848 research outputs found
Schiele in Prison - ACE099.6
No full textActor Schiele announces his intention to marry. Photograph of Schiele with Edith Harms. After his marriage, his figures "became more conventional in appearance". Portrait of the Artist's Wife, Seated (1918), Portrait of Johann Harms (1916); Portrait of Hugo Koller (1918) which demonstrates use of props "to suggest an environment". – "the amputated limbs and discoloured flesh began to disappear": pictures including Squatting Women (1918), Family (1918). Photograph of Edith; final portrait of Schiele and Wally Neuzil, Death and the Maiden (1915). Newsreel of military scenes, soldiers dancing, etc. Troops on the march; Mahler’s Wo die schönen Trompeten blasen (Des Knaben Wunderhorn No. 9, 1898) sung over. Actor Schiele talking about the war, and his preference for "the enemy". Sketches produced during Schiele’s time as an official war artist; A Sick Russian (1915). New regimental emblem designed by Schiele. Photograph of Schiele. Paintings and drawings Schiele sold at the 1918 Secession exhibition. Modern day Vienna. Part of Makart’s 1879 Jubilee, "both a celebration of the Emperor and a work of art". Klimt’s Romeo and Juliet: his public work and work for his private patrons were separate; Female Nude. Mrs Fritza Riedler. "Schiele’s world was completely private…": Nude, Self Portrait (1910). Photograph by Johannes Fischer, Portrait of Egon Schiele (c.1915). Klimt’s Death and Life (1918); he, Schiele and Edith Schiele all died in the flu epidemic of 1918; Schiele’s early death "greatly contributed to the aura of martyrdom surrounding his life and work. But it is the compulsive quality of his images that disturbs the boundary between public and private..." A 1912 Self Portrait as Prisoner. Self Portrait in Black Coat, Masturbating. Death mask. Street signs for Makartgasse, Klimtgasse, Egon Schiele-Gasse. Credits
Schiele in Prison
No full textCU of actor as Egon Schiele as he describes his arrest on grounds of obscenity. Three Self Portrait as Prisoner (1912) by Schiele, and The Single Orange was the Only Light (1912). Prison window. Stork nesting on chimney-top. Views over towns and countryside, and Vienna. Pictures by Schiele. The Fighter (1913), Nude (1910), Self Portrait Grimacing (1910).Commentary describes his work as being "dominated by sexuality and self obsession, the classic preoccupations of the artist as outsider … at odds with his time and place…". One of the two faces from Prophets (aka Double Self Portrait, 1911). Views of buildings in Vienna and representations of court life at the end of the nineteenth century (Court Ball at the Hofburg, Wilhelm Gause, 1900; actuality footage of the Emperor Franz Josef and other royalty). Photograph of the early Ringstrasse, and views of some of its buildings ("an Athenian parliament, a Gothic town hall, a Renaissance opera house") and details of their decoration. Photographs of Hans Makart, the leading artist, and Rudolf van Alt’s The Studio of the Painter, Hans Makart (1895); details of the painting on the wall, Spring (1883-1884). Other paintings by Makart and photo of a woman in "Egyptian" pose. The Death of Cleopatra (1875); Cleopatra Hunting on the Nile (1876); The Triumph of Ariadne (1873-1874); photograph of Makart’s salon; images from the Designs for the Jubilee Procession of Emperor Franz Joseph (1879) representing The Railway Workers and The Textile Industry. Film of early cars, military procession, Kaiser and others; photograph of men skating; military exercises. Photographs of Schiele’s parents and siblings; commentary notes that his father, a railway worker, had untreated syphilis which resulted in three stillborn children and his own insanity. Railway scenes. Photograph of young Egon; Self Portrait with Tie (aka Self Portrait Facing Right, 1907), the year after he was accepted by Vienna’s Academy of Fine Art. Interior of the Vienna Burgtheater with view of mural of Romeo and Juliet (1888) by Gustav Klimt who became leader of the artistic life of Vienna on Makart’s death. Also by Klimt: Love (1895) and Minerva, or Pallas Athena (1898). The headquarters building, by Joseph Maria Olbrich (1897), of the Vienna Secession movement (Sezessionsstil), whose founding President was Klimt. Actor as Klimt saying that exhibitions, though not an ideal method, are the only means by which the group’s art can be made available to the public. Photograph of exhibition; Giovanni Segantini’s The Bad Mothers / Le cattive madri (1894); others; illustration by Koloman Moser for Rainer Maria Rilke’s Vorfrühling / Early Spring (1901); cover of fourth issue (1899) of Ver Sacrum, the group’s magazine, also by Moser. Drawing by Rudolf Bacher shows Emperor Franz-Joseph Visiting the First Exhibition of the Secession Group.
