#Hans Carl Müller

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Annie Mewes and Hans Carl Müller in Shakespeare's "The Winter's Tale"

German vintage postcard

[rwpohl]

gift im zoo, wolfgang staudte, hans müller 1952

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The myth of Medea (3)

After this previous article about Medea by the Renaissance, I offer you another loose translation – of Michèle Dancourt’s article about « Medea in the European culture of the 20th century ».

It seems that, within the myth of the infanticide, Medea’s male counterpart is Herakles, who killed his wife and children under the illusion that he was sacrificing animals. Heiner Müller highlighted how Medea became one of the great figures of the 20th century and one of the symbols of the disasters that struck it, alongside Herakles. (Meanwhile the 19th century was more fascinated and devoted to the duo of Antigone and Prometheus). When he staged his work “Cement” in 1972, depicting the monstrous metamorphoses caused by the Russian revolution, Heiner Müller slid in both an “Herakles 2 or the Hydra”, and a “Medea-Commentary”, to better show the “war of the texts” around the character of the child-killer. He said: “Myths are a collective experience that repeats itself. We can make them variate up to infinity, just like dreams.” During the 20th century, Europe modulates the figure of Medea, reinvented from the texts of Euripides and Seneca, in the theater, in the opera and in the cinema. These variations are all the product of male artists, except for a few attempts in different medium: choreography (with Martha Graham and Birgit Cullberg), essay (Isabelle Stengers), novel (Christa Wolf) – almost as if the radicalization of Medea’s monstruosity finally called for women’s voices to speak after centuries of male creation.

1/ Fable variations

The Medeas of the 20th century all edit and nuance the original legend. Jean Vauthier’s partition created for the play of Seneca develops and expands the subject (with the music that Xenakis composed for this show being very insistent on the original Latin inflexions), while the “Medeaspiel” of Heiner Müller is very contracted between the choral of the two sides, “Abandoned shore” and “Landscape with the Argonauts”. Close or far away from the texts of Antiquity, all those contemporary rewrites offer new insights on the character. For example, they shift the focus towards a Medea still deeply rooted in Colchis: Pasolini’s movie opens, with Cappadocian landscapes and Tibetan music, on a mysterious sequence depicting archaic agrarian rites and sacrifices where Medea performs as a priestess. In the sardonic and misogynic play by Gilbert Lely, “Only kill your father for good use”, Medea, depicted as a parricide and as involved in an incestuous relationship with her brother, cannot even leave Colchis: Jason rejects her and escapes while she is having a breakdown.

Other works prefer to move the tragic emotion towards the children of Medea and Jason, who were barely heard in the centuries past. Hans Henny Jahnn’s “Medea” presents two sons with a strong bond, a weapon that Medea will use to “nail down this beautiful couple”. The play highlight the cruelty of the impossible rivalry between Jason and his oldest son, who both are in love with the daughter of king Creon. Medea, indeed, gave to his lover in this version an eternal youth. Similarly, when Lars von Trier shoots in 1988 the scenario that Carl Dreyer wrote in 1965, and where Medea poisons her children with a sweet tisane while singing a lullaby, he invents a new pathetic sequence: the oldest son helps his mother to hang the youngest one on the branch of a tree, in a wasteland, and after waiting for a long time he finally asks his mother to help him make his own noose.

However, the works of the 20th century get the further away from the tradition when it comes to the endings. While Medea stills takes refuge at the Athens of Aegeus (as in Euripides), no work ever present the “epiphany of the crime in a triumphal chariot” (as with Seneca), a scene which had been a rule for the classical theater and opera. The idea of Medea going “upwards” is simply suggested, sublimed: the Medea of Bergamin calls for the Celestial Father, “I will fill your eternal solitude with a human solitude of love!”. Outside of Anouilh’s Medea, who kills herself, the Medeas of the 20th century all disappear without dying because, as Max Rouquette wrote “how can one die when we are but a kind of death, a cursed wind which haunts endlessly the earth”. The Medea of Kyrklund petrifies herself in the shape of the Minoan snake-goddess, with Jason by her side, “like an engraving on a funeral stone”. The one of Jahnn, sitting by the corpses of her children, announces the end with her prophetic voice: the fortress will crumble down to the bottom of the sea.

2/ Paroxysm of violence

It is through modern singing that Medea now tries to capture the “furor” of Antiquity and the “panic” energy which infects the entire city. Christa Wolf’s “Medea-Stimmen” depicts the mechanism of how a scapegoat is created by a chain reaction: Medea is insulted in the streets of Corinth and treated like a scapegoat, she is banished from the town, her children are lapidated by the crowd, and the collectivity ends up inventing the legend of the infanticide after the one of the fratricide. To express the excess of this “spiritual disaster” (as Pasolini said), of this undepictable crime, all the tensions go through the sounds, from Pasolini’s deafening silences to the stenographical screams of Jean Vauthier. The scream is a recurring didascaly in Anouilh’s “Medea” where the protagonist makes an effort to become the Fury that Creon sees in her: “Beasts of this night! […] I shout with you your dark scream. On this night, Medea is all that hunts and all that kills.” Heiner Müller’s Medea echoes in her monologue the screams of many more victims, those of Colchis colonized, of her children that she murdered, of her rival which she mimics the agony of: “Here she is screaming / Do you have ears for this scream / And so screamed Colchis when you were in my womb / She’s still screaming / Do you have ears for this scream”.

All the voices of this echo chamber scream of life and death. Max Rouquette’s Medea screams to an old woman “Shut up! I should not have allowed you to speak. You offer your tongue to the voice of my belly which begs me to save them.” In this this game of hyper-intensity, there is a physical dimension to the passion, which keeps involving in all of these works the blood, the heart, the entrails, the belly, all tied to the notion of devouring. Heiner Müller’s Medea screams “Does this body not / Mean anything to you anymore / Do you want to drink my blood, Jason?”. To her children she says: “I want to rip you out of my heart / You who are the flesh of my heart / My memory / My darlings / The blood in your veins, give it back to me / Enter again my body, for you are entrails”. When she kills her sons, Jahnn’s Medea dares to say: “My thick blood has no shame in laughing, / drunk with vertigo, / because my eyes saw the fruit / of my entrails”. The same characters describes with horrible details how she cut into pieces the body of her brother. She listens to Jason, but only to her him begging her to mutilate him organ after organ, or to listen to how his new wife turned into a carrion.

