History & Memory. Spring/Summer2020, Vol. 32 Issue 1, p5-8. 4p.
COLLECTIVE memory, HISTORY, and MUNICH (Germany)
The article discusses reports within the issue about the role of various memory practices in urban space, how and why Munich, Germany as a birthplace of Nazism was able to avoid publicly acknowledging its role in Adolf Hitler's rise to power, and the history of museum creation in Krakow, Poland.
INFANT mortality, ECONOMIC development, FAMILIES, INCOME distribution, MUNICH (Germany) -- History, HISTORY, and SOCIAL history
Abstract: During most of the nineteenth century, Bavaria was notorious for infant mortality rates that were among the highest in Europe. After 1870, infant mortality in Bavaria began a sustained decline. This decline, which was impressive in urban areas, was even more dramatic in Bavaria's capital, Munich. From a peak of 40 deaths per 100 births in the 1860s, infant mortality had fallen two‐thirds by 1914. This article examines the causes of infant mortality in rural and urban districts of Bavaria from 1880 to 1910 and in Munich from 1825 up to shortly before the First World War. In rural Bavaria, structural change in agriculture lowered infant mortality, even as stark differences in infant survival driven by income gaps and deficient infant care remained. In urban areas, high fertility was strongly associated with high infant mortality. Individual‐level data from Munich reveal that infant care, fertility, and incomes mattered. Even prior to industrialization, occupational status influenced infant survival. Munich's growth into a leading industrial centre after 1875 apparently widened the gap between rich and poor. Families at the top of the occupational distribution and couples able to acquire real property saw the steepest declines in infant mortality. The poorest one‐third without property saw little improvement. [ABSTRACT FROM AUTHOR]
It is hard to believe, looking down on Munich from the top of St Peter's, the city's oldest parish church, that the city spread-eagled below lay in ruins in 1945 at the end of the Second World War. Having clambered up the 297 steps to the top of the church tower, one is struck just as much by the historic landmarks — be it the Frauenkirche (Church of Our Lady) or the neo-gothic splendour of the Neues Rathaus (New Town Hall) — as by the Mediterranean-style terracotta tiles and the closeness of the Alps to the south. [ABSTRACT FROM AUTHOR]
Weisse Rose (Resistance group), Universität München--Riot, 1943, Anti-Nazi movement--Germany--Munich, College students--Political activity--Germany--Munich--History--20th century, JUVENILE NONFICTION / History / Holocaust, JUVENILE NONFICTION / People & Places / Europe, JUVENILE NONFICTION / History / Military & Wars, Munich (Germany)--History--20th century, 943.086092/2, and DD256.3
Deutsche Akademie der Technikwissenschaften, Symposium zur Gründung einer Deutsch-Japanischen Gesellschaft für Integrative Wissenschaft, in Kooperation mit der Deutschen Akademie der Technikwissenschaften e.V.-acatech, herausgegeben von Daiseion-ji e.V, and mit Sitz in Wipperfürth und der Deutschen Akademie derTechnikwissenschaften e.V.-acatech
Deutsch-Japanische Gesellschaft für Integrative Wissenschaft (Munich, Germany)--History--Congresses, Research, Industria--Japan--International cooperation--Congresses, Research, Industrial--Europe--International cooperation--Congresses, Research, Industrial--Germany--International cooperation--Congresses, Technological innovations--Research--Japan--International cooperation--Congresses, Technological innovations--Research--Germany--International cooperation--Congresses, Technological innovations--Research--Europe--International cooperation--Congresses, Creative ability in science--Japan--Congresses, Creative ability in science--Germany--Congresses, Technology--Research--Japan--Congresses, Technology--Research--Germany--Congresses, Education--Japan--Congresses, Education--Germany--Congresses, and T177.J3
Lauterbach, Iris., Weidner, Thomas, 1963-, Zentralinstitut für Kunstgeschichte in München, sponsoring body., and Münchner Stadtmuseum, sponsoring body.