Photographs of Schiele from his time at art school and of a life class. Actor Schiele quotes the points from his manifesto to his teachers. Klimt’s Idyll (1884). Black and white reproductions of his Justice/Jurisprudence (1903), Philosophy (1900) and Medicine (1901) for the University of Vienna, which were in a more Symbolist style and attacked as being pornographic and "emotionally disturbing"; extracts from critical texts read over. Actor Klimt on the work. Actor Schiele shows some of his work to actor Klimt. Schiele’s Agony (1912) and Hermits (1912), double portraits of himself and Klimt. Some of Klimt’s society portraits: of Sonja Knips (1898), of Pianist and Piano Teacher Joseph Pembauer (1890), Mrs. Fritza Riedler (1906) Miss Emilie Floege (1902), and of Margarethe Stonborough-Wittgenstein (1905). Details of the Adele Bloch-Bauer portrait (1907), Water Snakes II (The Friends) (1904-1907), sketches for frieze for the Palais Stoclet, Brussels (1905-1907), with Anticipation and The Embrace, and The Kiss (1907-1908), showing stylistic influences of Byzantine, Oriental and Mycenaean art. Early street and court scenes in Vienna; commentary says that, unlike London and Paris, the middle class here remained quite separate from the ruling elite, and the empire was beginning to disintegrate. Commentary notes that Klimt and Schiele "began to move in opposite directions" as Schiele moved from decoration to "internal proccupations" by removing backgrounds and focussing on hands and eyes. A Schiele Self Portrait. Portrait of Hans Massmann (1909). Reclining Male Nude with Green Cloth (1910). Another Self Portrait. Fighter. Schiele also became "obsessed with his own appearance": Self Portrait (1910), Seated Male Nude (1910), Self Portrait Nude (1910), Standing Male Nude, Facing Front (Self Portrait) (1910), Self-Portrait with Naked Shoulder Pulled Up (1912), Prophets (Double Self Portrait), Self Portrait, Grimacing, another Standing Male Nude, Facing Front (Self Portrait) (1910), Self-Portrait in Black Cloak, Masturbating (1911), etc. Actor Schiele quoting letter to a would-be patron in which he complains of hostility to his work. Anton Josef Trčka’s portrait of Egon Schiele (1912) and photographs of Klimt and Arnold Schönberg, among a group of artists ridiculed by the public. Photographs of political meetings and demonstrations; photographs of Sigmund Freud whose theories "were laughed at or disguised". Another Egyptian subject by Makart; photograph of Makart with the painting; his work had been "acceptably erotic … contained within an historic framework". The "more provocative" sexuality of work like Klimt’s Judith with the Head of Holofernes (1901), and sketch of woman masturbating and Medicine, acceptable only to private collectors. "Egon Schiele’s work implicates you, the viewer, in an enclosed world of self absorbtion": Schiele Drawing Nude Before Mirror (1910) and sketch of Nude (1911). Nude with Violet Stockings (1912), The Virgin (1913), Seated Couple (Egon and Edith Schiele) (1915). Others including Standing Female Nude with Crossed Arms (1910). Lovers I (aka Man and Woman I, 1914). Photographs of young women: commentary talks about the contrast between the image of prostitutes and "respectable" women. A Klimt portrait of a young woman black and white reproduction of Portrait of Marie Henneberg (1901-1902), landscape; anti-Semitic drawings. Portrait of Gustav Mahler (1902 etching by Emil Orlik), quoted about his 8th Symphony – extract heard over shots of Viennese architectural features, Klimt’s portrait of Fritza von Riedler (1906). The Two Sisters (1906) by Richard Gerstl, Schiele’s Standing Female Nude with Crossed Arms, statuary, etc. The Ferris wheel and tower of St Stephen’s, etc. Vienna’s avant garde began to disintegrate around 1910. Actor Klimt complaining about criticism that insults his integrity, says he will never again exhibit in Vienna . Photograph of Mahler who left for America; Gerstl’s Portrait of Arnold Schönberg (c.1905-1906) who went to Berlin, as did Oskar Kokoschka (photograph). Self Portrait, Laughing (1908) by Gerstl, who committed suicide. Actor Schiele saying he wants to leave Vienna. River. Krumau (Český Krumlov), in Bohemia, where Schiele went in 1911. Krumau (1911), The Little City /Dead City VI (1912), detail from Dead City IV (1911); houses; watercolour version of The Yellow City (1914), same view of houses; The Little City II/III (1912-1913); Suburb I (1914), similar view of houses; House with Shingle Roof, Old Houses in Krumau (1914); sketch of windows, view of similar houses. View over town. Actor Schiele saying that he could "fight" the people of Krumau who were hostile to him, but will leave. Photograph of Schiele and Wally Neuzil. Trees; water; Schiele’s VO "I have become aware: Earth breathes, smells, listens… I am so rich that I must give myself away.": detail from Sunflowers II (1911); Autumn Tree in Turbulent Air (1912); Autumn Tree with Fuchsias; trees; Four Trees (1917). Trees.
