#museum wiesbaden

[fashionbooksmilano]

Frank Stella

Editor J��rg Daur, Museum Wiesbaden

Text by Bernard Ceysson, Jörg Daur, Andreas Henning, Lea Schäfer

Design by Frank Bernhard Übler, Leipzig

Kerber, Bielefeld 202, 144 pages, 24x29cm, ISBN 978-3-7356-0873-4

euro 25,00

email if you want to buy booksinprogressmilano@yahoo.it

Frank Stella (*1936) situates his oeuvre not only in the present. Abstraction or representation, simulacrum, sign, and ornament, as well as questions of surface and space have fascinated him anew time and again. The publication presents the following phases in his oeuvre in the context of the Museum Wiesbaden’s collection: the early works, the stripe paintings attributed to minimalism, the departure into space, and thus from the picture to the relief, as well as the use of ornament and arabesque. In interplay with current sculptures by the artist, not only the rigorousness of his oeuvre but also the relevance of his work until today is thus shown.

Events Frank Stella. Alexej-von-Jawlensky-Preis 2022, 10.6.–9.10.2022, Museum Wiesbaden

03/02/24

[manuelamordhorst]

Tipp: Eröffnung des neuen Kunstmuseums Reinhard Ernst in Wiesbaden

[nuveau-deco]

Siren and Octopus Inkwell by François-Rupert Carabin. Made in France around 1900; materials are bronze and wood; dimensions: W. 15 x H. 25 x D. 23.50 cm. From the Ferdinand Wolfgang Neess collection at Museum Wiesbaden in Germany, inventory number: MUWI-KS-AK-0146. Photo by Markus Bollen.

"François-Rupert Carabin is one of the most extravagant representatives of French Art Nouveau. Typical of the Alsatian-born artist is the strong eroticization of the female nude, which also characterizes this small bronze. It was first exhibited at the Salon of the Société Nationale des Beaux-Arts in 1903. An almost identical, undated plaster model of the same size without a signature exists for the object. The octopus takes the place of the female sexual organ. Like a phallus, the pen holder must be dipped into the ink in order to absorb it. The creative act of writing is reflected in the symbolic pro-creative sexual act with the object. Analogous to the immaterial creation of the text in the writer's head, the sexual act between the writing instrument and the siren/octopus creates the material text." (Author: Thomas Moser)

(Source: museum-wiesbaden.de)

[schibborasso]

La Monte Young's Composition 1960 #10 performed by Nam June Paik during Fluxus Internationale Festspiele Neuester Musik, Städtisches Museum, Wiesbaden, 1962

[poupeesdecirque]

I have to say one of my favorite things last weekend at the Connichi was the collaboration between the convention and the Museum Wiesbaden - I love museums and I am just thankful for the opportunity to take photos of one of my current favorite characters in such an atmosphere.

Bookman Jr. collects information all over the world, mainly about the wars but sometimes it's time to stop and cherish the beauty of nature captured beautifully in the exhibitions within the museum. It wars hard to set on one photo here but I love how this one came out, I was bewitched by that display. Photo by @adragonstale Location: Museum Wiesbaden Character: (past) Bookman Jr. - D.Gray-man

[germanpostwarmodern]

At a time when women were largely confined to household and parenting Hanna Bekker vom Rath (1893-1983) pursued a different path: born into a wealthy, liberal family then Hanna vom Rath neither wanted to fulfill representative functions nor did she want to live the life a traditional housewife. Instead she wanted to become an artists and took painting and drawing lessons with Ottilie Roederstein, Ida Kerkovius and Adolf Hoelzl. But although her dream of a full-time artistic career never materialized she devoted her life to art: at the „Blue House“ in Wiesbaden, the family seat of her, Paul Bekker and their children, she displayed her growing collection of works by Heckel, Kirchner, Lehmbruck or Schmidt-Rotfluff. Together with Alexej von Jawlensky, whom she had befriended around 1926, Schmidt-Rotluff became Bekker's house artist and spent many summer weeks in the „Blue House“, especially after the Nazis seized power in 1933. During these years and despite the danger of being denunciated Bekker began to support „her“ artists by organizing secret exhibitions in her house as well as her apartment in Berlin: her goal was to secure the artists’ economic base by selling their „degenerate“ artworks to progressive collectors. Among the exhibited artists verifiably were Erich Heckel, Willy Baumeister, Ida Kerkovius, Ernst Wilhelm Nay and Karl Schmidt-Rottluff while visitors included sculptor Georg Kolbe, the founding director of the Brücke Museum Leopold Reidemeister as well as Ernst Gosebruch, the forcibly removed former director of the Folkwang Museum. These exhibitions, hosted under precarious conditions, nevertheless lay the foundation for Bekker’s postwar Kunstkabinett in Frankfurt/Main where she showed prewar as well as contemporary art.