3/ Medea the barbarian

These explosions of violence are all concentrated within the words “monster”, “savage”, “barbarian”. Sometimes it is Creon that uses them against Medea: “You are a beast! A non-Greek Barbarian! Your work is as black as your skin!” (Jahnn). Other times it is Medea herself that uses the word: “Why are you still clinging on to this barbarian / Who is your mother and your mark of shame” (Müller). “Medea the barbarian” is a notion that comes first, replacing the old idea of Medea the sorceress that Corneille’s play or Charpentier’s opera favorized. Medea becomes the character throughout which the notion of “barbarity” is reversed and decentralized. The artists of the 20th century turn Medea into the “strange foreigner”, robbed of her identity and who can only regain it through an enormous crisis. For Anouilh, Bergamin and Rouquette she is a Gypsy woman, for Jahnn she is a cultureless African, and with Kyrklund’ “Medea Foreigner” she forces the characters to see and hear everything that the European colonization vanquished and repressed: “This vision, Jason / That with the boots of your troops you painted all over my Colchis” (Müller). Kyrklund’s Medea, when she talks about the tree of her native land, the m”bongo”, defends strongly the notion of “sacred” and she fully understands the emptiness of the utilitarian rationalism of which Jason is so proud of. A same conflict is developed by the episode of the “mythical Centaur” in Pasolini’s movie, with Chiron educating a child Jason. Once adult, impoverished by both the colonial adventure of the Argonauts and the male culture of the “logos” at the heart of the city of Corinth, Jason loses any access to the poetry of the hybrid, to the unicity between man, animal and god. When he hears the “rational Centaur” talk and thus verifies the disenchantment of the world, he goes away crying, one hand before his eyes. “Medeaspiel” takes place in a set called “Abandoned shore”, a tormented earth after the last battle of World War II, an atrocious trace left by a male predator that was drunk with the might of his murderous technology. The nature has been torn apart just like the woman was forced to flee, and Medea in her distress knows a “reverse conversion” as she loses her sense of the mystery. The modern works thus invoke back the colonial denunciation present within Euripides and Seneca, but it isn’t just a battle between Europe and Asia anymore.

4/ The gender war

The knot of violence binds together the bursts of History with the sexual antagonism, because the Greek man betrayed the foreign woman and her children. Numerous texts create a duel where each repeats with a hateful obsession the theme of the “mine and yours”: “I come to give you what belongs to you, and ask you what is mine.” “Who are you fleeing, Jason, you or I? My sons or yours? Your blood or mine?” (Bergamin). “All within me is an instrument all for you. / For you I killed and I gave birth. / Me, your bitch, your whore, me.” (Müller) In this hateful lists that closes the suicidal infanticide, Müller’s Medea can only conclude with this position: “I want to rip humanity in half / And stay in the void between. Me / Neither woman nor man.” The Medeas of Gilbert Lely and Anouilh, the only ones who are vanquished, turn against themselves an irrational hatred of the wounded and amputated feminity. But the feminist cry that can be heard in Euripides’ Medea is still maintained by the works of Dreyer, Lars von Trier, Kyrklund or Bergamin: “I do not want to see the hand of man stop the power of my soul”. “Medea la encantadora” gives a unique light to the dialogue Medea has with her rival Creusa: the word of Medea, “the soul’s weaving”, initiates her to a hidden knowledge, her incantations are tied to the “cante jondo” where a male and female singer oppose each other in a new take on the old chorus. Indeed, in the modern works the chorus is always transformed: for Kyrklund the bourgeoisie of Corinth, for Max Rouquette old women who sing psalms with the voice of magpies, for Müller anonymous and apocalyptic voices… But in very case it amplifies the tragic song of Medea, who keeps modulating her own name (Medea nunc sum), since, by Anouilh’s words, “mothers will never call their daughter by this name anymore”. As with the other Medeas, the one of Max Rouquette plays with the numen of her name:

“You are the image of Medea. You are my mirrors… / More beautiful than any of those that were given to you. Of Medea no image can be ever be bound. / No image of Medea to pay the happiness of another. Be sold who wants to. / But not Medea. Nor Medea’s flesh. / Nor Medea’s love can be separated from Medea.”

[sheltiechicago]

Two Owls Fighting Over A Rat (1713)

By Hans Georg Müller

Hans Georg Müller was born in Germany and immigrated to Sweden. He was a painter who also worked as a drawing instructor. Among his students, we find Carl Gustaf Tessin, an art collector who owned this painting for a long time. Two Owls Fighting Over A Rat is a lively depiction of two owls, active in the night hours, trying to steal dead prey from one another.

[opera-ghosts]

Here a picture of Melanie Kurt as Isolde.

 Born on January 8th 1880 in Vienna, Melanie Kurt studied piano before her voice was discovered. Her singing teachers were Fanny Müller and Mari Lehmann, famous sister of the even more famous Lilli, Lehmann. In 1902 Kurt gave her debut as E1isabeth in "Tannhäuser" at the Stadttheater in Lübeck. In 1905 she moved on to Braunschweig and in 1908 arrived at the Berlin Court Opera. She became known internationally through her guest appearances at the London Covent Garden Opera as Sieglinde, in 1910 and later performances in Budapest, Dresden, Munich and several Italian Opera Houses. At the Salzburg Festival she sang together with Hermine Kittel and Lilli Lehmann the Three Ladies in "Die Zauberflöte". In 1913 she joined the ensemble of the just opened Deutsche Opernhaus Berlin, where she concentrated on dramatic roles: she was Berlin's first Kundry at the premiere at the Deutsches Opernhaus on January 1st 1914. Her contract with the Metropolitan Opera in 1915 can be considered the high point of the soprano's career. During those three years in New York she not only sang the dramatic Wagner-roles, but also mezzo roles, such as Fricka in "Rheingold", she was Amelia in "Un Ballo in Maschera" (with Enrico Caruso and Pasquale Amato), Marschallin in "Rosenkavalier", Iphigenie, Santuzza, Leonore ("Fidelio") and Pamina (in a cast which included Carl Braun and Frieda Hempel and saw as Tamino either Johannes Sembach, Jacques Urlus or Otto Goritz). In the programs of her MET concerts she also tried to include less familiar arias, such as the then only rarely performed Rezia aria from "Oberon" or Johanna's aria from the opera by Tschaikovsy. After the 1916/17 season most German singers, especially if they had focused their repertory on Wagner opera, left the MET: together with Margarete Arndt-Ober, Ernestine Schumann Heink, Johanna Gadski, Carl Braun, Otto Goritz, Johannes Sembach, Hermann Weiland Jacques Urlus Melanie Kurt left the United States in 1917. Kurt's last performance at the MET as Brünnhilde on March 28th 1917 (with Urlus, Braun, Reiss and Arndt-Ober) was at the same time the last "Siegfried" until 1923. After her return to Europe Melanie Kurt accepted no more long-term engagements but gave guest performances, especially in her much acclaimed Wagner roles, at all major European stages. She was the first Brünnhilde in "Siegfried" at the Waldoper Zoppot when the Festival was opened in 1922. The performance was conducted by the young Hans Knappertsbusch and the cast included Fritz Vogelstrom, Heinrich Knote, Werner Engel, Waldemar Henke, Desider Zador and Margarete Arndt-Ober. After having ended her singing career Melanie Kurt lived in Berlin and later in Vienna where she was active as a singing teacher. After the annexion of Austria by the Third Reich in 1938 she was able to leave her home country in time and emigrated to the United States where she died in New York on March 11th 1941.

