Synonyms for kunstschau or Related words with kunstschau

kunstsammlung              sezession              staatsgalerie              stadtmuseum              gedok              weltausstellung              literaturhaus              hellerau              kunsthaus              deichtorhallen              ausstellung              mumok              kuenstlerhaus              kunstlerhaus              schlossmuseum              musikakademie              kunstverein              klangforum              festwochen              berlinische              landesmuseum              literaturarchiv              sonderauftrag              kultusgemeinde              kulturbesitz              staatliches              filmwinter              zeichenschule              schlosstheater              kunstsammlungen              fridericianum              hoftheater              lenbachhaus              kammeroper              stadtpark              graphische              bethanien              wettbewerb              realismus              studienzentrum              landesmuseen              badisches              projekte              musikschule              schaulager              hessisches              kunstraum              musiktheater              konzerthaus              landestheater             

Examples of "kunstschau"
2016 | "Verkaufs–kunstschau #5" , Das Weisse Haus, Vienna, Austria. June 2 — June 16, 2016.
His "pantomime", "Der Geburtstag der Infantin", commissioned by the dancer Grete Wiesenthal and her sister Elsa for the opening of the 1908 Kunstschau, first called attention to his development as a composer. Such was the success of the venture that Schreker composed several more dance-related works for the two sisters including "Der Wind", "Valse lente" and "Ein Tanzspiel (Rokoko)".
Like Vogeler he was a 'Jack-of-all-trades'. Many buildings in Worpswede have been built by him: examples include the "Lower Saxony Stone" ("Niedersachsenstein"), "Kaffee Verrückt", "Grosse Kunstschau" and his own house Hinterm Berg. He also created many sculptures, such as the "Bonze des Humors", the "Träumende", "Schlafende", "Wut" etc.
Klimt invited Schiele to exhibit some of his work at the 1909 Vienna "Kunstschau", where he encountered the work of Edvard Munch, Jan Toorop, and Vincent van Gogh among others. Once free of the constraints of the Academy's conventions, Schiele began to explore not only the human form, but also human sexuality. At the time, many found the explicitness of his works disturbing.
Although his studies in Munich ran from 1902 to 1903, Forstner had begun to work as an artist, painter and illustrator from 1901. In 1906 he founded the "Wiener Mosaikwerkstätte", and two years later he was given a trade licence to produce glass mosaics. He presented work at the 1908 Wiener Kunstschau, organised by Gustav Klimt and Josef Hoffman. He also presented work at the Spring showings of the Hagenbund, a Viennese art collective.
In 1933 Berger was co-founder of the "Lehrinstitut für Tonfilmkunst" ("Teaching Institute of Sound Film") in Vienna, where he also taught. He was also a member of the "Österreichischer Werkbund" ("Austrian Labour Union") and of the "Bund österreichischer Künstler" otherwise known as the "Kunstschau/Sonderbund deutschösterreichischer Künstler" ("Union of Austrian Artists"). In 1936, when under economic and political pressure from Nazi Germany the German prohibition against Jews and persons of Jewish descent working in the film industry was also adopted in Austria, Berger immigrated, via Prague and Paris, to Moscow, where he continued his career with Mosfilm as Artur Semyonovich Berger into the 1970s.
In the years before this painting was made, it was uncommon in Western art to show pregnancy and Gustav Klimt was one of the first artists who blatantly portrayed a nude pregnant female in a powerful manner. Klimt did not show this work to the public until the Second Vienna Kunstschau in 1909. The themes present in this painting are contradictory, such as death and birth. The dark figures in the background swirl around the nude female seeming to blend the idea of life, death, and rebirth.
Hedwig Frieda Käthe Marquardt was the daughter of Johann Friedrich Marquardt and Hedwig Franziska Marquardt. Her father was the village doctor in Biere, a village near Magdeburg, Germany. She initially trained as an art teacher in Kassel, but went on to study art at the Kunstgewerbeschule Magdeburg and then, under Professor Engels, at an academy in Munich in 1906–09. Very few of her pictures before the 1920s survive. The earliest show the influence of contemporary German landscape painters, particularly those of the Worpswede School, and, in her figurative painting, that of Käthe Kollwitz. By 1912 Marquardt was living in Berlin and studied for a time under Lovis Corinth. The art of the avant garde she saw here (in particular the work of artists such as Franz Marc, Wassily Kandinsky and Lyonel Feininger) allowed her to develop the artistic idiom that she followed, broadly speaking, for the rest of her life in her painting and graphic work. The figure of the horse, a symbol of energy and the free spirit, a recurrent image in her work, may derive from her country upbringing but also owes much to Marc. She exhibited in the Juryfreie Kunstschau in Berlin in 1911 and 1913 and the Magdeburg Kunstschau of 1912. In 1914 she painted a large crucifixion for the village church at Biere.
"Murderer, the Hope of Women" has often been called the first Expressionist drama due to its symbolic use of colours, innovative lighting, and the movements of the actors. It was first performed at the Kunstschau Theatre in Vienna in 1909 and caused much controversy on its première. On the night of its first performance, soldiers from a nearby barracks watched the play from the edge of the garden and, upon the Man’s branding of the Woman, rushed through the barrier. Things quickly escalated and a riot soon broke out, for which the police were sent. By means of a connection between the Chief of Police and Kokoschka’s friends and fellow writers Adolf Loos and Karl Kraus, Kokoschka got off with only a warning, rather than being arrested for disturbing the peace. Such strong emotional reaction is characteristic of such work as Kokoschka’s.
In 1922, the Kramers encouraged van Velde to travel and gave him a monthly stipend. He went first to Munich in May, then to north of Bremen (in Worpswede) in June, where, since the 1890s, there existed a colony of expressionist artists. This brief exposure to contemporary art (3 months) revolutionized van Velde's work. He left Worpswede shortly after, and moved to Paris (in the "Belleville" quartier, 19th arrondissement). His career progressed slowly, and in February 1927 he exposed his works in Bremen. This was followed by the Jury-Freie Kunstschau of Berlin in April. Finally, he (with his brother Geer) was admitted into the Salon des Indépendants in Paris, where he would show his works several times (1928 to 1932, in 1940 and 1941). In this period he went to Chartres in the company of Otto Freundlich, and also discovered the works of Henri Matisse (probably at the home of Paul Guillaume). Matisse would have a great impact on van Velde's work (as too, in coming years, van Velde's discovery of Pablo Picasso).