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domingo, 10 de abril de 2016

O Leopold Museum, em Viena. --- The Leopold Museum in Vienna.

Informou que chegou a um acordo sobre obras de arte em sua coleção que foram roubadas durante o regime nazista e irá devolver duas delas para o herdeiro do dono original, uma vítima do Holocausto.

As cinco obras, todas do pintor austríaco Egon Schiele, eram de propriedade do empresário de Viena Karl Maylaender, que morreu após ser enviado para campo de concentração na Segunda Guerra Mundial. O museu informou que irá devolver duas aquarelas, incluindo um autorretrato de Schiele, à herdeira de Maylaender, que tem 95 anos.

As outras três peças ficarão no museu, que possui a maior coleção do mundo de obras de Schiele.

"Este é um dia feliz", disse o ministro da Cultura austríaco, Josef Ostermayer, durante entrevista coletiva. A longa discussão colocou uma sombra no museu e agora uma "solução salomônica" foi encontrada, disse.

Sob o comando de Adolf Hitler, os nazistas forçaram artistas e colecionadores judeus a venderem ou darem seus trabalhos e muitas peças foram confiscadas. Uma lei austríaca de 1998 direcionou os museus a devolverem as artes tomadas, e grandes peças foram dadas aos verdadeiros donos ou herdeiros.

Fonte: @edisonmariotti #edisonmariotti
Cultura e conhecimento são ingredientes essenciais para a sociedade.

A cultura é o único antídoto que existe contra a ausência de amor.

Vamos compartilhar.

--in via tradutor do google
The Leopold Museum in Vienna.
It said it reached an agreement on works of art in its collection that were stolen during the Nazi regime and will return two of them to the heir of the original owner, a victim of the Holocaust.

The five works, all the Austrian painter Egon Schiele, were owned by businessman Karl Vienna Maylaender, who died after being sent to concentration camp in World War II. The museum said it will return two watercolors, including a self-portrait of Schiele, the heir to Maylaender, which is 95 years.

The other three parts will be in the museum, which has the world's largest collection of works by Schiele.

"This is a happy day," said Minister of Culture Austrian, Josef Ostermayer told a news conference. The long discussion put a shadow on the museum and is now a "Solomonic solution" was found, he said.

Under the command of Adolf Hitler, the Nazis forced Jewish artists and collectors to sell or give their work and many pieces were confiscated. An Austrian law of 1998 directed the museums to give back the taken arts, and large parts were given to the rightful owners or heirs.



Architecture: Ortner & Ortner

The bright, imposing cube housing the Leopold Museum, which almost looks as if it is floating, does not stand in parallel with the protracted main building of the MuseumsQuartier in front of it, but lies on a parallel axis with the Kunsthistorisches Museum on the other side of the street. So instead of looking into the old Court Stables designed by Fischer von Erlach, this extended line to the Kunsthistorisches Museum shows continuity: the collection of the KHM starts with the Old Egyptians and spans to the 19th century, the Leopold Museum starts with the 19th century and spans to World War II. Considering that the MuMok on the other side of the grand court focuses on post-1945 art, the entire art history of humanity is concentrated within this triangle.

The inside and the outside of the Leopold Museum are faced with almost white shell limestone from the Danube which points towards the light sandstone of the buildings at the Ringstrasse and their era as well as towards the entire k.u.k. Monarchy that gives the social and historic context for the main focus of the collection. Together with the Upper Austrian architects Manfred and Laurids Ortner, Rudolf Leopold developed a concept that allows insights, vistas and views: insights into the collection, vistas through the museum and breathtaking views of the city of Vienna.

The big atrium awash with light is the central starting point for visiting this so complacent construction. There are two floors to the top and two floors down. Only the exhibition rooms on the lowest floor are entirely lit without daylight and are therefor ideal for graphic art or modern art projects. On every floor the rectangular rooms revolve around the center of the lower and the upper atrium. By striding through the exhibition rooms one will not only get surprised by art but again and again by the above mentioned insights, vistas and views.

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