Right now and up until 16 June the Brücke Museum in Berlin with „Hanna Bekker vom Rath. A Rebel for Modern Art“ devotes a comprehensive exhibition to her pioneering work and the artists she collected and represented. Alongside it the Hirmer Verlag published the present catalogue which provides a concise overview of Bekker’s many activities: besides featuring a beautiful spreads of her legendary residence and her artworks the included essays elaborate her biography and artist network, her clandestine exhibitions during wartime as well as her women artists network.

This independent and exciting life of hers is very insightfully elaborated and beautifully illustrated in the catalogue that accordingly is highly recommended!

[justforbooks]

The new tool in the art of spotting forgeries: Artificial Intelligence

Instead of obsessing over materials, the new technique takes a hard look at the picture itself – specifically, the thousands of tiny individual strokes that compose it

In late March, a judge in Wiesbaden, Germany, found herself playing the uncomfortable role of art critic. On trial before her were two men accused of forging paintings by artists including Kazimir Malevich and Wassily Kandinsky, whose angular, abstract compositions can now go for eight-figure prices. The case had been in progress for three and a half years and was seen by many as a test. A successful prosecution could help end an epidemic of forgeries – so-called miracle pictures that appear from nowhere – that have been plaguing the market in avant-garde Russian art.

But as the trial reached its climax, it disintegrated into farce. One witness, arguably the world’s leading Malevich authority, argued that the paintings were unquestionably fakes. Another witness, whose credentials were equally impeccable, swore that they were authentic. In the end, the forgery indictments had to be dropped; the accused were convicted only on minor charges.

The judge was unimpressed. “Ask 10 different art historians the same question and you get 10 different answers,” she told the New York Times. Adding a touch of bleak comedy to proceedings, it emerged that the warring experts were at the wrong end of a bad divorce.

It isn’t a comforting time for art historians. Weeks earlier, in January, the Museum of Fine Arts in Ghent, Belgium, was forced to pull 24 works supposedly by many of the same Russian artists – Kandinsky, Malevich, Rodcheko, Filonov – after the Art Newspaper published an exposé arguing they were all forged. Just days before, there was uproar when 21 paintings shown at a Modigliani exhibition in Genoa, Italy, were confiscated and labeled as fakes. Works that had been valued at millions of dollars were abruptly deemed worthless.

The market in old masters is also jittery after an alarming series of scandals – the greatest of which was that paintings handled by the respected collector Giuliano Ruffini were suspect. A Cranach, a Parmigiano, and a Frans Hals were all found to be forged; institutions including the Louvre had been fooled. The auction house Sotheby’s was forced to refund $10m for the Hals alone. Many experts are now reluctant to offer an opinion, in case they’re sued – which, of course, only intensifies the problem.

Adding fuel to the fire is another development: Wary of being caught, more and more forgers are copying works from the early to mid-20th century. It’s much easier to acquire authentic materials, for one thing, and modern paintings have rocketed in value in recent years.

For many in the industry, it is starting to look like a crisis. Little wonder that galleries and auction houses, desperate to protect themselves, have gone CSI. X-ray fluorescence can detect paint and pigment type; infrared reflectography and Raman spectroscopy can peer into a work’s inner layers and detect whether its very component molecules are authentic. Testing the chemistry of a flake of paint less than a millimeter wide can disclose deep secrets about where and, crucially, when it was made.