Orchard; commentary says that Schiele "aroused suspicion" after moving to Neulenbach. Black-haired Nude Girl, Standing (1910); actor Klimt’s VO saying he "had warned Schiele to be careful in his relations with child models…". Prison window. Actor Schiele describing his arrest (words from his diary); on prison bed; The Door into the Open (1912). Actor Judge asks for correction to published diary as the account of events is not true; it is possible that the publisher altered the diaries. Studio; actor Schiele on his imprisonment. Actor Judge claims Schiele should know the reason for his arrest; sketch of girl (1911); actor Schiele on prison bed disputing the charges; Standing Female Nude with Crossed Arms; actor Schiele discusses the idea of "corruption". Prisoner! (1912); Hindering the Artist is a Crime: It is Murdering Life in the Bud (1912); For My Art and My Loved Ones, I Will Gladly Endure to the End! (1912). Actor Judge counters "the assertions made in the book, Schiele in Prison"; actor Schiele argues; Judge burns painting. Funfair rides; view from Wheel in the Prater. Self Portrait as Saint Sebastian (1914); photograph by Trčka, hand coloured by Schiele, Egon Schiele with Raised Arms (1914), actor Schiele in same pose quoting letter to his mother, "Without doubt, I shall be the greatest, the most beautiful … the most precious crop…". Levitation (1915). Photographs of Schiele. Self Portrait with Checked Shirt (1917). Double photograph of Schiele. Triple Self Portrait (1913). More photographs by Trčka. Self Portrait. Actor Schiele announces his intention to marry. Photograph of Schiele with Edith Harms. After his marriage, his figures "became more conventional in appearance". Portrait of the Artist's Wife, Seated (1918), Portrait of Johann Harms (1916); Portrait of Hugo Koller (1918) which demonstrates use of props "to suggest an environment". – "the amputated limbs and discoloured flesh began to disappear": pictures including Squatting Women (1918), Family (1918). Photograph of Edith; final portrait of Schiele and Wally Neuzil, Death and the Maiden (1915). Newsreel of military scenes, soldiers dancing, etc. Troops on the march; Mahler’s Wo die schönen Trompeten blasen (Des Knaben Wunderhorn No. 9, 1898) sung over. Actor Schiele talking about the war, and his preference for "the enemy". Sketches produced during Schiele’s time as an official war artist; A Sick Russian (1915). New regimental emblem designed by Schiele. Photograph of Schiele. Paintings and drawings Schiele sold at the 1918 Secession exhibition. Modern day Vienna. Part of Makart’s 1879 Jubilee, "both a celebration of the Emperor and a work of art". Klimt’s Romeo and Juliet: his public work and work for his private patrons were separate; Female Nude. Mrs Fritza Riedler. "Schiele’s world was completely private…": Nude, Self Portrait (1910). Photograph by Johannes Fischer, Portrait of Egon Schiele (c.1915). Klimt’s Death and Life (1918); he, Schiele and Edith Schiele all died in the flu epidemic of 1918; Schiele’s early death "greatly contributed to the aura of martyrdom surrounding his life and work. But it is the compulsive quality of his images that disturbs the boundary between public and private..." A 1912 Self Portrait as Prisoner. Self Portrait in Black Coat, Masturbating. Death mask. Street signs for Makartgasse, Klimtgasse, Egon Schiele-Gasse. Credits
Schiele in Prison - ACE099.4
No full textPhotographs of young women: commentary talks about the contrast between the image of prostitutes and "respectable" women. A Klimt portrait of a young woman black and white reproduction of Portrait of Marie Henneberg (1901-1902), landscape; anti-Semitic drawings. Portrait of Gustav Mahler (1902 etching by Emil Orlik), quoted about his 8th Symphony – extract heard over shots of Viennese architectural features, Klimt’s portrait of Fritza von Riedler (1906). The Two Sisters (1906) by Richard Gerstl, Schiele’s Standing Female Nude with Crossed Arms, statuary, etc. The Ferris wheel and tower of St Stephen’s, etc. Vienna’s avant garde began to disintegrate around 1910. Actor Klimt complaining about criticism that insults his integrity, says he will never again exhibit in Vienna . Photograph of Mahler who left for America; Gerstl’s Portrait of Arnold Schönberg (c.1905-1906) who went to Berlin, as did Oskar Kokoschka (photograph). Self Portrait, Laughing (1908) by Gerstl, who committed suicide. Actor Schiele saying he wants to leave Vienna. River. Krumau (Český Krumlov), in Bohemia, where Schiele went in 1911. Krumau (1911), The Little City /Dead City VI (1912), detail