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101	Aproximación a la política cultural dominicana y su incidencia en el desarrollo de las artes. El caso de las bienales de artes visuales (1942-2015) Ditrén Flores, María Elena 14 September 2023 (has links) [ES] La presente investigación consiste en un estudio de la política cultural dominicana y su incidencia en el desarrollo de las artes visuales, partiendo del caso de la Bienal Nacional de Artes Visuales, en el período comprendido desde el año de su nacimiento (1942) hasta el 2015. Partimos de la hipótesis de que las políticas culturales asumidas por los diversos gobiernos, en el período histórico estudiado, han incidido en su desarrollo. El objetivo general de este estudio es analizar la evolución histórica de la política cultural dominicana y su nivel de repercusión en el proceso evolutivo de las artes visuales dominicanas, visto a través del caso de la Bienal Nacional de Artes Visuales. En ese sentido hemos investigado las principales acciones de la política cultural del estado que influyeron en el nacimiento y desarrollo de la Bienal Nacional de Artes Visuales; incluyendo el análisis histórico de la inversión estatal en el sector cultural, así como el contexto artístico dominicano, que incluye un análisis comparativo de las 28 ediciones estudiadas, con la intención de contribuir en la recuperación de la memoria histórico-visual del más importante evento oficial de las artes visuales de la República Dominicana. Aportando en la solución de uno de los principales problemas de los estudios culturales nacionales, consistente en la inexistencia y/o escasez, dispersión y desactualización de los datos y publicaciones alusivas al tema estudiado. Para alcanzar los objetivos propuestos empleamos fuentes documentales mixtas de carácter físico y virtuales: libros, catálogos y fuentes hemerográficas en bibliotecas y archivos del sector artístico-cultural, así como del sector legislativo, administrativo y financiero del gobierno. Esta tesis está estructurada en cinco capítulos que abordan inicialmente diferentes aspectos del marco conceptual y contextual, como los conceptos de cultura, política cultural y el contexto histórico-artístico del tema objeto de estudio. Asimismo, se compilaron en los subsiguientes capítulos datos e informaciones relevantes -actualmente dispersos- de cuestiones fundamentales de la historia y desarrollo de la Bienal, como una amplia cronología que incluye aspectos organizativos del evento; así como un amplio compendio de imágenes de las obras ganadoras en las 28 ediciones realizadas entre 1942 y el 2015. Concluyendo que la Bienal Nacional de Artes Visuales es el principal evento oficial de las artes visuales de la República Dominicana, que se ha ido constituyendo a través del tiempo en patrimonio tangible de la nación y en una plataforma y un espacio imprescindible para el posicionamiento, promoción, proyección y legitimación tanto de artistas como de movimientos, a partir de la incidencia desigual de la política cultural del estado en los diferentes períodos de gobierno abordados en esta investigación. / [CA] La present investigació consisteix en un estudi de la política cultural dominicana i la seua incidència en el desenvolupament de les arts visuals, partint del cas de la Biennal Nacional d'Arts Visuals, en el període comprés des de l'any del seu naixement (1942) fins al 2015. Partim de la hipòtesi que les polítiques culturals assumides pels diversos governs, en el període històric estudiat, han incidit en el seu desenvolupament. L'objectiu general d'aquest estudi és analitzar l'evolució històrica de la política cultural dominicana i el seu nivell de repercussió en el procés evolutiu de les arts visuals dominicanes, vist a través del cas de la Biennal Nacional d'Arts Visuals. En aqueix sentit hem investigat les principals accions de la política cultural de l'estat que van influir en el naixement i desenvolupament de la Biennal Nacional d'Arts Visuals; incloent l'anàlisi històrica de la inversió estatal en el sector cultural, així com el context artístic dominicà, que inclou una anàlisi comparativa de les 28 edicions estudiades, amb la intenció de contribuir en la recuperació de la memòria històric-visual del més important esdeveniment oficial de les arts visuals de la República Dominicana. Aportant en la solució d'un dels principals problemes dels estudis culturals nacionals, consistent en la inexistència i/o escassetat, dispersió i *desactualización de les dades i publicacions al·lusives al tema estudiat. Per a aconseguir els objectius proposats emprem fonts documentals mixtes de caràcter físic i virtuals: llibres, catàlegs i fonts hemerogràfiques en biblioteques i arxius del sector artístic-cultural, així com del sector legislatiu, administratiu i financer del govern. Aquesta tesi està estructurada en cinc capítols que aborden inicialment diferents aspectes del marc conceptual i contextual, com els conceptes de cultura, política cultural i el context historicoartístic del tema objecte d'estudi. Així mateix, es van compilar en