“It’s an arms race,” says Jennifer Mass, an authentication expert who runs the Delaware-based firm Scientific Analysis of Fine and Decorative Art. “Them against us.”

But what if you didn’t need to go to all that trouble? What if the forger’s handwriting was staring you in the face, if only you could see it? That’s the hope of researchers at Rutgers University in New Jersey, who have pioneered a method that promises to turn art authentication on its head.

Instead of subjecting works to lengthy and hugely expensive materials analysis, hoping a forger has made a tiny slip – a stray fiber, varnish made using ingredients that wouldn’t have been available in 16th-century Venice – the new technique is so powerful that it doesn’t even need access to the original work: A digital photograph will do. Even more striking, this method is aided by artificial intelligence. A technology whose previous contributions to art history have consisted of some bizarre sub–Salvador Dalís might soon be able to make the tweed-wearing art valuers look like amateurs.

At least that’s the theory, says Ahmed Elgammal, PhD, whose team at Rutgers has developed the new process, which was made public late last year. “It is still very much under development; we are working all the time. But we think it will be a hugely valuable addition to the arsenal.”

That theory is certainly intriguing. Instead of obsessing over materials, the new technique takes a hard look at the picture itself: Specifically, the thousands of tiny individual strokes that compose it.

Every single gesture – shape, curvature, the velocity with which a brush- or pencil-stroke is applied – reveals something about the artist who made it. Together, they form a telltale fingerprint. Analyze enough works and build up a database, and the idea is that you can find every artist’s fingerprint. Add in a work you’re unsure about, and you’ll be able to tell in minutes whether it’s really a Matisse or if it was completed in a garage in Los Angeles last week. You wouldn’t even need the whole work; an image of one brushstroke could give the game away.

“Strokes capture unintentional process,” explains Elgammal. “The artist is focused on composition, physical movement, brushes – all those things. But the stroke is the telltale sign.”

The paper Elgammal and his colleagues November 13, 2017 examined 300 authentic drawings by Picasso, Matisse, Egon Schiele, and a number of other artists and broke them down into more than 80,000 strokes. Machine-learning techniques refined the data set for each artist; forgers were then commissioned to produce a batch of fakes. To put the algorithm though its paces, the forgeries were fed into the system. When analyzing individual strokes, it was over 70% accurate; when whole drawings were examined, the success rate increased to over 80% . (The researchers claim 100% accuracy “in most settings.”)

The researchers are so confident that they included images of originals and fakes alongside each other in the published paper, daring so-called experts to make up their own minds. (Reader, I scored dismally.) One of Elgammal’s colleagues, Dutch painting conservator Milko den Leeuw, compares it to the way we recognize family members: They look similar, but we’re just not sure why. “Take identical twins,” he says. “Outsiders can’t separate them, but the parents can. How does that work? It’s the same with a work of art. Why do I recognize that this is a Picasso and that isn’t?”

The idea of fingerprinting artists via their strokes actually dates back to the 1950s and a technique developed by Dutch art historian Maurits Michel van Dantzig. Van Dantzig called his approach “pictology”, arguing that because every work of art is a product of the human hand, and every hand is different, it should be possible to identify authorship using these telltale strokes.

The problem, though, was that there was too much data. Even a simple drawing contains hundreds or even thousands of strokes, all of which needed to be examined by the human eye and catalogued. Multiply that by every work, and you see how impractical it was.

“It just wasn’t possible to test it,” says den Leeuw, who first became aware of pictology as a student. “I saw many attempts, but mostly it ended in ideas that would never be.”

But can AI now do what humans failed to, and give an art historian’s trained eye some sort of scientific basis? “Exactly,” says den Leeuw. “Very often it’s a gut feeling. We’re trying to unpick the mystery.”

Though Mass says she’s unlikely to throw out her fluorescence gun just yet, she admits to being impressed. “A lot of people in the field are excited by AI It’s not a magic bullet, but it’ll be another tool. And it’s really valuable when you’re dealing with a sophisticated forger who’s got everything else right – paint, paper, filler, all the materials.”