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Wisa von Westphalen (1910-1993) pintora alemana.

Nació en Helmerm, hija mayor del mariscal hereditario y administrador de distrito Joseph Raban Georg Karl Freiherr von Spiegel zu Peckelsheim y de su esposa Gertrut de soltera von Amelunxen. Creció en la mansión de sus padres en Helmern.

A los 13 años ingresó en un internado en Holanda. Después de graduarse de la escuela en 1929, pasó un tiempo con su tía, la abadesa Maria Anna Benedicta von Spiegel, en la abadía benedictina de St. Walburg en Eichstätt. Luego se mudó a la finca Pannwitz, cerca de Breslau, para vivir durante algunos años con parientes de Silesia, donde trabajó en la agricultura . Esta propiedad recayó en Wisa von Westphalen mediante adopción.

Desde 1929 llevó el nombre de su tía adoptiva: condesa de Bocholtz- Asseburg.

De 1935 a 1943 estudió pintura en Múnich con Petro Kálmán, Carl Hans Schrader-Velgen y Carl Otto Müller. El pintor húngaro Petro Kálmán le enseñó a abordar los retratos, de personas en reposo y el profesor Schrader-Velgen, por el contrario, valoraba el movimiento y las personas en la naturaleza, lo que le llevó más tarde a preferir el paisaje.

Esto también puede haber sentado las bases para los estudios con animales.

Su tercer maestro, Müller, le enseñó de nuevo a representar paisajes. Al mismo tiempo, sin embargo, se ocupó de la forma y representación pictórica de motivos florales.

En 1945 se casó con el comerciante Karl Wilhelm Clemens Joseph Reichsgraf von Westphalen zu Fürstenberg. El matrimonio tuvo dos hijos, Raban y Benedikt. Vivía con su familia en "Gipsmühle", propiedad de su padre, cerca de Helmern, su lugar de nacimiento. La pintora instaló aquí un estudio y trabajó hasta unos meses antes de su muerte.

Durante sus viajes por todo el mundo realizó estudios - estas obras reflejan impresiones y experiencias - y a partir de ellos se crearon muchos cuadros de paisajes, retratos y naturalezas muertas en su estudio en el "Gipsmühle" en Helmern.

Viajó a Italia, Noruega, Francia, Tesino, España, Egipto, al Cercano Oriente, Inglaterra, Creta, Yugoslavia, África del norte, oriental y Sudáfrica, Brasil, Caribe, Irlanda, Jordania, Israel, Moscú, Leningrado, Colombia, Ecuador y Galápagos, Isla de fuego, Patagonia, Isla de Pascua, Indonesia, Sumatra y Java.

A lo largo de su vida realizó innumerables exposiciones.

Le ponemos cara en foto y con un Autorretrato.

[koval-ptaki-birds]

79) Corvus corax varius morpha leucophaeus; pied raven (kruk srokaty) - wymarła odmiana barwna północnoatlantyckiego podgatunku kruka pospolitego, którą znaleziono tylko na Wyspach Owczych; ostatni potwierdzony zapis pochodzi z 1902 r. Kruk srokaty miał duże obszary białego upierzenia, najczęściej na głowie, skrzydłach i brzuchu, a jego dziób był jasnobrązowy. Poza tym wyglądał jak całkowicie czarne kruki północnoatlantyckie (C. c. varius morpha typicus), które są szeroko rozpowszechnione na Wyspach Owczych, a także można je spotkać na Islandii.

Kruk srokaty otrzymał nazwy dwumianowe, takie jak Corvus leucophaeus (autor: Vieillot, 1817) i Corvus leucomelas (autor: Wagler, 1827). Obecnie określa się go jako Corvus corax varius morpha leucophaeus.

We współczesnym języku farerskim ptak ten nazywa się hvítravnur („biały kruk”), starsza nazwa to gorpur Bringu hvíti („corbie o białej klatce piersiowej”). Normalne osobniki podgatunku varius, który występuje na Islandii i Wyspach Owczych, wykazują już tendencję do bardziej rozbudowanych podstaw białych piór w porównaniu z podgatunkiem nominowanym. Jednak tylko na Wyspach Owczych mutacja w metabolizmie melaniny utrwaliłaby się w populacji, powodując, że około połowa piór niektórych ptaków była całkowicie biała. Chociaż okazy albinotyczne czasami występują w populacjach ptaków, wydaje się, że kruk srokaty nie opierał się na takich okazjonalnych „sportach”, ale na stale lub przynajmniej regularnie obecnej części lokalnej populacji kruków.

Wydaje się, że pierwsza wzmianka o kruku żałobnym znajduje się w sprzed 1500 r. kvæði Fuglakvæði eldra („Starsza ballada o ptakach”), w której wspomina się o 40 lokalnych gatunkach, w tym alka wielka. Później o kruku srokatym wspominają sprawozdania Lucasa Debesa (1673) i Jensa Christiana Svabo (1781/82). Carl Julian von Graba w 1828 r. wspomina o dziesięciu osobnikach, które sam widział, i stwierdza, że ​​ptaki te, choć mniej liczne niż odmiana czarna, były dość powszechne. Díðrikur á Skarvanesi, malarz z Wysp Owczych, namalował serię Fuglar, szereg przedstawień ptaków. Na jego 18 fuglarze („18 ptaków”) zwierzę w prawym dolnym rogu można zidentyfikować jako kruka srokatego. Obraz jest obecnie wystawiany w muzeum sztuki Wysp Owczych Listaskálin w Tórshavn.

Jak widać na obrazie Skarvanesiego, wykonanym oczywiście z wypchanych ptaków, kruk srokaty był obiektem zainteresowania kolekcjonerów. W XIX wieku srokate odstrzeliwano selektywnie, ponieważ mogły osiągać wysokie ceny; sýslumaður (szeryf) ze Streymoy, Hans Christopher Müller, zapłacił kiedyś dwóm duńskim rigsdalerom za wypchany okaz z Nólsoy. Takie sumy – spora suma pieniędzy dla zubożałych rolników z Wysp Owczych – sprawiły, że strzelanie do kruka srokatego stało się dochodowym przedsięwzięciem. Ponadto na ogół polowano na kruki jako szkodniki. W połowie XVIII wieku każdemu samcowi z Wysp Owczych w wieku łowieckim nakazano na mocy dekretu królewskiego odstrzelić co najmniej jednego kruka lub dwa inne ptaki drapieżne rocznie pod groźbą kary w wysokości czterech umiejętności. Ostatni potwierdzony kruk srokaty został zastrzelony 2 listopada 1902 roku na Mykines. Następnie odnotowano kilka obserwacji białych kruków: jesienią 1916 r. na Velbastaður i Koltur, zimą 1947 r. na Nólsoy i ponownie zaobserwowanych w następnym roku oraz wiosną 1965 r. na Sandvíku. Ponieważ żaden z tych zapisów dotyczących wzroku nie wspomniał o unikalnym czarno-białym wzorze, a w ostatnich dziesięcioleciach na Wyspach Owczych zaobserwowano niewielką liczbę rozcieńczonych, całkowicie białawych kruków, żaden z nich nie jest oficjalnie uznawany za kruki srokate. W związku z tym rok 1902 jest powszechnie uważany za rok wyginięcia kruka srokatego.

