise. If we take a look at Room 72 fig. The space however is filled with arms, armour and war trophies from Persia and Turkey fig. The exhibits are arranged as if in a war museum. The parallels are obvious: It is not merely a question of the artistic quality of individual items, but rather an explicit emphasis on war. A further example suffices to illustrate this point: Room 12, where the famous Sternenmantel star cloak from Bamberg was exhibited alongside examples of Persian textiles from the Danzig vestment treasury.

It can hardly be pure coincidence that these pieces—originally Islamic fabrics turned into liturgical vestments, and thus bearing a long and explicitly Christian provenance— were exhibited in a room with such heavy woodwork, and remained half-hidden in their cases as if in sacristy lockers fig. While the connotation may be less explicit than the painting of the battle of Lepanto, this room and its exhibits also alluded to a particular aspect of the historical encounters between Western and Islamic cultures.

There is indeed history within. Does this mean the exhibition could only partly fulfil its claims and that every obvious historical association is a testament to its incoherence? Or is there a way to reconcile these two readings of a single exhibition? Perhaps the historical subtext within the exhibition was recourse to avoid this precarious association while permitting a connection to methods of contemporary art history [Kunstgeschichte], a discipline still essentially based on positivist historical thinking despite the then-emerging zeitgeist and its unhistorical claims.

At the same time the connection to Western cultural history was established at a very conscious level. Though this limited the very autonomy of Islamic art, it was perhaps regarded as a means of revaluation. From this point of view, there are two legitimate ways to define the object: As an instrument, the object would serve as a representation of a particular historical situation and a method of heightening appreciation for Islamic art. The historical dimension is nevertheless an undeniable feature of any object. I think Sarre and his collaborators were well aware of this.

Very few mainstream art historians reacted at all, while Orientalist responses were rather vehement. Though Karabacek generally expressed a strong affinity for decidedly art historical questions, he was quite hard on Sarre and the exhibition. His study on Riza Abbasi served as a vehicle for his criticism. Karabacek believed classical philology should serve as the fundamental methodology, calling for an exhaustive study of written sources and inscriptions that goes beyond the purview of art historians. More than rudimentary language skills, he appealed for an extended philological Sarre, on the contrary, began with the individual object, the pure exhibit.

Hugo Grothe took a slightly different approach but his critique was no less pronounced. But while Karabacek found the answer to this problem in philological work, Grothe criticized the utter neglect of ethnographic details in the show. The concept of the pure piece of art, the exhibit without history, it seems, was difficult to convey. His text reveals just how effectively van Berchem navigated the delicate balancing act between art history and philology.

He did not bother with issues of exclusive methodologies; these objects were unquestionably independent pieces of art and at the same time testimonies of history. He wrote to this effect: But for art history they are indispensable, first as documents for the local and chronological identification of the works on which they are applied; and then Sarre and Martin In addition, a fourth volume with even more pictures from the photo campaign was released—it contained only an index and short picture captions, but no further text nor an imprint.

Its circulation was probably quite low, as the pictures were laboriously put into slip mounts one by one—so this fourth volume was most likely an unofficial addendum to the publication. Some of the exhibits became vital objects both in the study of cultural history and as inspiration for artistic trends. The section drew its images from the photo campaign organized during the exhibition by Sarre, who chose the most important objects—in all several hundred—and the manner in which they would be photographed.

These pictures were sold in the exhibition24 and were provided for reviews and articles in The diffusion of images from the exhibit was therefore immediate and particularly effective. Max van Berchem in: Sarre and Martin , vol. The catalogue featured a selection of photographic plates, an unprecedented set of high-quality reproductions of Islamic art.

At least since , when Sarre published the first volume of his Erzeugnisse islamischer Kunst,28 he clearly had in mind a handbook: Sarre realized that his acquisitions alone would not suffice to draw a representative picture of all critical fields of Islamic art, and it made more sense to publish other, typically inaccessible works: While the catalogue remained quite clearly associated with the exhibition, Sarre also imagined it as an autonomous, comprehensive compendium.

It would follow some of the formal principles tested in his Erzeugnisse islamischer Kunst but place greater emphasis on the provenance and aesthetic value of individual objects. The catalogue addressed some of the problems with the exhibition through modification or even omission. Categories of a marginal or documentary nature in —jewellery, European depictions 27 28 29 30 Sarre, introductory note, in: Migeon and Saladin The remaining categories—miniatures and arts of the book, carpets, ceramics, metalwork, glass and rock-crystal, textiles, arms and armour, wood and ivory—were pared down to the most interesting exhibits, creating a condensed, representative core of the exhibition.

It is clear that more than merely satisfying the demands for greater historical, ethnographic or documentary contextualisation, they wished to confirm their fidelity to Kunstwissenschaft by associating themselves with its latest methodological trends. As a consequence, the catalogue concentrated on a selection of first-class works and in a manner more formal than the exhibition.

The visual presentation of these works and their relationship to the text deserves a closer look. The large format of the publication 40 x 50 cm permitted a particularly prominent setting of the plates separate from the introductory texts. In the case of carpets and arts of the book, objects often appear one per page; in the sections on threedimensional exhibits, two, three or sometimes even more pieces were combined on one page for the purposes of comparative study.