els subsegüents capítols dades i informacions rellevants -actualment dispersos- de qüestions fonamentals de la història i desenvolupament de la Biennal, com una àmplia cronologia que inclou aspectes organitzatius de l'esdeveniment; així com un ampli compendi d'imatges de les obres guanyadores en les 28 edicions realitzades entre 1942 i el 2015. Concloent que la Biennal Nacional d'Arts Visuals és el principal esdeveniment oficial de les arts visuals de la República Dominicana, que s'ha anat constituint a través del temps en patrimoni tangible de la nació i en una plataforma i un espai imprescindible per al posicionament, promoció, projecció i legitimació tant d'artistes com de moviments, a partir de la incidència desigual de la política cultural de l'estat en els diferents períodes de govern abordats en aquesta investigació / [EN] The current investigation consists of a study of the Dominican political culture and its impact on the development of visual arts, based on the case of the National Biennial of Visual Arts and covering the period from the year of its birth in 1942 until 2015. We started from the hypothesis that the cultural policies adopted by the various governments, in the historical period studied, have influenced their development. The overall objective of this study is to analyse the historical evolution of Dominican political cultural policies and the level of repercussions it had on the evolutionary process of Dominican visual arts, using the National Biennial of Visual Arts as our study case. Thus, we have investigated the main actions of the state's cultural policies that influenced the birth and the development of the National Biennial of Visual Arts, including the historical analysis of state investments in the cultural sector as well as the Dominican artistic context which includes a comparative analysis of the 28 National Biennials done with the intention of contributing to the recovery of the historical and visual memory of the most important official event of visual arts in the Dominican Republic. This will contribute to solving one of the main problems of national cultural studies, i.e. the absence of and/or scarcity, dispersion and availability of outdated data and publications referring to the subject studied. To achieve the intended objectives, we have used a combination of both physical and virtual documentary sources: books, catalogues and newspaper sources from libraries and archives of the artistic-cultural sector, as well as sources from the government's legislative, administrative and financial sector. The study is structured into five chapters initially addressing different aspects of the conceptual and contextual framework, such as the concepts of culture, cultural policy and the historical-artistic context of the topic being studied. Similarly, in the subsequent chapters, relevant data and information - currently dispersed - on fundamental issues of the history and development of the Biennial were compiled, such as an extensive chronology that includes organisational aspects of the event as well as a wide compendium of images of the award winning works in the 28 editions which took place between 1942 and 2015. Our conclusion is that the National Biennial of Visual Arts is the main official event of Visual Arts of the Dominican Republic. Over time, it became a tangible national heritage and a platform and essential space for the positioning, the promotion, the projection and legitimization of both artists and artistic movements, based on the unequal incidence of the state's cultural policy during the different periods of government addressed by this study. / Ditrén Flores, ME. (2023). Aproximación a la política cultural dominicana y su incidencia en el desarrollo de las artes. El caso de las bienales de artes visuales (1942-2015) [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/196733 Cultural development Visual arts National Biennial of Visual Arts Art market Cultural policies Desarrollo cultural Artes visuales República Dominicana Bienal Nacional de Artes Visuales Mercado del arte Política cultural HISTORIA DEL ARTE
102	CARLOS SENA: A TRAJETÓRIA DE UM ARTISTA NA ARTE GOIANA (1980-1989) / CARLOS SENA: THE ARTIST STEPS INTO THE GOIÂNIA ART SCENE (1980-1989) COELHO, Armando de Aguiar Guedes 07 August 2009 (has links) Made available in DSpace on 2014-07-29T16:27:59Z (GMT). No. of bitstreams: 1 Dissertacao Armando Coelho.pdf: 2388570 bytes, checksum: d7b58d3c0e7f7ee3abd1512149c20c6d (MD5) Previous issue date: 2009-08-07 / This research CARLOS SENA: THE ARTIST STEPS INTO THE GOIÂNIA ART SCENE (1980-1989) focuses on Carlos Sena s professional status and productions of plastic arts in the goianiense visual arts community from the 80s. He is known for his many group expositions and private art shows, festival awards, and being an active member of the art jury at festivals. He is also well known for his intense production in painting, which was divided into two phases. The first phase being the first half of the 80s and the second being the other half of the decade. This period revealed an artist who dedicated the same posture to technician in drawing and painting as in experimental arts. During this time, it is possible to observe into the Carlos Sena´s iconography, several symbolisms which dialogue with several discussions from the period, as sexuality, mass media, and symbolic power. The analysis of Sena´s paintings of this time follows the analysis system adopted from the authors Ferreira Gullar e Gaston Bachelard. It happened to be during his painting production in the 80s, that arts career became a professional job in Goiânia, conducting the research to verify the connection between the art work and market structure. This research presents the Goiânia artistic scenario from the 80s that focuses on Carlos Sena´s presence and artist market from the period. / O trabalho CARLOS SENA: A TRAJETÓRIA DE UM ARTISTA NA ARTE GOIANA (1980-1989) focaliza a presença profissional e a produção plástica do artista Carlos Sena dentro do cenário das artes visuais goianienses dos anos 80. Presença esta marcada por exposições individuais e coletivas, prêmios em salões de arte e membro de júris de seleção de trabalhos artísticos; e uma produção intensa em pintura que, dividida em duas fases esteticamente distintas, na primeira e na segunda metade da década de 80, revelaram um artista dedicado com o mesmo afinco à busca pela supremacia técnica assim como à entrega ao experimentalismo visual. Durante todo o período é observado na iconografia de Carlos Sena elementos simbólicos que dialogavam com diversos temas proeminentes do período; como sexualidade, comunicação de massas e mercado de bens simbólicos. A leitura dessas pinturas é realizada seguindo os parâmetros de análise de obras de arte adotados por autores como Ferreira Gullar e Gaston Bachelard. O período de produção das pinturas analisadas coincide com o momento de profissionalização do fazer artístico em Goiânia, conduzindo então a uma verificação das obras em conexão com a estrutura mercantil presente na arte local da época. Este trabalho apresenta o cenário artístico goiano da década de 80 privilegiando a participação do artista Carlos Sena e ressaltando a importância do mercado artístico goianiense durante o período. Carlos Sena História da Arte Goiana Pintura Mercado de Arte Goiano Goiás Carlos Sena Goiânia Art History Painting Goiânia Art Market
103	A terceira margem do rio: mercado e sujeitos na pintura de história de Antônio Parreiras / The third bank of the river: market and subjects in history painting of Antônio Parreiras Lúcia Klück Stumpf 12 March 2014 (has links) Esta dissertação tem por tema a pintura de história de Antônio Parreiras (1860-1937) realizada durante a Primeira República (1889-1930). Busca compreender a atuação do pintor no embrionário mercado das artes do entresséculos XIX-XX, com ênfase nas relações estabelecidas com os poderes públicos. Pretende mostrar como Parreiras foi capaz de estimular a demanda por pinturas decorativas para os espaços públicos que estavam sendo construídos ou reformados a fim de atender as necessidades do novo regime. Discute como, nestas obras, se combinaram ditames do encomendante e vontade do artista, que, para além de cumprir os contratos, imprimiu nos quadros sua visão da história nacional. Propõe uma compreensão das telas históricas de Parreiras analisadas à luz dos debates artísticos, intelectuais e historiográficos da época. Nesse sentido, salientamos o capítulo final da dissertação, dedicado à análise da representação dos indígenas em sua obra. Através desta investigação pretende-se iluminar o papel desempenhado por Antônio Parreiras em um ambiente marcado por disputas simbólicas renhidas. / The subject of this dissertation is the historical painting of Antônio Parreiras (1860-1937) produced during Brazilian\'s First Republic (1889-1930). It seeks to understand the painter\'s role in the embryonic art market between the XIX and XX centuries, emphasizing the establishment of relationships between him and the governments. It aims to show how Parreiras was able to stimulate the demand for decorative paintings for the public spaces that were being built or remodeled to meet the needs of the new regime. Furthermore, it discusses how, in his paintings, the ditames of the ordering party were combined with the will of the artist whom, besides fulfilling the contracts, imprinted on the paintings his vision of the national history. Parreiras\' historical canvases are important elements in the genesis process of our country\'s regional identities, throughout the making of republican ideal. This analysis intends to shed light on the part played by Antônio Parreiras in an artistic and intellectual environment marked by instability and hard fought contested symbolic disputes. 1.Parreiras Antônio (1860-1937) 2. Primeira República (1889-1930) 3. Patrocínio da arte 4. Mercado de arte 5. Artes - Brasil 6. Pintura - História 7. História da arte 1. Parreiras Antônio (1860-1937) 2. First Republic (1889-1930) 3. Art Patronage 4. Art market 5. Arts Brazil 6. Painting - History 7. Art History.
104	A terceira margem do rio: mercado e sujeitos na pintura de história de Antônio Parreiras / The third bank of the river: market and subjects in history painting of Antônio Parreiras Stumpf, Lúcia Klück 12 March 2014 (has links) Esta dissertação tem por tema a pintura de história de Antônio Parreiras (1860-1937) realizada durante a Primeira República (1889-1930). Busca compreender a atuação do pintor no embrionário mercado das artes do entresséculos XIX-XX, com ênfase nas relações estabelecidas com os poderes públicos. Pretende mostrar como Parreiras foi capaz de estimular a demanda por pinturas decorativas para os espaços públicos que estavam sendo construídos ou reformados a fim de atender as necessidades do novo regime. Discute como, nestas obras, se combinaram ditames do encomendante e vontade do artista, que, para além de cumprir os contratos, imprimiu nos quadros sua visão da história nacional. Propõe uma compreensão das telas históricas de Parreiras analisadas à luz dos debates artísticos, intelectuais e historiográficos da época. Nesse sentido, salientamos o capítulo final da dissertação, dedicado à análise da representação dos indígenas em sua obra. Através desta investigação pretende-se iluminar o papel desempenhado por Antônio Parreiras em um ambiente marcado por disputas simbólicas renhidas. / The subject of this dissertation is the historical painting of Antônio Parreiras (1860-1937) produced during Brazilian\'s First Republic (1889-1930). It seeks to understand the painter\'s role in the embryonic art market between the XIX and XX centuries, emphasizing the establishment of relationships between him and the governments. It aims to show how Parreiras was able to stimulate the demand for decorative paintings for the public spaces that were being built or remodeled to meet the needs of the new regime. Furthermore, it discusses how, in his paintings, the ditames of the ordering party were combined with the will of the artist whom, besides fulfilling the contracts, imprinted on the paintings his vision of the national history. Parreiras\' historical canvases are important elements in the genesis process of our country\'s regional identities, throughout the making of republican ideal. This analysis intends to shed light on the part played by Antônio Parreiras in an artistic and intellectual environment marked by instability and hard fought contested symbolic disputes. 1. Parreiras Antônio (1860-1937) 1.Parreiras Antônio (1860-1937) 2. First Republic (1889-1930) 2. Primeira República (1889-1930) 3. Art Patronage 3. Patrocínio da arte 4. Art market 4. Mercado de arte 5. Artes - Brasil 5. Arts Brazil 6. Painting - History 6. Pintura - História 7. Art History. 7. História da arte
105	L'art contemporain ou le fétichisme du lucre / Contemporary art or lucre fetishism Crubilé, Marine 01 June 2018 (has links) La marchandisation de l’art se traduit par une dérive progressive de l'esprit de collection. Elle est notamment perceptible dans le désir de plus-value des collectionneurs, qui va de pair avec le fait que l'aura de la valeur artistique et esthétique d'une œuvre est fonction du prix qu'elle atteint en tant que marchandise de luxe dans les salles de vente. La valeur de l’art s’en est trouvée assujettie à un marché capitaliste dont les guerres ont paradoxalement favorisé la mondialisation. Ce marché de l’art, qui est en cours de restructuration permanente, favorise chez les artistes une course à la « starification » et à des cotations tout particulièrement ambivalentes. Faut-il en conclure que la marchandisation a pris le pas sur l'artistique, le prix sur la valeur de l’œuvre, le lucre sur l'esthétique ? Cette thèse défend l'idée que la force, et la ruse des œuvres d'art, se manifestent dans leur capacité, à se jouer du milieu religieux, idéologique ou imagologique dans lequel elles voient le jour. Cette force se révèle aujourd'hui dans l’aptitude du geste créateur, qui relève — Marcel Mauss l'a bien vu — fondamentalement du don et du contre-don, à faire voler en éclat les illusions engendrées par la marchandisation. En permettant à l’imaginaire de s’incarner à l’égal du réel, l’artiste ouvre le champ infini des possibles. C'est pourquoi la vie des œuvres d'art n'en finit pas de rendre le cosmos cosmétique, quitte à se servir du « lucre » comme d'un appât habile à stimuler le marché, dont se sert in fine, sa « main invisible ». / The commodification of art results in a gradual drift of the collection spirit. This is particularly noticeable in the desire of collectors for added value, which goes hand in hand with the fact that the aura of the artistic and aesthetic value of work depends on the price it has achieved as a luxury commodity in the sales rooms. The result was a subjugation of the value of art to a capitalist market whose wars paradoxally favored globalization. This art market, which is undergoing permanent restructuring, favors artists’ quest for « starification » and particularly ambivalent ratings. Must we conclude that commodification has overtaken the artistics, that the price is now beyond the value, the profit beyond the aesthetic ? This thesis defends the idea that force and cunning of works of art are manifested in their opportune ability to trifle with the religions, ideological or imaginary environment in which they emerge. This force is today identified in the aptitude of the creative gesture, which – Marcel Mauss saw clearly – is fundamentally a gift and a counter-gift, to smash to pieces the illusions engendered by the commodification. And strong work links the imaginary to the symbolics to become « real ». By making the imaginary equal to the real, the artist opens the infinite field of possibilities. This is why the life of works of art never ceases to make the cosmos cosmetic, even if it uses the « lucre » as a bait skilful enough to stimulate the market, which is, in fine, manipulated by its « invisible hand ». Art contemporain Fétichisme Lucre Marché de l'art Esthétique Marchandisation Création artistique Prix record Valeur de l'art Collection Collectionneurs Artistes Capitalisme Don Geste créateur Contemporary art Fetishism Lucre Art market Esthetics Merchandising Artistic creation Record price Value of art Collection Collectors Artists Capitalism Gift Creative gesture
106	Ulrich Hübner - Stadt, Land, See Westerhausen, Simone 30 March 2021 (has links) In der vorliegenden Arbeit wird die Bedeutung der Landschafts- und Marinemalerei für die nationale Einheit und bürgerliche Identifikation im Kaiserreich und in der Weimarer Republik beispielhaft am Werk des Berliner Secessionskünstlers Ulrich Hübner (1872-1932) untersucht. Zu Beginn wird die Rolle der Landschaft für die Konstitution von Staatswesen und nationaler Identität allgemein erläutert, um deutlich zu machen, vor welchem Hintergrund die Landschaftsmalerei Ulrich Hübners einen Beitrag zur bürgerlich-nationalen Identitätsfindung im (neugegründeten) Nationalstaat leisten konnte. Im Hauptteil werden dazu anhand Hübners biographischer Stationen unterschiedliche Gesichtspunkte, wie die pluralistischen Einflüsse auf Hübners Landschaftsmalerei, seine Rolle in der Berliner Secession, seine Positionierung auf dem Kunstmarkt, seine Rezeption durch die Kunstkritik und seine Funktion an der Akademie der Künste, untersucht. Hübners Konzentration auf Küstendarstellungen, Seestücke und Stadtansichten führte in Abgrenzung zur Marinemalerei zu dem neuen Typus der Stadt- und Wasserlandschaft, zwischen klassischer Veduten- und Landschaftsmalerei und impressionistischen Stimmungsbildern. Auf Grundlage des erstellten Werkverzeichnisses wird durch die Betrachtung Hübners Werks im Gesamtzusammenhang des Berliner Kunstgeschehens unter dem Aspekt des wirtschaftlichen und gesellschaftlichen Erfolges und der Entwicklung des privatwirtschaftlichen Kunstmarktes deutlich, wie ein Künstler in diesem System agierte. Hübners Erfolg mit dem neuen Typus der Stadtlandschaft und der Konzentration auf bestimmte Vertriebswege und erfolgreiche Motive steht exemplarisch für den deutschen Impressionismus in Zeiten des Stilpluralismus. Als Vertreter einer moderaten Moderne wurden seine Gemälde heimatlicher Landschaften Identifikationsbilder des aufgeschlossenen Bürgertums und somit eine Versicherung von Kontinuität in den politisch bewegten Zeiten vom Kaiserreich bis zum Ende der Weimarer Republik. / This doctoral thesis examines the significance of landscape and maritime painting for the national unity and civil identification in Imperial Germany and the Weimar Republic through the case study of the oeuvre of the Berlin Secession artist Ulrich Hübner (1872-1932). In the first instance, we will outline the effect that landscape painting in general had on the constitution of the political system and national identity in order to assess the extent of which Hübner’s landscape painting contributed towards the shaping of a civil-national identity in the newly founded nation state. To this effect we will then study key events in his biography, focusing on the following aspects: the pluralist influences that shape Hübner’s landscape painting, his role in the Berlin Secession, his place in the art market, art criticism’s response to his work and his position at the Berlin Academy of Arts. Hübner’s focus on coastal views, sea- and cityscapes, as opposed to maritime painting, lead to the new type of Urban Landscape and Waterscape which is situated between classical Veduta and landscape painting on one hand and impressionist “Stimmungsbilder” on the other. The catalogue raisonné will form the basis on which we examine his oeuvre in the context of the greater Berlin art scene with particular emphasis on his commercial and social success on one hand as well as seen within the more specific framework which is the development of the commercial art market on the other. The success Hübner had with his new type of Urban Landscape and his focus on specific commercial channels and successful subject matters is exemplary for the German Impressionism in times of stylistic pluralism. Representing a moderate Modernism, his paintings of “Heimat”-landscapes became symbols that the liberal bourgeoisie could identify with and thereby a guarantee of continuity during the politically agitated times from the beginning of the German Empire to the end of the Weimar Republic. Malerei Landschaftsmalerei Regionalität Marinemalerei Impressionismus Weimarer Republik Kaiserreich Stadtansichten Nationale Identität Kunstkritik Kunstmarkt Heimat Akademie der Künste landscape painting Imperial Germany art criticism painting seascape painting Weimar Republic impressionism art market academy of art catalogue raisonné cityscapes national identity regionality 700 Künste LI 99999 LK 83394 LK 83460 ddc:700 ddc:704 ddc:709
107	Building careers, managing capitals Flynn, Emma January 2015 (has links) I sought to find out whether this was a tension between artistic and commercial in the career of visual artists, and if so, how this tension was managed. In attempting to uncover information which could address the research question I undertook in-depth career history interviews with artists which covered their time at art school through to their current practice. The career history method was deliberately chosen in order to address the research question at a tangent as both the literature, and my own personal experience of the field of contemporary visual art, had suggested that the topic of artistic and commercial was a sensitive one. By framing the interviews around the experiences the artists had through the time period of their training and career, I was able to approach the research questions indirectly from the perspective of the artists. Through analysis of the interview transcripts the framework of Bourdieu's capitals arose as one that would capably explain the activities which the artists were undertaken and I used this as a framing device for the empirical chapters in the thesis. In exploring ideas of cultural, social and economic capitals in relation to how artists describe the activities they undertake during their career it became apparent that the broad structures of cultural capital needed further refinement in their application to the careers of visual artists. In the thesis I chose to elaborate further on the concept of artistic capital which has, until now, been unexplored by scholars. I have developed an understanding of artistic capital as a subcategory of cultural capital with particular application to the field of contemporary visual art – with the potential for wider application beyond the thesis. The three capitals of artistic, social and economic proved a capable structure for understanding whether there was a tension between artistic and commercial and how artists managed this. Through this research I have found that artists come to believe, during their early career and training through art school, that there is a tension between artistic and commercial as this is perpetuated by institutions and art world participants through their exclusion or dismissal of commercial aspects of the visual art field. Through their careers they come to realise that this tension is less prevalent than they thought and that they are able to manage these two aspects of artistic and commercial more effectively. However, artists continue to be faced with instances where this tension is imposed upon them by other art world players who perpetuate the belief that there is an inherent, unresolvable tension between artistic and commercial. These individuals attempt to shield artists from this perceived tension later in their careers when artists are already adept at managing the competing priorities of artistic and commercial without the two creating tension.