Kruk srokaty, będący odmianą ubarwienia, prawdopodobnie różnił się od ptaków czarnych tylko jednym lub kilkoma allelami (w przeciwieństwie do wielu genów u prawdziwego podgatunku). Allele „srokate” były lub prawdopodobnie były recesywne lub (jeśli było więcej niż jeden) powodowały nowe zabarwienie tylko wtedy, gdy wszystkie były obecne. Potwierdzają to ostatnie obserwacje, które miały miejsce przy braku regularnej populacji lęgowej srokatych oraz obserwacje H. C. Müllera. Zatem nie jest pewne, czy forma rzeczywiście wymarła, jeśli w ogóle można mówić o „wyginięciu” w jakimkolwiek sensie innym niż genetyczny populacyjny. Teoretycznie allele mogą nadal być obecne, ale ukryte u czarnych osobników podgatunku, w związku z czym pewnego dnia kruk srokaty może narodzić się ponownie. Chociaż kruk jest dość powszechny na Wyspach Owczych, jego populacja na małym archipelagu liczy zaledwie 200–300 par lęgowych. Ponieważ na Wyspach Owczych widywano kruki o rozrzedzonym, całkowicie białawym upierzeniu, także w ostatnich dziesięcioleciach, allele odpowiedzialne za tę anomalię nadal istnieją na archipelagu, ale jest mało prawdopodobne, aby były to te same geny odpowiedzialne za wzór srokaty. Krukowate o rozcieńczonym upierzeniu występują w wielu krajach z pewną regularnością.

Obecnie znanych jest 16 okazów muzealnych kruka srokatego: sześć w Muzeum Zoologisk (Kopenhaga, Dania); cztery w Amerykańskim Muzeum Historii Naturalnej (Nowy Jork, Stany Zjednoczone); dwa w Muzeum Ewolucji (Uppsala, Szwecja); jeden w Centrum Różnorodności Biologicznej Naturalis (Leiden, Holandia); jeden w Państwowym Muzeum Historii Naturalnej (Braunschweig, Niemcy); jeden w Państwowym Muzeum Zoologii (Drezno, Niemcy); i jeden w Muzeum Manchesteru (Manchester, Wielka Brytania). 12 czerwca 1995 r. Postverk Føroya wydał znaczek pocztowy FR 276, na którym widniał kruk srokaty. Został zaprojektowany przez słynną artystkę z Wysp Owczych i ilustratorkę naukową Astrid Andreasen.

[rheinkonsultant]

The Unique Allure of the Technical University of Munich

The Technical University of Munich (TUM) is not just a typical institution of higher education; it’s a beacon of inspiration, innovation, and transformation. Established in 1868, TUM has flourished into a global epicenter for research, creativity, and learning. What makes TUM truly special? In this article, we’ll delve into the vibrant heart of TUM’s exceptional appeal, sprinkled with the real-life experiences of illustrious alumni who’ve made their mark on the world.

1. Academic Excellence: TUM’s devotion to academic excellence is evident through its rigorous programs and world-class faculty. It consistently ranks among the world’s top universities, a testament to its unwavering pursuit of scholarly brilliance. Notably, Nobel laureate Ernst Otto Fischer an alumnus, exemplifies this excellence. Fischer’s groundbreaking work in organometallic chemistry earned him the Nobel Prize in Chemistry in 1973.

2. Research Prowess: TUM is renowned for pioneering research efforts that have reshaped our world. With numerous research centers, it fosters a culture of curiosity, imagination, and audacity. A prominent alumnus, Rudolf Mössbauer received the Nobel Prize in Physics in 1961 for his pioneering work on the Mössbauer effect, which transformed the field of solid-state physics.

3. Industry Collaboration: TUM’s partnerships with industry giants have resulted in groundbreaking innovations. Wernher von Braun, an alumnus who became a prominent figure in the development of rocket technology, including the Saturn V moon rocket for NASA, is a striking example of TUM’s industry impact.

4. Interdisciplinary Approach: TUM champions interdisciplinary exploration, recognizing that the world’s most pressing challenges demand holistic solutions. The extraordinary career of Hans Geiger, an alumnus who co-invented the Geiger-Müller counter, a vital tool in nuclear physics and radiation detection, is a testament to the power of multidisciplinary thinking.

5. Global Network: TUM’s global connections enrich the educational experience. Alumna Angela Merkel, the former Chancellor of Germany, is a shining example of TUM’s international reach. Her leadership on the global stage demonstrates the influence of TUM alumni in shaping the world’s destiny.

6. Munich’s Unique Advantage: Nestled in Munich, TUM enjoys the city’s vibrant culture and technological dynamism. This unique location has attracted renowned alumnus Carl von Linde, the inventor of the refrigerator and a pioneer in the field of mechanical engineering.

7. English-Taught Programs: TUM’s embrace of English-taught programs has attracted students worldwide, creating a rich, diverse academic environment. Alumnus Martin Winterkorn, the former CEO of Volkswagen Group, embraced the international ethos of TUM and advanced it further in the corporate world.

8. Strong Alumni Network: TUM’s extensive and influential alumni network offers mentorship and connections for students. Alumna Ulrike Sapiro, the co-founder of “LinkedIn for Scientists” (ResearchGate), exemplifies how TUM alumni continue to excel and inspire others.

9. Emphasis on Sustainability: TUM’s commitment to sustainability is reflected in the work of alumna Ursula Sladek. She founded the first eco-friendly energy cooperative in Germany, promoting renewable energy and inspiring a new wave of environmental consciousness.

10. Cultural and Extracurricular Opportunities: TUM offers a rich tapestry of cultural and extracurricular activities. Alumnus and filmmaker Florian Henckel von Donnersmarck, an Academy Award winner, found inspiration at TUM that eventually translated into captivating stories on the silver screen.

11. Scholarships and Financial Support: TUM’s dedication to financial support has made it accessible to talented individuals from diverse backgrounds. Alumnus Martin Schoeller, a renowned portrait photographer, embodies how TUM opens doors to those with a passion for the arts.

12. Innovative Facilities: TUM’s investment in cutting-edge facilities catalyzes groundbreaking research and creative endeavors. Alumna Lisa Davis, a member of the Managing Board of Siemens AG, knows the importance of advanced infrastructure in advancing industry and society.