Every picture is accompanied by a short descriptive catalogue entry on the opposite page, so the reader—or rather beholder—has all the basic information at a glance fig. A broad white margin separates the text to allow an undisturbed contemplation of the pure object. The pictures would work just as well without this information as the reader would be more focussed on appreciating the aesthetic qualities of the individual piece. The reception of the pieces was of course strongly conditioned by the technical qualities of photographic reproduction. No other medium would have been able to cope with such a large number of objects within the given timeframe; the comprehensive and representative conservation of the exhibition would hardly have been possible in any other fashion.

Only by means of photography could the cata-. For vessels with interior and exterior decoration—caskets with several features or chandeliers with circular inscriptions—it was simply impossible to establish a single angle of view. Some of the plates reflect a general appreciation of this problem; for example, the photographs of the Arenberg Basin, shot and published from three different perspectives, do justice to the ornamental and iconographic complexity of the work.

On the whole the publication is dominated by images in black and white, standard for art history textbooks at the time. Undoubtedly, some of the carpets, manuscripts and textiles in the Munich catalogue would have profited from colour reproduction, but the black and white aesthetic did have its advantages. They dealt with the principles of Islamic ornament, and their motivation was didactic in nature and primarily addressed to the applied arts.

Objects often appeared merely as carriers or case studies of decorative solutions. The black and white format was an effective method of distancing the catalogue from such an approach, highlighting the plastic qualities of the object as a whole while playing down the decorative aspects.

Sarre and Martin , plates Even high-quality colour reproductions were possible, but required the use of several plates and thus resulted in high production costs. Neutral backgrounds were another basic feature of the visual language. Typically, the objects were laid against a white background, in some cases gray, and when the object demanded it, as with glass or crystal pieces, black. Retouching was clearly utilized to blur out visually disruptive elements. The comparison is striking when viewing some of the pictures not chosen for the three official volumes.

While the wooden scaffolds supporting carpets or textiles fig. Ultimately, the tight framing of an isolated single object became the leitmotif of the catalogue. This visual language had distanced itself greatly from all decorative or picturesque concepts. The genuinely monumental effect fig.

But these observances cannot only remain limited to formal aspects. As Walter Benjamin wrote: Here lies the radical 36 The traditional cult value of the artwork is finally displaced by its current exhibition value. The object descriptions and introductory texts appear as complementary features, offering formal and historical information, mediating between the individual object and a general narrative of Islamic art.

These texts were necessary to define the approach, to reach beyond the scope of a simple sourcebook. But the isolated image, which would work just as well without a text, was needed to establish the objects as pure artworks. Both aspects together define the status of the study of Islamic art that was achieved with the Munich exhibition. Convenient Inheritances, Unexpected Affinities The visual language employed turned out to be a bountiful tool for future scholarship on Islamic art in Germany, even during the break of the First World War.

Generally, objects of minor art now started to appear on an equal footing with the architecture that had traditionally dominated the image of Islamic art in 19th-century textbooks. In the s, the new technical possibilities of offset printing meant an incredible acceleration of generously illustrated, high-circulation art historical book series. The achievements of the catalogue proved to be a convenient and invaluable legacy for his task.

Consequently, Diez adopted the object descriptions as well. These descriptions, he argued, were written by specialized scholars contemplating the original objects and thus still valid, but their publication in the volumes had hardly made them accessible to the general public. He 38 39 40 During the following decades, the picture canon established in Munich would circulate to a growing number of publications. New findings, revelations and collections would appear and contribute to a diffusion of a general canon of Islamic art, and ultimately new reproduction techniques would make the templates of the photo campaign obsolete.

Interestingly, these concepts, still in their infancy at the time of the exhibition, found unexpected allies in contemporary artists and thinkers. When Kandinsky and Matisse visited the exhibition they immediately turned to the formal and aesthetic qualities of carpets or Persian miniatures, without bothering much about questions of history, chronology or ethnographic background. The image of Islamic art presented in Munich obviously fit this contemporary need. The writings of Wilhelm Worringer corresponded very closely to this effect on a theoretical level, far beyond mere artistic questions.

While this problem certainly deserves greater scrutiny from a postcolonial point of view, it lies outside the scope of the present investigation of contemporary intellectual perspectives. Lindsay and Vergo , pp. Riegl himself was convinced that contemporary art and retrospective art theory were dependent upon each another. It goes without saying that the modern history of the reception of Islamic art in the West catalysed by the exhibition was and is not without problems in terms of defining alterity, of selective points of view or of methodological questions, both within and beyond the borders of scholarly work.

Caraffa, Berlin and Munich , pp. Italienische Forschungen des Kunsthistorischen Institutes in Florenz, 9. Karabacek Josef von Karabacek: Kroll Frank-Lothar Kroll: Das Ornament in der Kunsttheorie des Lang Siegfried K. Lindsay and Vergo Kenneth C. Lindsay and Peter Vergo: