#wien museum

[die-rosastrasse]

Details from a floral still life by Karl d. Ä. Schweninger (Austrian, 1818—1887)

[bdpst24]

Ingyenes és inkluzív - hamarosan nyit a Wien Museum 

Ingyenes és inkluzív - hamarosan nyit a Wien Museum

Csaknem négy év felújítás után, 2023. december 6-án újra megnyitja kapuit a látogatók előtt Bécs helytörténeti múzeuma, a Wien Museum. Az inklúzió és akadálymentesség jegyében újragondolt és felújított kiállítóhely állandó tárlatát ingyen lehet megnézni.  „Nem privilégiumnak, hanem jognak kell lennie, hogy az ember hozzáférhessen mindahhoz a tudáshoz, amelyből megismerheti annak a városnak a…

[alexmusil]

On spot, 2024

[phantasmagoriacouture]

Underskirt - Around 1874

Materials: Chiffon, button, whalebone, flounce

Source: Weltmuseum Wien

[digitalfashionmuseum]

Beige Ball Gown, ca. 1865, Probably Austrian.

Wien Museum.

[monkeyssalad-blog]

Wilhelm Gause «Ball at the Vienna City Hall 1904 portraying the Mayor of Vienna Karl Lueger», 1909 by Art Therapy by Julianna Via Flickr: Watercolour and oil on cardboard; 62x88 cm. Historical Museum of the City of Vienna

[tatmanblue]

Max Kurzweil: Dame in Gelb, 1899. Wilhelm List: Bild in Weiß-Schwarz, 1904 by Anita Pravits Via Flickr: Öl auf Leinwand / oil on canvas Wien Museum, Vienna

[sheltiechicago]

“Domestication”

Nighttime Reveals the Inner Vitality of Reskate’s Dynamic Glow-in-the-Dark Murals

By day, Reskate Studio’s bold, deceptively simple murals outline the forms of rope, a mountain, or a dog in a neutral palette. When the sun sets, though, an entirely new image emerges from within the unassuming motif. María López and Javier de Riba, who work collaboratively as Reskate, continue to paint bold, light-sensitive works as part of their ongoing Harreman Project (previously). The artists say their intention is “to try to light up dark corners of cities, both installing new lights and encouraging citizens to interact with the wall—painting with light on it.”

“Domestication,” Wien Museum, Vienna, Austria

Nighttime view of “Connectivity,” Shenzhen, China

Daytime view of “Connectivity”

[sictransitgloriamvndi]

Allegorie der Vergänglichkeit (1634) - Antonio de Pereda y Salgado

[wanderlvhst]

[dankomaksimovic]

ph. Danko Maksimovic - Vienna, Austria (2022)

Film: Kodak Portra 800

[jonaaaa]

[dwellerinthelibrary]

From the Amduat papyrus of Khonsumes. The tree goddess is a common motif, but apparently it's rare to see Ra-Horakhty being worshipped on these papyri.

Where: Kunsthistorisch Museum Vienna

When: Third Intermediate Period, 21st Dynasty

[digitalfashionmuseum]

Black Moire Silk Court Dress with Jet Beads, ca. 1885, Austrian.

Worn by Empress Elisabeth ‘Sissi’ of Austria.

Kunst Historisches Museum Wien.

[the-forest-library]

Have you ever wanted to dance on the rooftops with statues of the gods or marveled at depictions of elephants in antiquity? Then the Queen’s Thief series by Megan Whalen Turner might be books for you. Bonus if you like unreliable narrators, traditional fantasy treks with horses, buddy travel stories, awkward encounters, impossible heists, and brilliant storytelling.

[artsandculture]

The Hunters in the Snow (1565) 🎨 Pieter Bruegel the Elder 🏛️ Kunsthistorisches Museum Wien 📍 Vienna, Austria

In the late 16th century, the Antwerp banker Niclaes Jongelinck owned one of the most important painting collections in the Netherlands. He commissioned Bruegel to create a series of six seasonal paintings, the last of which is shown here. The series also included: Gloomy Day (Early Spring; KHM, GG 1837), Spring (now lost); Hay-Harvest (Early Summer; Nelahozeves Castle, Czech Republic, Lobkowitz Collection); The Harvesters (Late Summer; New York, Metropolitan Museum of Art); Return of the Herd (Autumn; KHM, GG 1018). For the composition of this series, Bruegel, who today is regarded as the most progressive landscape painter of the 16th century, followed an older tradition that divided the year, beginning on 1 March, into six unequally long seasons. What all the compositions have in common is the so-called balcony motif, i.e., the depiction of a hill in the foreground from which an overall view of the landscape unfolds. On top of the hill a group of hunters accompanied by a pack of dogs is seen, making their way back to the village below. Their catch is poor: a single fox dangling from the spear the hunter on the left carries on his shoulder. To the hunter’s left, Bruegel added a motif that had been used forquire some time in book illumination for depicting the month of December: the preparations for singeing a pig over an open fire outside a building. The damaged sign hanging above them reveals the name of the inn: “dit is inden Hert”, meaning “To the Deer” – a well-aimed passing shot. Entertaining details, such as the people ice-skating on the frozen lakes, have contributed to the painting’s enormous popularity. However, it does not owe its significance in art history to its details but rather to the overall impression conveyed by the coloration and composition. With virtuosity and consistency Bruegel evokes the impression of cold: white, blue-green and brown are the dominant colours. The precise silhouette of the trees, the frozen mill-wheel at the lower right and the icy surface of the snow revealed by the hunters’ footprints blend together to convey the fundamental characteristics of winter. The scene is an invented, universally formulated landscape: the combination of a chain of Alpine mountains with Flemish architecture renders pointless any search for reality.