Altes Rathaus (Munich, Germany) -- History -- Congresses., Morris dance in art -- History -- Congresses., Morris dance -- Germany -- Munich -- History -- Congresses., Dancers in art -- History -- Congresses., Friezes -- Germany -- Munich -- Congresses., Wood sculpture, German -- Germany -- Munich -- History -- Congresses., Wood sculpture, Medieval -- Germany -- Munich -- History -- Congresses., Wood sculpture, Renaissance -- Germany -- Munich -- History -- Congresses., Conference papers and proceedings., Criticism, interpretation, etc., History., Moriskentänzer, and Morris Dancers
Made by the sculptor Erasmus Grasser in 1480, the Morris Dancers rank among the most valuable sculptures in the Münchner Stadtmuseum's collections. The name given to the figures most likely derives from leap dances developed by the Moors which were later performed at the major European courts. The first recorded mention of Erasmus Grasser dates back to 1475. In a submission to the Munich City Council during that year, the guild of "Painters, Carvers, Embroiderers and Glaziers" sought to prevent the young sculptor from the Palatinate from being granted the status of "Master Craftsman". In their document, Grasser is characterized as a "disruptive, promiscuous and disingenuous knave". Despite this, he evidently caught the eye with his innovative and unfamiliar style in Munich, and shortly afterwards was awarded a highly lucrative assignment from the city authorities. For the "Dance Hall" (now "Old City Hall") that Jörg von Halsbach had been building since 1470, Grasser made eleven coats of arms plus the symbols for the sun and the moon. In 1480 he received payment for his figures of sixteen Morris Dancers, part of a heraldic ceiling designed to historically legitimize Duke Albrecht IV of Bavaria's grandiose leadership aspirations. The conceptual design for the hall's ceiling was most likely created by Ulrich Fuetrer (1430-1496), a well-known painter, historian and writer. He had envisaged the arms of Emperor Ludwig the Bavarian (with its imperial eagle and the white and blue heart shield of the Wittelsbach dynasty) at the crown of the barrel-vaulted ceiling. This coat of arms, originally surrounded by a corona, was aligned cosmologically with the sun and moon images. The emperor's new aspirations of leadership were represented by a frieze which, with almost one hundred other coats of arms, was designed to symbolize the entire planet. The Morris Dancers too, ten of which have survived until the present day, were originally part of this frieze. They stood on consoles at a height of five meters at the intersection between the walls and wooden ceiling. The figures were removed to the safety of the museum in 1931 and the coats of arms in 1942 before the hall was destroyed in World War II. They have been replaced by copies in the hall which, following its restoration, is now used for municipal functions and banquets. The essays in the present volume are the results of a conference sponsored by the Zentralinstitut für Kunstgeschichte and the Münchner Stadtmuseum, July 2-3, 2009, and are devoted to examination of the figure ensemble from the perspectives of history, art history, musicology, sociology and costume design.
Zentralarchiv des Internationalen Kunsthandels, host institution. and Art Cologne (47th : 2013)
Galerie Heiner Friedrich (Munich, Germany) -- History -- Exhibitions., Galerie Six Friedrich -- History -- Exhibitions., Galerie Friedrich & Dahlem -- History -- Exhibitons., Art, Modern -- 20th century -- History -- Exhibitons., Art galleries, Commercial -- Germany -- Munich -- Exhibitions., Art galleries, Commercial -- Germany -- Cologne -- Exhibitions., Art galleries, Commercial -- New York (State) -- New York -- Exhibitions., and Art galleries, Commercia -- Germany -- Cologne -- Exhibitions.
Königliche Glasmalereianstalt in München -- History -- 19th century., Königliche Glasmalereianstalt (Munich, Germany) -- History -- 19th century., Glass painting and staining -- Germany -- Munich -- 19th century., and Stained glass industry -- Germany -- Munich -- 19th century.
"The kgl. Glasmalereianstalt Munich produced pictorial stained glass windows that were modeled on the works of leading Nazarene artists, and their innovative painting technique heralded an entirely new style of glass painting. This book documents the works produced at the Glasmalereianstalt and presents new source material on and illustrations of the techniques developed by these Munich artists."--Publisher's website.