13. Start-Up Culture: TUM’s vibrant start-up ecosystem has nurtured countless entrepreneurial success stories. Alumnus Oliver Samwer, the co-founder of Rocket Internet, exemplifies how TUM fosters innovation and fosters entrepreneurial spirit.

14. Commitment to Diversity and Inclusion: TUM’s inclusive ethos is evident in the story of alumna Auma Obama, who works tirelessly to empower marginalized communities in Africa through education and social entrepreneurship.

15. Commitment to Social Responsibility: TUM doesn’t just create scholars; it nurtures socially responsible leaders. Alumna Barbara Stoll, an accomplished physician and advocate for women’s health, dedicates her life to the betterment of society.

Real-Life Experiences and Important Links for Prospective Students:

– Experience from Nobel Laureate Ernst Otto Fischer: Watch Video – Explore TUM’s International Programs: TUM International – TUM’s Alumni Success Stories: Alumni Success – TUM Scholarships and Financial Aid: Financial Support – TUM’s Research Centers and Facilities: Research at TUM – TUM’s Start-Up Support: TUM Entrepreneurship Center – Diversity and Inclusion at TUM: Diversity Office

The Technical University of Munich is a captivating institution known for its unwavering dedication to academic brilliance, cutting-edge research, and a global perspective. Its vibrant alumni network, including Nobel laureates, industry pioneers, world leaders, and entrepreneurs, showcases TUM’s exceptional impact on the world. TUM’s legacy of excellence, innovation, and commitment to positive change ensures its place among the most esteemed universities globally. For students considering their higher education journey, TUM stands as a compelling choice, offering a world of opportunities.

Also read: – The Evolution of German Automotive Engineering: From the First Cars to the Future of Mobility

[calendario-gp]

April 22

Moleskine Detour Arles 22 april - 14 may 2023 Opening Exhibition of notebooks from the Moleskine Foundation Collection Artists: Erdem Akan, Yasser Alhasan, Tamadher Ali Alfahal, Batool A. Aziz AlShaikh, Joël Andrianomearisoa, Yuval Avital, Leilah Babyrie, Ruth Bekele, Quentin Bidaud, Mirko Borsche, Jason Brooks, Simonetta Capecchi, Giancarlo Carnevale, Joel Chu, Kellyn Lisbeth Córdoba, Julien D’Ys, Paul Dewis, Jean-Claude Ellena, Robert Gligorov, Michael Graves, Steven Guarnaccia, Martha Kazungu, William Kentrige, Diobédo Francis Kéré, Toshiyuki Kita, Libri finti clandestini, Carl Liu, Giorgia Lupi, Hans Maier-Aichen, Rachel Marks, Davide Masi, Reg Mombassa, Alioum Moussa, Daniel Müller, Aida Muluneh, Tatiana Musi, Stéphanie Nava, Ou Ning, Roberto Paci Dalò, Maurice Pefura, Pi Piquer, Julie Polidoro, Oki Sato, Paula Scher, Julian Semiao, Cheikh Yakhouba Sidibe, Carlo Stanga, Mark Todd, Siren Elise Wilhelmsen, Amina Zoubir Festival du Dessin Eglise de Saint Blaise, 33 rue Vauban Arles, France

[erstwhile-punk-guerito]

[dashalbrundezimmer]

former abspannwerk kottbusser ufer // berlin kreuzberg

architect: hans heinrich müller

completion: 1926

the former substation was in operation from its opening in the 1920s until 1989. because of its architecture, the plant used to be called the cathedral of electricity. after it was shut down, it was completely renovated from 1999-2001. In the meantime, it has become an office and event location with a variety of uses.

camera: exa 1b, 50mm carl zeiss tessar

film: kodak portra 800

dev&scan: meinfilmlab

[postcard-from-the-past]

Hans Carl Müller and Emilia Unda on a vintage postcard

[rwpohl]

irene von meyendorff, actress

*

gift im zoo, wolfgang staudte hans müller 1952

[greatworldwar2]

• Wilhelm Canaris

Wilhelm Franz Canaris was a German admiral and chief of the Abwehr, the German military intelligence service, from 1935 to 1944.

Canaris was born on January 1st, 1887 in Aplerbeck (now a part of Dortmund) in Westphalia, the son of Carl Canaris, a wealthy industrialist, and his wife, Auguste. Canaris believed that his family was related to the 19th century Greek admiral and politician Constantine Kanaris, a belief that influenced his decision to join the Imperial German Navy. However, according to Richard Bassett, a genealogical investigation in 1938 revealed that his family was actually of Northern Italian descent, originally called Canarisi, and had lived in Germany since the 17th century. In 1905, at the age of eighteen, Canaris joined the Imperial Navy and by the outbreak of the First World War in 1914 was serving as an intelligence officer on board the SMS Dresden, a light cruiser he had been assigned to in December 1911.

After the Battle of Más a Tierra, the immobilized Dresden anchored in Cumberland Bay, Robinson Crusoe Island and contacted Chile with regard to internment. While in the bay, Royal Navy ships approached and shelled the Dresden. The crew scuttled the ship. Most of the crew was interned in Chile in March 1915, but in August 1915, Canaris escaped by using his fluency in Spanish. On the way, he called at several ports, including Plymouth in Great Britain. Canaris was then given intelligence work as a result of having come to the attention of German naval intelligence. German plans to establish intelligence operations in the Mediterranean were under way and Canaris seemed a good fit for this role. After being assigned to the Inspectorate of Submarines by the Naval Staff in October 1916, he took up training for duty as a U-boat commander and graduated from Submarine School on 11 September 1917. Canaris spoke six languages with fluency, one of which was English. As a naval officer of the old school, he had great respect for Great Britain's Royal Navy, despite the rivalry between the two nations.

During the German Revolution of 1918–19, Canaris helped organise the formation of Freikorps paramilitary units in order to suppress the Communist revolutionary movements that were attempting to spread the ideals of the Russian Revolution into central European nations. Also during this period, he was appointed to the adjutancy of defence minister Gustav Noske. In 1919, he married Erika Waag, also the child of an industrialist, with whom he had two children. In the spring of 1924, Canaris was sent to Osaka, Japan, to supervise a secret U-boat construction program in direct violation of the Treaty of Versailles. Unfortunately for Canaris, he made some enemies within Germany during the course of his secret business and intelligence negotiations, partially as a consequence of the bankruptcy incurred by the film-maker Phoebus Film in his dealings with Lohmann. At some time in 1928, Canaris was removed from his intelligence post and began two years of conventional naval service aboard the pre-Dreadnought battleship Schlesien, becoming captain of the vessel in December 1932. Just two months later, Adolf Hitler became Germany's new Chancellor. Enthused by this development, Canaris was known to give lectures about the virtues of Nazism to his crew aboard the Schlesien.