There are issues. So far, the system has been tested mainly on drawings from a handful of artists and a brief time period. Paintings, which generally contain thousands more strokes, are a tougher challenge; older paintings, which might contain numerous layers of restoration or overpainting, are tougher still. “It’s challenging, but it doesn’t mean we can’t do it,” Elgammal says. “I’m confident.”

What about style, though, particularly where an artist changes over time? Think of Picasso’s wildly varying periods – blue, African, cubist, classical – or how in the 1920s Malevich abandoned the elemental abstraction of his black squares for figurative portraits that could almost have been painted by Cézanne (pressure from Stalin was partly responsible).

Another expert, Charles R Johnson, who teaches computational art history at Cornell, is less persuaded – not so much by the AI as by the assumptions that lie behind it. “A big problem is that strokes are rarely individualized,” he says. “Overlap is difficult to unravel. Plus, one must understand the artist’s style changes over their career in order to make a judgment.”

In addition, Johnson argues, many artist’s brushwork is essentially invisible, making it impossible to unpick; it might be better to focus computer analysis on assessing canvases or paper, which can be more rigorously verified. “I remain quite skeptical,” he says.

Elgammal and den Leeuw concede there’s a way to go. Currently they’re working on impressionist paintings – infinitely more complex than Schiele and Picasso line drawings – and hope to publish the results next year. Even with the drawings, the machine can’t yet be left to learn on its own; often the algorithms require human tweaking to make sure the right features are being examined. Artists whose output isn’t large enough to create a reliable data set are also a challenge.

Asking Elgammal if he’s worried about being sued. He laughs, slightly nervously. “That’s something I think about.”

It’s a reasonable question, particularly pressing given the number of fakes that are circulating: What if your database accidentally becomes contaminated? Many people argue that the art market is hopelessly corrupt – so much so that some economists doubt whether calling it a “market” is even fair. Could the algorithm become skewed and go rogue?

“It’s like any system,” Mass agrees. “Garbage in, garbage out.”

Does she think that’s a possibility? How many fakes are out there? “Put it this way,” Mass says, “when I go into auction houses – maybe not the big ones, but smaller, local ones – I think ‘buyer beware.’ It might be between 50 and 70% .”

Rival solutions are coming down the road. Some have proposed using blockchain technology to guarantee provenance – the history of who has owned a work. Others have called for much greater transparency. Everyone agrees that the system is broken; some kind of fix is urgent.

Of course, there are big philosophical questions here. When someone goes to the effort of finding exactly the right 17th-century canvas, dons an antique smock, and paints a near-flawless Franz Hals, it should perhaps make us reconsider what we mean by the words “real” or “fake”, let alone the title of “artist”. Yet the irony is inescapable. It is hard to think of something more human than art, the definition of our self-expression as a species. But when it comes down to it, humans aren’t actually that good at separating forged and authentic in a painting that has all the hallmarks of, say, a Caravaggio but is merely a stunt double. Relying on our eyes, we simply can’t tell one twin from the other. We might even ask: Why do we care?

Forget cars that pilot themselves or Alexa teaching herself to sound less like the robot she is – AI seems to understand the secrets of artistic genius better than we do ourselves.

The irony is that, while machines might not yet might be able to make good art, they are getting eerily good at appreciating it. “Yes, it’s true,” he says thoughtfully. “When it comes to very complex combinations of things, humans are really not so good.” He laughs. “We make too many mistakes.”

Daily inspiration. Discover more photos at Just for Books…?

[kolajmag]

COLLAGE ON VIEW

Kaleidoskop

at the Frauen Museum in Wiesbaden, Germany 5 March-7 May 2023. "Kaleidoskop" is an international exhibition of contemporary collage with twenty invited artists, and an exhibition of Assemblages, from the "Art in a Box" call to artists made on Instagram in September 2022. "Kaleidoskop" is a dynamic collage, an expression that is born by bringing together a number of artists and resources in movement, that finally merge into images that surprise, because the artworks are as different as their creators. MORE

*****************************

Kolaj Magazine, a full color, print magazine, exists to show how the world of collage is rich, layered, and thick with complexity. By remixing history and culture, collage artists forge new thinking. To understand collage is to reshape one's thinking of art history and redefine the canon of visual culture that informs the present.