108	Johann Friedrich von Uffenbach. Sammler – Stifter – Wissenschaftler / Johann Friedrich von Uffenbach. Collector - Donor - Scientist Meyerhöfer, Dietrich 28 January 2020 (has links) No description available. 700 Sammeln Uffenbach Frankfurt am Main Wissenschaftliche Gesellschaft Zeichnung Optische Geräte Instrumente zur Gnomonik Astronomische Instrumente 18. Jahrhundert Druckgraphik Sammlungsgeschichte Privatgelehrter Kavaliersreise Bildungsreise Tagebücher Reisetagebücher Auktionswesen Auktionen Auktion Florsheim Geschichte des Sammelns Inventare von Druckgraphik Auktionskatalog Auktionskataloge Gegenschreiberbuch Monogrammistenlexikon Künstlermonogramme Stiftung Göttingen Georg-August-Universität Göttingen Kupferstich Holzschnitt Radierung Sammler Kunstmarkt im 18. Jahrhundert Grand Tour Frankfurter Patrizier Malerakademie Akademie der Wissenschaften Alte Mainbrücke Architekt Architektur Astronomie Bibliothek Bibliotheken Bibliothekswesen Buchhandel Buchhändler Diarien Diarium Direktdruck Drechseln Drechsler Drehbank Druckzustand Enkaustik Fehldruck Fernrohr Fernrohre Festungsbau Feuerwerk Feuerwerkerei Findbuch Findbücher Firnis Firniß Fontäne Fortifikation Geografie Geographie Geometrie Goethehaus Hobelbank Kartographie Klebeband Korrespondenz Kunsthandel Kunsthändler Kunstsammlung Landkarte Landkarten Ludwig XIV. Materialist Mikroskop Mikroskope Mineralienkabinett Naturdruck Oper Optik Prinzmetall Protokoll Pumpenanlage Reisebericht Sammelmappe Schildpatt Sonnenuhr Sonnenuhren Teleskop Teleskope Topographie Vakuumpumpe Vergantung Wassermaschine Wasserspiele Repertorium Protokollband Protokollbände Protokolle Georgia-Augusta Atzenheim Friedrich Philipp von Behaghel Philipp Jacob Benson William Bérain Jean Bernstorff Johann Hartwig Ernst Graf von Bignon Jean–Paul Böhm Johann Christian Breitkopf Bernhard Christoph Buttieri Carlo Antonio Campani Giuseppe Chiarelli Antonio Christ Johann Friedrich Heumann Christoph August Culpeper Edward d’Osangis Jean Pigeon Daimant Le Maire Pierre Dathan Johann Georg Dietzsch Johann Israel Diesterweg Albert Adolf Eberhard Conrad Hieronymus, gen. Schwind Egell Paul Ettling Johann Friedrich Fasch Johann Friedrich Fer Nicolas de Geysel Johann Daniel Goethe Johann Caspar Gottsched Johann Christoph Graupner Christoph Grünewald Gottfried Häckel Heinrich Jakob von Leth Hendrick de Heß Peter Heyne Christian Gottlob Hotteterre Jacques-Martin Hugo Friedrich Ludolph von Marshall John Kaller Johann Christian Kinet Johann Melchior Kniphof Johann Hieronymus Kißner Johann Georg Largillière Nicolas Leth Andries de Mariette Pierre Jean Marolles Michel de Mascow Gottfried Metz Conrad Michu Benoit Moritz Johann Friedrich Münchhausen Gerlach Adolf von Muth Heinrich Ludwig Musschenbroeck Pieter van Pütter Johann Stephan Richter Georg Gottlob Rigaud Hyacinthe Schelhorn Johann Georg Schürmann Georg Caspar Schütz d.