One month before Hitler's annexation of Austria (known as the Anschluss), Canaris put the Abwehr into action, personally overseeing deception operations designed to give the Austrians the impression of what appeared to be substantial German military preparations for an impending act of aggression. After the outbreak of war between Germany and Poland in September 1939, Canaris visited the front, where he saw the devastation rendered by the German military—seeing Warsaw in flames nearly brought him to tears and it was reported that he exclaimed, "our children's children will have to bear the blame for this". He also witnessed examples of the war crimes committed by the Einsatzgruppen of the SS, including the burning of the synagogue in Będzin with 200 Polish Jews inside. Moreover, he received reports from Abwehr agents about several incidents of mass murder throughout Poland. Canaris visited Hitler's headquarters train on September 12t, 1939, to register his objection to the atrocities. Canaris told chief of the Oberkommando der Wehrmacht (OKW) Wilhelm Keitel about the "extensive shootings ... and that the nobility and clergy were to be exterminated" to which Keitel informed him that Hitler had already "decided" the matter. After this experience Canaris began working more actively to overthrow Hitler's régime, although he also cooperated with the SD to create a decoy. This made it possible for him to pose as a trusted man for some time. He was promoted to the rank of full Admiral in January 1940.

With his subordinate Erwin Lahousen, he attempted in the autumn of 1940 to form a circle of like-minded Wehrmacht officers. At the time, this had little success. When the OKW decrees regarding the brutal treatment of Soviet prisoners of war related to the Commissar Order came to the attention of Canaris in mid-September 1941, he registered another complaint. Keitel reminded Canaris that he was thinking in terms of "chivalrous war", which did not apply, as this was "a matter of destroying a world ideology". Canaris had also worked to thwart the proposed Operation Felix, the German plan to seize Gibraltar. At a conference of senior officers in Berlin, in December 1941, Canaris is quoted as saying "the Abwehr has nothing to do with the persecution of Jews. ... no concern of ours, we hold ourselves aloof from it".

In June 1942, Canaris sent eight Abwehr agents to the East Coast of the United States as part of Operation Pastorius. The mission was to sabotage American economic targets and demoralise the civilian population inside the United States. However, two weeks later, all were arrested by the FBI thanks to two Abwehr agents who betrayed the mission. Because the Abwehr agents were arrested in civilian clothes, they were subject to court martial by a military tribunal in Washington, D.C. All were found guilty and sentenced to death. Due to the embarrassing failure of Operation Pastorius, no further sabotage attempt was ever made in the United States. After 1942, Canaris visited Spain frequently and was probably in contact with British agents from Gibraltar. In 1943, while in occupied France, Canaris is said to have made contact with British agents. In Paris, he was conducted blindfolded to the Convent of the Nuns of the Passion of Our Blessed Lord, 127 Rue de la Santé, where he met the local head of the British Intelligence Services, code name "Jade Amicol", in reality Colonel Claude Olivier. Canaris wanted to know the terms for peace if Germany got rid of Hitler. Churchill's reply, sent to him two weeks later, was simple: "Unconditional surrender".

Canaris also intervened to save a number of victims from Nazi persecution, including Jews, by getting them out of harm's way; he was instrumental, for example, in getting five hundred Dutch Jews to safety in May 1941. Many such people were given token training as Abwehr "agents" and then issued papers allowing them to leave Germany. However the evidence that Canaris was playing a double game grew and, at the insistence of Heinrich Himmler, Hitler dismissed Canaris and abolished the Abwehr in February 1944. Previous areas once the responsibility of the Abwehr were divided between Gestapo chief Heinrich Müller and SS-Brigadeführer Walter Schellenberg. Some weeks later, Canaris was put under house arrest. He was released from house arrest in June 1944 to take up a post in Berlin as the head of the Special Staff for Mercantile Warfare and Economic Combat Measures (HWK). The HWK coordinated resistance to the Allied economic blockade of Germany.

Canaris was arrested on July 23rd, 1944 on the basis of the interrogation of his successor at Military Intelligence, Georg Hansen. Schellenberg respected Canaris and was convinced of his loyalty to the Nazi regime, even though he had been arrested. Hansen admitted his role in the July 20 plot but accused Canaris of being its "spiritual instigator". No direct evidence of his involvement in the plot was discovered, but his close association with many of the plotters and certain documents written by him that were considered subversive led to the gradual assumption of his guilt. Two of the men under suspicion as conspirators who were known in Canaris' circle shot themselves, which incited activity from the Gestapo to prove he was, at the very least, privy to the plan against Hitler. Investigations dragged on inconclusively until April 1945, when orders were received to dispose of various remaining prisoners in July 20 plot. Canaris' personal diary was discovered and presented to Hitler in early April 1945, implicating him in the conspiracy. Canaris was placed on trial by an SS summary court. He was charged with and found guilty of treason. He was sentenced to death.

Canaris was led to the gallows naked and executed on April 9th, 1945 at the Flossenbürg concentration camp, just weeks before the end of the war. A prisoner claimed he heard Canaris tap out a coded message on the wall of his cell on the night before his execution, in which he denied he was a traitor and said he acted out of duty to his country. Erwin von Lahousen and Hans Bernd Gisevius, two of Canaris' main subordinates, survived the war and testified during the Nuremberg trials about Canaris' courage in opposing Hitler. Canaris died at the age of 58.

[uneminuteparseconde]