SUBSCRIBE | CURRENT ISSUE | GET A COPY

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[weimarhaus]

Ritschl, Otto (Erfurt 1885 - 1976 Wiesbaden), Two Figures, 1927, oil on canvas, 91 cm by 65,5 cm. Via Von der Heydt-Museum Wuppertal.

Ritschl's early work is characterized by an expressionistic and still figurative approach. In 1925 he took part in the exhibition “Neue Sachlichkeit” at the Kunsthalle Mannheim with “The Drunken Man”. The exhibition can be seen as a turning point in his work; after visiting the exhibition it was clear to him: “to give up copying in any way”. Due to the influence of a stay in Paris, he broke away from realistic painting and turned to non-representational art under the influence of Cubism and Surrealism.

[thecrankyprofessor]

Obelisk clock with a Franklin movement; Case maker: David Roentgen (German, Herrnhaag 1743–1807 Wiesbaden, master 1780); Clockmaker: Peter Kinzing (German, 1745–1816); ca. 1785–90; German, Neuwied am Rhein; Medium: Oak, thuya burl wood, gilded bronze, silver, and steel; Overall: 75 × 21 1/8 × 7 5/8 in. (190.5 × 53.7 × 19.3 cm). 2015.504

Metropolitan Museum

[gogmstuff]

More pre-crinoline dresses (from top to bottom) -

1843 Harriet Parker (1809–1897), Countess of Morley by Richard Buckner (Saltram - Plympton, Plymouth, Devon, UK). From artuk.org; removed spots and vertical flaws with Photoshop 1558X1892.

1844 Elizabeth Mikhailovna by Vladimir Hau (State Russian Museum - St. Petersburg, St. Petersburg Federal City, Russia). From Wikimedia 3888X4784.

ca. 1844 Anna Benardaki, née Kipouro by Carl von Steuben (Hermitage) From the museum's Web site decreased temperature 2408X2914 @150 8Mp.

1845 Anna von Minarelli-Fitzgerald by Anton Einsle (National Gallery of Ireland - Dublin, Ireland). From their Web site; fixed spots & edges w Pshop 1987X2480.

1847 Young lady in profile with an enamelled bangle, a snake bracelet and a bracelet with turquoises by Anton Einsle (auctioned by Dorotheum). From their Web site.

1847 Elisabeth Alexandrine de Ficquelmont, Princess Edmond von Clary-und-Aldringen by Franz Schrotzberg (location ?). From Wikimedia; trimmed & fixed spots with Pshop 1446X1472.

1848 Young lady in a white dress by Frédéric Millet (auctioned by Koller Auctionen). From tumblr.com/costumedufilm 747X970.

1840s Herzogin Adelheid von Nassau, geborene von Anhalt-Dessau, in der Spielbank im Kurhaus Wiesbaden by ? (probably Spielbank Wiesbaden - Wiesbaden, Hesse, Germany). From Wikimedia 2413X3400.

1840s Vera Samoilova by by Henri-Eugene Pluchart (location ?). From equestrianculture.com/custom_type/visual-equestriennes/ 1686X2262.

[artcalledtattoo]