Ä. Christian Georg Scotin Gerard Senckenberg Heinrich Christian von Stanislaus I. Leszynski Telemann Georg Philipp Ucheln Heinrich von Uffenbach Johann Friedrich von Uffenbach Wilhelm von Uffenbach Zacharias Conrad von Visscher Nicolaes Wagner Joseph Wolf Johann Christoph Zeller Franz Frauenstein Patriziergesellschaft Collecting Uffenbach Frankfurt am Main Scientific society Drawing optical devices gnomonic instruments Astronomical instruments 18. century Prints history of collection private scholar grand tour diary travel diaries Auctioning Auctions auction Florsheim History of collecting Print graphic inventories Auction catalog Auction catalogs Counter-writing book Monogrammist encyclopedia Artist monograms donation Goettingen Georg-August-University of Goettingen engraving woodcut etching collector Art market in the 18th century Frankfurt patrician Academy of painters Academy of Science Old Main Bridge architect architecture astronomy Library Libraries Librarianship Book trade Bookseller Diaries Diarium Direct printing Turning Turner Lathe Print condition Encaustic Misprint Telescope Telescopes Fortress construction Fireworks pyrotechnics repertory repertories varnish fountain fortification geography geometry Goethe House carpenter’s bench cartography Correspondence Art trade Art dealer Art collection map maps Louis XIV microscope microscopes Mineral cabinet Natural print Opera Optics minutes Pump system Account of a journey file Tortoiseshell sundial sundials topography Vacuum pump waterworks Atzenheim Friedrich Philipp von Behaghel Philipp Jacob Benson William Bérain Jean Bernstorff Johann Hartwig Ernst Graf von Bignon Jean–Paul Böhm Johann Christian Breitkopf Bernhard Christoph Buttieri Carlo Antonio Campani Giuseppe Chiarelli Antonio Christ Johann Friedrich Heumann Christoph August Culpeper Edward d’Osangis Jean Pigeon Daimant Le Maire Pierre Dathan Johann Georg Diesterweg Albert Adolf Dietzsch Johann Israel Eberhard Conrad Hieronymus, gen. Schwind Egell Paul Ettling Johann Friedrich Fasch Johann Friedrich Fer Nicolas de Geysel Johann Daniel Goethe Johann Caspar Gottsched Johann Christoph Graupner Christoph Grünewald Gottfried Häckel Heinrich Jakob von Leth Hendrick de Heß Peter Heyne Christian Gottlob Hotteterre Jacques-Martin Hugo Friedrich Ludolph von Marshall John Kaller Johann Christian Kinet Johann Melchior Kißner Johann Georg Kniphof Johann Hieronymus Largillière Nicolas Leth Andries de Mariette Pierre Jean Marolles Michel de Mascow Gottfried Metz Conrad Michu Benoit Moritz Johann Friedrich Münchhausen Gerlach Adolf von Muth Heinrich Ludwig Musschenbroeck Pieter van Pütter Johann Stephan Richter Georg Gottlob Rigaud Hyacinthe Schelhorn Johann Georg Schürmann Georg Caspar Schütz d.Ä. Christian Georg Scotin Gerard Senckenberg Heinrich Christian von Stanislaus I. Leszynski Telemann Georg Philipp Ucheln Heinrich von Uffenbach Johann Friedrich von Uffenbach Wilhelm von Uffenbach Zacharias Conrad von Visscher Nicolaes Wagner Joseph Wolf Johann Christoph Zeller Franz Georgia-Augusta Frauenstein Kunst (PPN613163508)

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