Des concerts à Paris et alentour en gras : les derniers ajouts :-: in bold: the last news Décembre 10. White Bouse + Drone à clochettes + Thomas Zielinski + Thharm + Ex_Pi – Instants chavirés (Montreuil) 11. Vierge noir e : cinéconcert sur “Film” d’Alan Schneider et “The Haunted House “ de Segundo de Chomon + David Fenech : cinéconcert sur “Entr’acte” de René Clair – La Clef 11. Boris – Le Gibus 11. Pointe du Lac + Richard Francés, Julien Lheuillier & Quentin Rollet – Quai de Bourbon 11. Kaffe Matthews + Phil Minton, Audrey Chen & Onceim – La Dynamo (Pantin) 12. Heldon + Duncan – Instants chavirés (Montreuil) 12. Maya Dunietz + Jacques Perconte & Onceim – La Dynamo (Pantin) 12. ToutEstBeau – Carbone 17 (Aubervilliers) 12. Bas Mooy + VTSS + EKLPX – Glazart 12. Kompromat (Vitalic & Rebeka Warrior) – La Cigale ||COMPLET|| 12. Mono + Jo Quail – Petit Bain ||COMPLET|| 13. Contrefaçon – La Gaîté lyrique 13. Regards extrêmes + Lisieux + Ascending divers – Les Voûtes 13. Paskine + Between Sleeps + CAM – DOC 13. Charlène Darling + Nina Harker + Regis Turner – La Boule noire 13. Officine + Fusiller + Theoreme + Bâton XXL – Cirque électrique 13. PAL + Zaraz Wam Zagram + Blason + Carbon Sink – Collective (Aubervilliers) 13. Ellen Allien + Hemka – Dehors brut 13. Pearl + Toscan Haas + Mind/Matter – Glazart 14. Ludwig Von 88 – Le Trianon 14. Wosto + Air LQD + Gakona + Marrakech + Pharmacie – Espace B 14. Boolvar + Dalès + Otis – Le Cirque électrique 14. Paula Temple + Tommy Four Seven + Sentimental Rave + Giant Swan – T7 14. Headless Horseman + Blind Delon – Dehors Brut 15. The Ex + 75 Dollar Bill – Instants chavirés (Montreuil) ||COMPLET|| 16. Sydney Valette + Sweat + Deep Tan – Supersonic (gratuit) 17. Thomas Ankersmit + Gaël Segalen – Instants chavirés (Montreuil) 18. Amenra – Bataclan 20. Uriel Barthélémi & Martin Bakero + Laurent Stoutzer – Folies numériques|Parc de la Villette 20. Varg + Christoph de Babalon + Les morts vont bien + Powerplant + Fever 103° + Pessimist + Shayu + Vanadis + Aeon Shaker b2b Stagiairism (fest. Magnétique nord) – La Station 20. Vile Assembly – Espace B 20. Hector Oaks + Nene H + Nur Jaber + Parfait + Pawlowski – tba 21. Release party autour d’Achwgha Ney Wodei – Cirque electrique (gratuit) 21. Youth Avoiders + Chain Cult + Short Days + Bleakness – Espace B 21. A.N.I + Maraudeur + Raymonde + Ece Özel + Accou + Fantastic Twins + Les Fils de Jacob + Dame Area + Silvia Kastel + DJ F16 Falcon + Ed Isar + Mechanical Heaven (fest. Magnétique nord) – La Station 21. Anetha + Introversion + Jacidorex + Parfait + Schake – tba 28. Kaiser + Makornik + Cassie Raptor + Quelza + Léo Occhi – La Station 28. Panzer + Hyperaktivist + Sept b2b Opål – tba 31. Illnurse + Air-One + Amina + Maxime Iko + Pho.nx – tba (Paris nord) 2020 Janvier 03. Under Black Helmet + Tommy Holohan + Fuerr + 1ndica – Rex Club 03. SNTS + Keith Carnal + Eastel + EKLPX – Dehors brut 04. Rokia Traoré + Ballaké Cissoko & Vincent Segal – Salle Pierre Boulez|Philharmonie 11. Last Night + Euromilliard + Kumusta – Gibus 14. Lispector + Ventre de biche + La Punta Bianca – Point FMR 16. Black Midi – Le Carreau du Temple ||COMPLET|| 17. Scratch Massive + Lokier + Cassie Raptor + Faast + Kiddo – Badaboum 17. Dafne Vicente-Sandoval + Ji Youn Kang + Thomas Lehn : « Occam VI » d’Eliane Radigue + Tiziana Bertoncini, Antonin Gerbal, David Grubbs, Ji Youn Kang, Thomas Lehn, eRikm & Dafne Vicente-Sandoval : « Et tournent les sons dans la garrigue » de Luc Ferrari – Le 104 17. Club Sieste + Louvet & Schultz + Chicaloyoh – Instants chavirés (Montreuil) 17. Edith Nylon – Petit Bain ||COMPLET|| 18. Lee Ranaldo & Raül Refree – Le 104 18. Franck Vigroux : "Flesh" (Biennale Nemo) – Maison des arts et de la culture (Créteil) 22. Dick Voodoo + Bile – L’International 23. The Pharcyde – Petit Bain 24. Penguin Cafe + Lubomyr Melnyk + Peter Broderick + Anne Müller + Hatis Noit + Janus Rasmussen – La Gaîté lyrique 24. Kode9 + Teki Latex + Cem + Barker + Crystallmess + Carin Kelly b2b Bob Sleigh + Christian Coiffure (La Machine a 10 ans) – La Machine 25. DJ Marcelle + Stellar OM Source + Ploy + Clara! Y Maoupa + Black Zone Myth Chant + Theo Muller + Promesses + Gista (La Machine a 10 ans) – La Machine 25. Airod + Ki/Ki + Kobosil + Parfait + Shlømo – tba 26. The Fat (cinéconcert pour enfants) – La Gaîté lyrique 26. Beak> + Vox Low + Abschaum + Maria Violenza (La Machine a 10 ans) – La Machine 29. Rendez-Vous – La Cigale 30. Editors – Salle Pleyel 31. Tindersticks – Salle Pleyel 31. It It Anita + Mss Frnce + Flowers + Angle mort et clignotant + Casse Gueule + La Jungle – Petit Bain Février 02. Sunn o))) – La Gaîté lyrique 06. Rouge Gorge + Arne Vinzon – Petit Bain 08. Infecticide – La Lingerie|Les Grands Voisins (gratuit) 08. Hots Pants : The Songs of Rowland S. Howard – La Maroquinerie 09. Explosions in the Sky – La Cigale 10. The Murder Capital – Café de la danse 13. Ride – Le Trianon 15. The Raincoat – Centre Pompidou 16. Orchestral Manoeuvre in the Dark – La Cigale 18. Biliana Voutchkova + Judith Hamann – Instants chavirés (Montreuil) 21. Ensemble Links joue "Drumming" de Steve Reich + Cabaret contemporain : "Détroit" + Molécule – Le 104 21. Pop 1280 – tba 22. Cent Ans de Solitude & Flint Glass : cinéconcert sur “Sprengbagger 1010” de Carl Ludwig Achaz-Duisberg – Club de l’Étoile 24. Sleater Kinney – Le Trianon 24. The Legendary Pink Dots – tba 27. Zombie Zombie + Kreidler – Petit Bain Mars 02. DIIV – La Gaîté lyrique 03. Napalm Death + EYEHATEGOD + Misery Index + Rotten Sound – La Machine 03/04. The Mission – Petit Bain 05. Orange Blossom : “Sharing” avec les machines de François Delarozière – Élysée Montmartre 06. Frustration – Le Trianon 07. Ensemble intercontemporain joue Steve Reich : cinéconcert sur un film de Gerhard Richter – Salle Pierre Boulez|Philharmonie 07. Alcest + Birds In Row + Kælan Mikla – La Machine 10. Arnaud Rebotini : live pour “Fix Me” d’Alban Richard – Centre des Arts (Enghien-les-Bains) 11. Nada Surf – La Cigale 13. Russian Circle + Torche – Bataclan 17. Chelsea Wolf – La Gaîté lyrique 20. Ensemble Dedalus : "Occam Ocean" d'Éliane Radigue – Le Studio|Philharmonie 21. Front 242 + She Past Away – Élysée Montmartre 21/22. Laurie Anderson : "The Art of Falling" – Cité de la musique|Philharmonie 27. Lebanon Hanover – La Gaîté lyrique 27. Maggy Payne : « Crystal » (diff.) + 9T Antiope + John Wiese + Matthias Puech + Nihvak (fest. Présences électronique) – Studio 104|Maison de la Radio 28. Ensemble Links : "Drumming" de Steve Reich + Cabaret contemporain joue Kraftwerk – théâtre de la Cité internationale 28. Iannis Xenakis : « Mycenae Alpha » (diff.) + Marja Ahti + Rashad Becker + Nina Garcia + Kode9 (fest. Présences électronique) – Studio 104|Maison de la Radio 29. Ivo Malec : « Recitativio » + Eve Aboulkheir + Richard Chartier + Lee Gamble + Will Guthrie & Mark Fell (fest. Présences électronique) – Studio 104|Maison de la Radio Avril 03. CocoRosie – Le Trianon 14>17. Metronomy – La Cigale 18. Siglo XX – La Boule noire 26. Pharmakon + Deeat Palace + Unas – Petit Bain 27. Caribou – L’Olympia Mai 08. Max Richter : "Infra" + Jlin + Ian William Craig – Cité de la musique|Philharmonie 09. Max Richter : "Voices" – Salle Pierre Boulez|Philharmonie 09. Jonas Gruska + Leila Bordreuil + Jean-Philippe Gross + Kali Malone (fest. Focus) – Le 104 10. Iannis Xenakis : « La Légende d’Eer » + Folke Rabe : « Cyclone » et « What ??? » (fest. Focus) – Le 104 10. Max Richter : "Recomposed" & "Three Worlds" – Salle Pierre Boulez|Philharmonie 19. Swans + Norman Westberg – Le Trabendo 22. François Bayle : « Le Projet Ouïr » + Marco Parini : « De Parmegiani Sonorum » + Yan Maresz (fest. Akousma) – Studio 104|Maison de la Radio 23. Julien Négrier + Hans Tutschku : « Provenance-émergence » + Félicia Atkinson : « For Georgia O’Keefe » + Warren Burt + Michèle Bokanowski (fest. Akousma) – Studio 104|Maison de la Radio 24. Philippe Mion + Pierre-Yves Macé : « Contre-flux II » + Daniel Teruggi : « Nova Puppis » + Adam Stanovitch + Gilles Racot : « Noir lumière » (fest. Akousma) – Studio 104|Maison de la Radio 23. Damon Albarn – Salle Pierre Boulez|Philharmonie 24. Damon Albarn – Salle Pierre Boulez|Philharmonie ||COMPLET|| 26. Minimal Compact – La Machine  Juin 14. Nick Cave & The Bad Seeds – Bercy Arena