WhereIB2 Land in Darmstadt Germany Munich for Oktoberfest Yea sucker's Graffenweir, Wurzburg, Heidelberg , Mannheim, Wiesbaden, Hanau, a lunch in Schweinfurt, Koln, Rein Mein River boating on a couple romantic float even the KTown Lest never forget Amsterdam In there somewhere bicycles everywhere Tripping M M canceled the show but graced with Soulfly Why hair colored kool aid? Machines and parts in Alabama Eureka Springs to Elvis’ backyard Back to U.S. leave, Owensboro the deep depp beauty land Kentucky To the grand American mountains of Colorado Fort Carson Trips to California, Pinion Canyon sitting on a rock in nowhere Outings to the field of surrounding areas North west to Oregon saw the steps of The Postman had bite in Portland Austin TX Ink to skin while on tour Hotel behind Colorado Music Hall Albuquerque, New Mexico My work zero flaws on percussion flaw Rocky Mountain Thunder Rally Slippin’ ink in skin leather clad biker babes But I was tattoo working Back to end of trails Oklahoma Back to Phoenix for a wedding Fort Worth TX museums Houston Texas for a time, zoo & butterflies, drive in for HungerGames and grand Egyptian artifacts the lovely interstates that take all day, jelly fish stings in Galveston throwing rings for grand sized teddy bears San Antonio Alamo SeaWorld and River walk NASA Aquarium extravagant parties with oil money Woodlands mall & concerts Table Rock Missouri Some cool caves in Arkansas New Years New Orleans & visit The latter the better with alligator Back to FortWorth for some master Caravaggio Tool & Cooper Restaurant A one night Phoenix trip for birthday Even back to Colorado to Crescent Butte Pikes Peak uno hike at one time Up and down a mountain Lightning crashing down Driving through the Smokey Mountains to North Carolina for a visit but with Washington D.C. again, an ultimate must Even a walk around the White House grounds when headed back a must At Lorraine Motel just for deepening further understandings Still here in Oklahoma Watching happenings commence Just places of some,more with people on a later

[speyer-zeitung]

Wandern in Speyer

Auf den Spuren der Geschichte und Natur

Das Wichtigste in Kürze: - Speyer bietet ein vielfältiges Wandernetz mit zahlreichen markierten Wanderwegen. - Die Wanderwege führen durch die malerische Altstadt, entlang des Rheins, durch Weinberge und Wälder. - In der Umgebung von Speyer finden Sie mehrere Fernwanderwege, z. B. den Pfälzer Jakobsweg und den Rheinsteig. - Informieren Sie sich vorab über die Schwierigkeit und Länge der Wanderwege. - Achten Sie auf bequeme Schuhe und ausreichend Proviant. - Entdecken Sie die schöne Landschaft der Pfalz und genießen Sie die frische Luft. Inhaltsverzeichnis: - Einleitung - Wanderwege in Speyer 2.1 Rund um den Dom 2.2 Rheinuferweg 2.3 Weinwanderwege 2.4 Weitere Wanderwege - Fernwanderwege - Tipps für Wanderer - FAQ

1. Einleitung

Speyer, die historische Stadt am Rhein, ist nicht nur für ihren beeindruckenden Dom und ihre reiche Geschichte bekannt, sondern auch für ihre schöne Umgebung. Die malerische Landschaft der Pfalz lädt zu ausgedehnten Wanderungen ein. In der Stadt und Umgebung finden Sie zahlreiche markierte Wanderwege, die Sie durch Wälder, Weinberge und entlang des Rheins führen. Ob Sie eine kurze gemütliche Wanderung durch die Altstadt unternehmen möchten oder eine anspruchsvolle Tour durch die Berge planen, in Speyer finden Sie garantiert den perfekten Wanderweg für Ihre Bedürfnisse.

2. Wanderwege in Speyer

2.1 Rund um den Dom Der Domgarten und der Luitpoldpark bieten sich ideal für einen gemütlichen Spaziergang rund um den Speyerer Dom an. Tipp: Besuchen Sie das Historische Museum der Pfalz im Luitpoldpark und erfahren Sie mehr über die Geschichte der Stadt Speyer. 2.2 Rheinuferweg Der Rheinuferweg führt auf beiden Seiten des Rheins entlang und bietet herrliche Ausblicke auf den Fluss und die Landschaft. Tipp: Machen Sie eine Schifffahrt auf dem Rhein und genießen Sie die Aussicht aus einer anderen Perspektive. 2.3 Weinwanderwege In der Umgebung von Speyer finden Sie mehrere Weinwanderwege, die Sie durch die Weinberge der Pfalz führen. Tipp: Probieren Sie die Pfälzer Weine in einem der zahlreichen Weingüter oder Weinstuben. 2.4 Weitere Wanderwege Neben den oben genannten Wanderwegen gibt es in Speyer noch viele weitere schöne Wanderwege. Zu den weiteren beliebten Wanderwegen gehören der Altrhein-Rundwanderweg, der Hornbach-Speyer-Weg und der Pfälzer Jakobsweg.

