Studienarbeit aus dem Jahr 2005 im Fachbereich Kunst - Malerei; Note: 1;0; Friedrich-Schiller-Universitauml;t Jena (Kunsthistorisches Seminar); Veranstaltung: Proseminar Landschaftsmalerei des 19. Jahrhunderts; 10 Quellen im Literaturverzeichnis; Sprache: Deutsch; Abstract: bdquo;Seit seiner Wiederentdeckung kurz nach der Jahrhundertwende wurde verschiedentlich versucht; seine Kunst; die innerhalb der Muuml;nchner Schule eine Sonderstellung einnimmt; zu definieren. Heute [...] ist Wilhelm von Kobell in einem groszlig;en Kreis von Museen; Sammlern und Kunstliebhabern hoch geschauml;tzt. So gilt es; die Frage nach dem Wesen und der Bedeutung seiner Malerei; die den Bogen von der Kunst des ausgehenden 18. Jahrhunderts uuml;ber den Klassizismus unmittelbar in das deutsche Biedermeier spannt; neu zu stellen.ldquo;Diese Aussage Wichmanns; welche die folgende Abhandlung einleitet; bezeugt eine offensichtliche Unsicherheit der Rezipienten bei der Beschauml;ftigung mit dem Werk Wilhelm von Kobells. Dessen eigenwillige Kunstauffassung wird zwar stets betont; doch in der wissenschaftlichen Literatur nur selten intensiv abgehandelt. In vielen Ausstellungskatalogen findet das Kobellsche Schaffen lediglich peripher Erwauml;hnung und im Mangel an Farbbildmaterial setzt sich diese Tendenz fort. Inhaltliche Ausnahmen bilden Waldemar Lessing mit dem ersten monographischen Beitrag; Siegfried Wichmann mit der Erstellung des kritischen Werksverzeichnisses und Sabine Heinens detaillierte Auseinandersetzung mit den spauml;ten Kobell ndash; Bildern5. Im Rahmen der vorliegenden Hausarbeit wird versucht; den Duktus des Malers; das Charakteristische seiner Kunst darzulegen. Nach einem kurzgefassten Uuml;berblick uuml;ber relevante Lebensstationen wird sich seinem Werk genauml;hert. Da Kobell zahlreiche Studien von Landschaft und Milieu in seinen Begegnungsbildern vereint; dient als Betrachtungsbeispiel die Darstellung bdquo;Reiter am Tegernsee (I)ldquo;; welche beschrieben; analysiert und auf naturwissenschaftliche sowie kulturelle Einfluuml;sse aus der Entstehungszeit untersucht werden soll. Daran schlieszlig;t ein kursorischer Uuml;berblick der Kunstepochen; denen Kobell zu recht oder unrecht zugeordnet wird; wie es das Eingangszitat bereits andeutet. Zusammenfassende Bemerkungen beenden diese Arbeit.
#4235449 in eBooks 2006-06-21 2006-06-21File Name: B00BD8HMD6
Review
7 of 7 people found the following review helpful. A fascinating look behind the curtainBy HughLet me start by saying I was a student in London in 1973-1975; studying theatre and was fortunate enough to have attended many of the productions that Blakemore writes about. I sat in the cheapest seats available at the Old Vic and watched Laurence (later Lord) Olivier in Long Days Journey Into Night. And I was blown away by Blakemores production of The Front Page. So; I was privileged to see the end product and lo; these 35 years later; I am fascinated by the machinations that went on behind the scenes; some of them every bit as dramatic as those going on in front of the audience.Blakemore is a gifted and eminently readable writer. He makes even the day-to-day running of a large artistic enterprise (which the National most certainly was) a compelling read. What emerges most vividly are the people who wrought this paradigm-changing enterprise out of the mud of the South Bank. Blakemore draws wonderfully detailed portraits of people; including Olivier and Kenneth Tynan (a critic who seems to have fallen out of fashion over the past decade or so; but whose dramaturgy helped shape the National in its nascence). One cannot read of Olivier practicing his James Tyrone walk at the edge of the rehearsal room without smiling; and pictures that emerge of people like Harold Pinter and Peter Nichols will be fascinating to almost any student or devotee of the British Theatre.As Ive said; this book is so masterfully written; I tore through it in two days. It is a joy to read and a great addition to the growing number of books on the National Theatre.2 of 2 people found the following review helpful. HonestBy stutzjonStage Blood is a great read. Blakemore really gives you a sense of being there and takes you along on his journey as he recounts his often tempestuous experience at the National Theatre. I found it totally fascinating. Famous theatrical luminaries are taken down from their pedestals and come across as human and fallible; probably closer to what they were like in real life. This book clearly is very personal to Blakemore; I suspect he wrote this to bury a hatchet and to try and resolve something that has burdened him since his time at the National. It sometimes made me feel uncomfortable and unsure whether I was getting the objective story. Halls relationship with Blakemore is complex and difficult. I remember thinking at some point; "I thought I was reading about the history of the National Theatre; this seems to have an agenda." That bugged me at the time. Its been a few weeks since I read it and Ive given it some thought and I think I appreciate Blakemores choice to tell his point of view as honestly as possible. Ultimately; I wanted to have an account of what it really was like to be working at the national in the 70s. Blakemore gives that; and it sometimes is not pretty.In fact thats what I appreciate most about Blakemores writing. Theatre for him is a hard profession; he comes across as insecure and frustrated often; in this and his other books. But honestly thats how it is for a lot of people who work in the arts. I am an actor and Ive identified strongly with his writing and these books mean a lot to me. Especially Next Season which I think is a honest to god; quality novel that every actor who has been at it for awhile should read. Highly recommend this.4 of 4 people found the following review helpful. Bitterness BackstageBy Timothy HallinanFascinating inside story; packed with grudges and intrigue; about the British National Theatre and the wars; both aesthetic and purely turf; that broke out when Laurence Olivier; its first director; stepped aside. Michael Blakemore and Jonathan Miller were among its leading directors; but both found themselves marginalized when Peter Hall took over Oliviers office and began putting his own stamp on things. Blakemore; who wrote this book (he says) partially as a response to Halls very dishy DIARIES; characterizes Hall; to his face at one point; as the greediest man Blakemore has ever known -- greedy for credit; for prestige; for money. Fascinating for anyone who loves British theater; but the final take-away; for me; was that these towering artists of the stage; who can essentially reinvent Shakespeare for their age; and discover and stage the work of new dramatists can have just as hard a time working together as; say; the Arctic Monkeys or any other rock band.