from Dead City IV (1911); houses; watercolour version of The Yellow City (1914), same view of houses; The Little City II/III (1912-1913); Suburb I (1914), similar view of houses; House with Shingle Roof, Old Houses in Krumau (1914); sketch of windows, view of similar houses. View over town. Actor Schiele saying that he could "fight" the people of Krumau who were hostile to him, but will leave. Photograph of Schiele and Wally Neuzil. Trees; water; Schiele’s VO "I have become aware: Earth breathes, smells, listens… I am so rich that I must give myself away.": detail from Sunflowers II (1911); Autumn Tree in Turbulent Air (1912); Autumn Tree with Fuchsias; trees; Four Trees (1917). Trees
Steven Schiele, Saving the legacy: an oral history of Utah\u27s World War II veterans, ACCN 2070, American West Center, University of Utah
No full textTranscript (39 pages) of an interview by John C. Worsencroft with Steven Schiele on February 22, 2010. From tape number IA-36 in the "Saving the Legacy" Oral History ProjectSchiele (b. 1956) was born in Davenport, Iowa, and lived in Denver, Colorado, Cheyenne, Wyoming and Granger, Utah. Steven talks about his decision to enlist in the Air Force in high school, which was influenced by his brothers\u27 service and seeing a Jimmy Stewart movie called Strategic Air Command when he was young. He discusses basic training where he became a squad leader. After basic training he went to Chanute Air Force Base where he became a general vehicle maintenance mechanic and then reported to Francis E. Warren for three and a half years. He describes his duties and his life with his family at Francis E. Warren. He talks about his decision not to reenlist with the Air Force after serving for four years. After his enlistment with the Air Force, Steven joined the Air National Guard because it allowed him to be closer to planes. He describes his work for the Air National Guard during the eighties were he was deployed to Moron, Spain several times. In the nineties Steven worked as a crew chief and was able to see the world. He describes his deployments to the United Arab Emirates, Italy, and Kosovo. He talks about the conditions and the atmosphere with the locals in Souda Bay, Crete where they were stationed during the Kosovo mission. After this Steven became student flight coordinator in charge of new recruits and then a first sergeant. Interviewed by John C. Worsencroft. 39 pages
Bau der leichten Fahrzeuge und mobilen Brücken über Bäche, Flüsse und Sümpfe
No full textvon C. F. W. Schiele...; mit taktischen Anmerkungen von J. von NiedermayrKeine weiteren Bände erschienenSupralibros: "EA" 990005729620205503_0001 Exemplar der ETH-BI
Artistic presentation of seizure semiology—A remarkable painting
No full textZusammenfassung Ein Gemälde wird gezeigt, das die Anfallssemiologie der Patientin, Koautorin und Malerin Martina Schiele visualisiert. Es wird aufgezeigt, dass der künstlerische Akt half, das verbal Schwerbeschreibliche zu erfassen und darzustellen. Es erfolgen eine epileptologische Kontextualisierung und ein Ausblick auf Epilepsie und Kunst.A painting is shown that depicts the seizure semiology of a patient, i.e., Martina Schiele the painter and co-author of this article. It is illustrated that the artistic act helped to express and better understand her symptoms, which were hardly describable in words. A contextualisation and perspective on epilepsy and art is given.Open Access funding enabled and organized by Projekt DEAL.Universitätsklinikum Erlangen (8546
New germanate glasses for infrared fibre applications
No full textH. Ebendorff-Heidepriem, C. Schiele, A. Winterstein, L. Wondraczek, D. G. Lancaster, D. J. Ottaway, T. M. Monr
Jak drapieżny ptak chcę okrążyć miasto. Egon Schiele – melancholik skandalista
No full textEgon Schiele is one of the most distinctive painters of the early twentieth century. Known primarily as the author of scandalous acts. But also symbolic compositions, antropomorphic landscapes and still-life work for to his credit. The article presents the silhouette of the artist - egocentric, rebelious and eccentric. The artist who talks about his experience in a shamelessly open and honest way. The artist seeking knowledge about man in all of its abundance of uniqueness and weakness. The text is an attempt to answer the question about the phenomenon of the Viennese painter who courageously followed melancholic clues in one of the groundbreaking moments in the history - the decaying era.Egon Schiele to jeden z najbardziej charakterystycznych malarzy początku XX wieku. Znany przede wszystkim jako twórca skandalizujących aktów, ma w swoim dorobku również kompozycje symboliczne oraz pejzaże przedstawiające antropomorfizowane krajobrazy i martwe miasta. Artykuł przedstawia sylwetkę malarza – egocentryka, buntownika, ekscentryka – artysty mówiącego o swoim doświadczeniu w sposób bezwstydnie otwarty i szczery, szukającego wiedzy o człowieku w całym bogactwie jego słabości i niezwykłości. Tekst stanowi próbę odpowiedzi na pytanie o fenomen wiedeńskiego malarza, który z odwagą podążył za melancholijnymi tropami w jednym z przełomowych momentów historycznych – upadającej epoki