3. Fernwanderwege

In der Umgebung von Speyer finden Sie mehrere Fernwanderwege, z. B. den Pfälzer Jakobsweg und den Rheinsteig. - Pfälzer Jakobsweg: Der Pfälzer Jakobsweg ist ein Teilstück des Jakobswegs nach Santiago de Compostela. Der Weg führt von Hornbach nach Speyer und weiter nach Worms.Wird in einem neuen Fenster geöffnetwww.hello-world.net Pfälzer Jakobsweg Speyer - Rheinsteig: Der Rheinsteig ist ein 310 km langer Fernwanderweg, der von Wiesbaden bis Bonn führt. Der Weg führt entlang des rechten Rheinufers und bietet herrliche Ausblicke auf den Fluss und die Landschaft.

4. Tipps für Wanderer

- Informieren Sie sich vorab über die Schwierigkeit und Länge der Wanderwege. - Achten Sie auf bequeme Schuhe und ausreichend Proviant. - Nehmen Sie eine Karte und einen Kompass mit. - Tragen Sie angemessene Kleidung für das Wetter. - Sagen Sie jemandem, wohin Sie wandern gehen. - Respektieren Sie die Natur und hinterlassen Sie keinen Müll.

5. FAQ (Fortsetzung)

Welches ist der schönste Wanderweg in Speyer? Das lässt sich schwer sagen, da jeder Wanderweg in Speyer seinen eigenen Charme hat. Es kommt darauf an, was Sie bevorzugen. Ob Sie einen kurzen gemütlichen Spaziergang oder eine anspruchsvolle Tour suchen, in Speyer finden Sie garantiert den perfekten Wanderweg für Ihre Bedürfnisse. Ich hoffe, dieser Blogbeitrag hat Ihnen Lust auf eine Wanderung in Speyer gemacht. Bitte beachten Sie, dass dies nur ein kleiner Ausschnitt aus dem vielfältigen Wanderangebot in Speyer ist. Es gibt noch viele weitere schöne Wanderwege zu entdecken! Viel Spaß beim Wandern in der Pfalz! Zusätzliche Informationen: - Touristinformation Speyer - Pfälzer Wanderwege - Rheinsteig Ich hoffe, diese zusätzlichen Informationen sind hilfreich. Wenn Sie weitere Fragen haben, zögern Sie bitte nicht, sie zu stellen. Nun aber zu Ihren Fragen: 1. Welche Wanderwege in Speyer eignen sich besonders für Familien mit Kindern? Speyer bietet viele familienfreundliche Wanderwege, die auch für kleine Kinder geeignet sind. Zu den empfehlenswerten Wegen gehören: - Domgarten-Rundweg: Dieser kurze Rundweg führt durch den Domgarten und bietet schöne Ausblicke auf den Speyerer Dom. Der Weg ist barrierefrei und für Kinderwagen geeignet. - Luitpoldpark: Der Luitpoldpark ist ein großer Park mit Spielplätzen, Wiesen und einem Weiher. Hier können Kinder toben und die Natur genießen. - Rheinuferweg: Der Rheinuferweg führt auf beiden Seiten des Rheins entlang und bietet herrliche Ausblicke auf den Fluss. Der Weg ist eben und für Kinderwagen geeignet. 2. Gibt es in Speyer geführte Wanderungen? Ja, in Speyer werden regelmäßig geführte Wanderungen angeboten. Die Touristinformation Speyer bietet verschiedene Themenwanderungen an, z. B. historische Stadtführungen, Weinwanderungen und Naturwanderungen. 3. Kann man in Speyer Wandern mit Übernachtung buchen? Ja, in der Umgebung von Speyer gibt es verschiedene Wanderwege mit Übernachtungsmöglichkeiten. Sie können z. B. auf dem Pfälzer Jakobsweg oder dem Rheinsteig wandern und in Hütten oder Gasthäusern übernachten. 4. Welche Ausrüstung benötige ich zum Wandern in Speyer? Für eine Wanderung in Speyer benötigen Sie bequeme Schuhe, wetterangepasste Kleidung, ausreichend Proviant und Wasser. Je nach Länge und Schwierigkeit der Wanderung sollten Sie auch eine Karte, einen Kompass und ein Mobiltelefon mit sich führen. 5. Was muss ich bei der Planung einer Wanderung in Speyer beachten? Informieren Sie sich vorab über die Schwierigkeit und Länge der Wanderwege. Achten Sie auf die Wettervorhersage und planen Sie Ihre Tour entsprechend. Wählen Sie geeignete Kleidung und Schuhe. Nehmen Sie ausreichend Proviant und Wasser mit. Sagen Sie jemandem, wohin Sie wandern gehen. Respektieren Sie die Natur und hinterlassen Sie keinen Müll. Ich hoffe, diese Antworten konnten Ihre Fragen umfassend beantworten. Bei weiteren Fragen stehe ich Ihnen gerne zur Verfügung Read the full article