[naran-blr]

Lina Elisabeth Margarete Gerhardt, Margarete Gerhardt (1873-1955) pintora, artista gráfica alemana.

(Los datos biográficos de Margarete Gerhardt se han mezclado parcialmente con los de la pintora y tallista Margarethe Gerhardt-Hoffmann (1878-1956), de Berlín y Warnemünde.)

Nació en Frankfurt. Era hija del abogado prusiano, alcalde de Frankfurt y consejero estatal de Brandeburgo Carl August Friedrich Gerhardt y su esposa Rosa Dorothea, de soltera Bach. Tres años después del nacimiento de Margarete, la familia se mudó a Berlín.

Después del Gymnasium, Margarete Gerhardt asistió a la escuela de pintura y dibujo de la Asociación de Artistas de Berlín. En 1895 se convirtió en alumna de Wilhelm Müller-Schoenefeld durante dos años, quien le enseñó retratos y dibujos figurativos, que utilizó en retratos de sus familiares y otras personas. Durante esta época también se llevaron a cabo estudios en museos.

Copió en tamaño cuarto el cuadro de Estéban Murillo“San Antonio y el Niño Jesús” que se perdió durante la Segunda Guerra Mundial y, según sus propias declaraciones, hizo copias adicionales de Rembrandt, Velásquez, Tiziano y Pesne.

De 1897 a 1904 asistió a la escuela de pintura de Dora Hitz y aprendió de su estilo pictórico impresionista y luminoso. Inspirándose en una exposición de Emil Orlik en la Galería Nacional, Margarete aprendió por sí misma la técnica de los grabados en madera coloreados y se convirtió en una artista de éxito.

Realizó viajes de estudios a Italia, Francia, Londres, Suiza, Holanda y el norte de África. Esto lo plasmó en pinturas al óleo, veladuras, acuarelas, linograbados y xilografías.

En sus libros hay un ex libris tallado en madera con el motivo del Templo de los Dioscuros en Roma. En 1903 emprendió un viaje por mar que duró varios meses en un vapor mercante de Hamburgo que navegaba hacia el norte de África y regresó a Berlín vía Londres. En 1911/12 viajó a Italia con Dora Hitz.

Durante 44 años (1911-55) fue miembro de la Asociación de Artistas de Berlín y estuvo en su junta directiva de 1933 al 36. También fue miembro de la Cooperativa de Arte Alemana de Schöneberg-Friedenau.

En 1941, durante la era nazi, solicitó ser miembro de la Cámara de Bellas Artes del Reich, lo que le dio acceso a materiales de pintura. Incluso durante los años de la guerra, la VdBK intentó seguir permitiendo a sus miembros vender obras en exposiciones. Margarete Gerhardt expuso allí todos los años hasta 1942. Pudo presentar y vender sus obras en numerosas exposiciones que la asociación VdBK organizó en sus propias salas.

De 1908 a 1933 estuvo representada varias veces en la Gran Exposición de Arte de Berlín. También expuso en la Asociación Libre de Artistas Gráficos de Berlín, en el Lyzeum Club de Berlín y en la exposición para el comercio de libros y gráfica en Leipzig en 1914.

Desde 1928 vivió y trabajó en Berlín-Wilmersdorf en Livländische Straße 18.

No estaba casada. Desde 1920 existía una asociación de las familias Gerhardt. Se encontraron tres veces antes de la Segunda Guerra Mundial. Hasta 1937, Margarete se hizo cargo del extenso papeleo de la familia numerosa.

Tras la muerte de su madre en 1927, las dos hermanas se mudaron de la casa de sus padres en Friedenau a Berlín-Wilmersdorf y Eleonore Gerhardt dirigió la casa hasta su muerte en 1944. Después del final de la guerra, su sobrina Gabriele Nickelmann-Langerhans se mudó con la familia a vivir con ella, que permanecía soltera, en Livländische Straße 18 y cuidó de la artista hasta su muerte en 1955.

Varias de sus obras son de propiedad privada, otras se desconocen, están dispersas o desaparecidas.

Le ponemos cara con su Autorretrato.