The Development of an Efficient Grasp Master for Space Robotics Teleoperation
No full textThis thesis reports on the development of an efficient grasp master for space robotics teleoperation that will complement the haptic human arm master X-Arm-2 (Schiele 2011). It should provide the hand and fingers of various operators with sensing and feedback functions, enabling bilateral teleoperation of various types of robotic end-effectors in different control architectures to perform a wide range of tasks. Analysis of the state of the art of reported grasp masters reveals issues that limit their use in combination with arm master devices. Two important factors involved are device placement w.r.t. the operator (e.g. arm coverage by actuators and arm workspace limitation by external transmissions) and structural complexity (bulky designs leading to uncomfortable operation and mechanical losses). Because of these issues, the device efficiency, defined as the user- and device performance achieved with respect to the resources expended, appears to be generally too low. It is the goal of this work to present on the development of an efficiency grasp master device that can be used by various operators in space robotics teleoperation without requiring device adjustments. By following a human-centric design approach, considering relevant space operation tasks, required operator grasp types, and psychophysical effects in human grasping, a reduction of the required number of DOFs of a possible master device was achieved. In combination with the separation of control and feedback channels this can constitute an efficient device concept and was elaborated into a detailed prototype design in this work. As a tool in the design of device geometry and workspace verification, an adaptable kinematic human hand model was constructed and partially verified. This model is based on human functional anatomy and is easily adaptable to various real human hand sizes by the use of body proportions. Verification of the grasp master workspace showed robustness against hand size variation from the 5th female- till 95th male percentile. Verification by analysis and simulation showed that key human factors- and performance requirements can be met. Verification using device efficiency indicators, proposed for the purpose, indicates that the grasp master design is relatively efficient w.r.t. other compared devices based on slave controllability, slave observability, and the quality of the reflected force. The proposed prototype design will be manufactured to enable further verification by testing and validation of real user interaction.BMDBiomeMechanical, Maritime and Materials Engineerin
Please Don’t Leave Me—Separation Anxiety and Related Traits in Borderline Personality Disorder
No full textPurpose of Review: In light of the apparent symptomatic resemblance of separation anxiety disorder (SAD) symptoms on the one hand and abandonment fears, anxiousness, and separation insecurity central to borderline personality disorder (BPD) on the other hand, a comprehensive overview of separation anxiety and related traits in BPD is provided. Recent Findings: Epidemiological, environmental, psychological, and neurobiological data connecting BPD to separation events, feelings of loneliness, insecure attachment styles, dimensional separation anxiety as well as SAD per se suggest a partly shared etiological pathway model underlying BPD and SAD. Differential diagnostic aspects and implications for treatment are discussed, highlighting separation anxiety as a promising transdiagnostic target for specific psychotherapeutic and pharmacological treatment approaches in BPD. Summary: This innovative angle on cross-disorder symptomatology might carry potential for novel preventive and therapeutic avenues in clinical practice by guiding the development of interventions specifically targeting separation anxiety and attachment-related issues in BPD
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