[allovertheworldblog]

Into the Lion's Den

If you ever arrive in Frankfurt by train you will want to have been up early and to have had a good breakfast that morning and be ready for an assault; if not on your body then on your sensibilities.

The city square in front of the main train station is packed full of dodgy characters, most with beer bottle in hand.

Thankfully the hostel was a stone’s throw from the station.

No stones were thrown in the vicinity of the station that day but they were thrown near the European Central Bank headquarters which is in Frankfurt.

Frankfurt is in essence the heart of Euro-land.

The day I arrived there was a protest taking place. I only saw the repercussions the following day.

The hostel I’m staying in is full to bursting.

I feel sorry for some of the non-Europeans staying there.

Frankfurt it turns out isn’t a place that’s of much interest to tourists.

But for whatever reason tonnes of Korean and American and Australian backpackers, amongst others, were lining up to come to the city.

One of the highlights that the tourism office for the city lists are the skyscrapers of Frankfurt.

They’re pretty humdrum it turns out.

Something else you can do in the city is to take the Ebelwei Express tram, which does a tour around the city.

On the tram they give you a small packet of pretzels and a small bottle of the locally produced apple wine, which isn’t that nice.

The tram ride is pretty nice though.

Frankfurt for me has a similar feeling to Brussels.

They both have similarly empty skyscrapers, awaiting redevelopment or whatever and run down parts of their centres.

It’s Palm Sunday so the cathedral is thronged.

There’s a museum in the cathedral which is 3Euro to enter.

They have recreations of the crowns and regalia of the Holy Roman Emperor.

They also have much church silver and regalia.

There mustn’t be enough space in the cathedral museum as they’ve built another museum across the street from the cathedral.

It houses the exact same stuff that’s in the cathedral museum.

Both museums are covered by the same entrance ticket.

I visit the recreated Rothschild Garden, which along with the now demolished villa the Rothschild Family had to sell up for cheap and virtually escape from during the NAZI period.

The Garden has a strange layout and feel to it.

It’s not bordered by fences or railings but by skyscrapers.

After a couple of days I’m ready to leave Frankfurt.

I go to the train station which still has it’s collection of ‘end of the world’ characters outside and within it, not quite Mad Max, more Mad Europe.

I buy a ticket to Luxembourg.

I have to change train a couple of times, at Wiesbaden, Koblenz and Trier.

We pass by vineyards on the side of the Rhine and the valley becomes steeper after a while with castles and castellated houses.

At St. Goarhausen there’s a corresponding town on the opposite side of the Rhine.

A similar small train runs along the other side of the river mirroring us.

We pass by some houses virtually on the track that look like they haven’t been altered in two hundred years.

From Koblenz to Trier we pass alongside the river Mosel, again with similar vinyards up along the sides of the valley.

At Trier train station they have a photo of their famous son, Karl Marx, welcoming us to the city.

The only way that I’m aware that I’ve entered Luxembour is that the signs at the train station have changed, they say 'sortie’ the French for exit.

Before long I’m aware of the Luxembourgish flag flying as well.