grand old man – English Translation – Keybot Dictionary

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  mbfilmmusic.ca  
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Und Dianne Reeves wird es vielleicht auch so weit bringen, denn wer sie live auf der Bühne erlebt, vergisst sie so schnell nicht wieder. Grand Old Man und Divine Young Lady: Ein Konzerthöhepunkt.
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And maybe Dianne Reeves will also achieve this, because if you have seen her live on stage, you will not forget it soon. Grand old man and divine young lady: a concert highlight.
  alumni.sharjah.ac.ae  
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the grand old man of sth idiom
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  2 Hits atoll.pt  
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Vertrag mit einem Catering-Service organisiert die Grand Old Man of the House Abendessen auf Anfrage und private Feiern, Jubiläen, Ausstellungen, Tagungen und alle, die Organisation und Koordination für ein gutes Ergebnis erfordert.
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Agreement with a catering service, the Grand Old Man of the House organizes dinners on request and private ceremonies, anniversaries, exhibitions, conferences and all that requires organization and coordination for a good result.
  www.snackpackcanada.ca  
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Johnny Moss: (AKA - Grand Old Man) Als Teenager arbeitete er in einem örtlichen Saloon in seiner Heimatstadt Odessas, Texas, wo er Spiele beaufsichtigte und dafür sorgte, dass dort gerecht gespielt wurde.
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Thomas Austin Preston, Jr. (AKA - Amarillo Slim) Controversial both at and away from the poker tables, Preston's life story includes remarkable adventures, notorious slips of the tongue and a moderately successful career in show-business. He has won four WSOP bracelets and is listed in the Poker Hall of Fame.
  www.db-artmag.com  
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Die 4,5 m hohe Skulptur ist eines der letzten Werke des "Grand Old Man" der Schweizer Kunst und bringt ein Thema zur Vollendung, welches Bill seit den frühen dreißiger Jahren ausgelotet hatte: Künstlerische Variationen der nach dem deutschen Mathematiker  August Möbius (1790-1868) benannten Möbius-Schleife.
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One of the very few leading figures of "Swiss art" who conveyed national identity both at home and abroad was Max Bill (1908 Winterthur - 1994 Berlin) – an artist who also takes a key position in the collection of the Deutsche Bank. The sculptor and graphic artist – active mainly in Zurich, though he also served as the rector of the Ulm Academy of Design from 1951-56 – was assigned perhaps the most prominent place in the Deutsche Bank's entire collection. Situated on the public plaza in front of the twin towers of the Frankfurter headquarters, Max Bill's granite monolith Kontinuität (Continuity, 1982-86) greets Deutsche Bank employees and visitors alike. The sculpture, 4.5 m high, is one of the last works by the "Grand Old Man" of Swiss art, perfecting a motif Bill had explored since the early thirties: artistic variations on the Möbius strip, named after the German mathematician August Möbius (1790-1868). This Möbius strip, given one twist and joined seamlessly to produce the baffling phenomenon of one continuous surface, had preoccupied Bill ever since his apprenticeship at the Bauhaus in Dessau. In Frankfurt it attains its ultimate concretion with a conceptually challenging double twist to the infinite strip. As such the sculpture is the complex summation of a mathematically inspired motif which Bill explored almost obsessively, thus influencing a whole generation of Swiss artists.
  db-artmag.com  
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Die 4,5 m hohe Skulptur ist eines der letzten Werke des "Grand Old Man" der Schweizer Kunst und bringt ein Thema zur Vollendung, welches Bill seit den frühen dreißiger Jahren ausgelotet hatte: Künstlerische Variationen der nach dem deutschen Mathematiker  August Möbius (1790-1868) benannten Möbius-Schleife.
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One of the very few leading figures of "Swiss art" who conveyed national identity both at home and abroad was Max Bill (1908 Winterthur - 1994 Berlin) – an artist who also takes a key position in the collection of the Deutsche Bank. The sculptor and graphic artist – active mainly in Zurich, though he also served as the rector of the Ulm Academy of Design from 1951-56 – was assigned perhaps the most prominent place in the Deutsche Bank's entire collection. Situated on the public plaza in front of the twin towers of the Frankfurter headquarters, Max Bill's granite monolith Kontinuität (Continuity, 1982-86) greets Deutsche Bank employees and visitors alike. The sculpture, 4.5 m high, is one of the last works by the "Grand Old Man" of Swiss art, perfecting a motif Bill had explored since the early thirties: artistic variations on the Möbius strip, named after the German mathematician August Möbius (1790-1868). This Möbius strip, given one twist and joined seamlessly to produce the baffling phenomenon of one continuous surface, had preoccupied Bill ever since his apprenticeship at the Bauhaus in Dessau. In Frankfurt it attains its ultimate concretion with a conceptually challenging double twist to the infinite strip. As such the sculpture is the complex summation of a mathematically inspired motif which Bill explored almost obsessively, thus influencing a whole generation of Swiss artists.
  www.db-artmag.de  
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Die 4,5 m hohe Skulptur ist eines der letzten Werke des "Grand Old Man" der Schweizer Kunst und bringt ein Thema zur Vollendung, welches Bill seit den frühen dreißiger Jahren ausgelotet hatte: Künstlerische Variationen der nach dem deutschen Mathematiker  August Möbius (1790-1868) benannten Möbius-Schleife.
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One of the very few leading figures of "Swiss art" who conveyed national identity both at home and abroad was Max Bill (1908 Winterthur - 1994 Berlin) – an artist who also takes a key position in the collection of the Deutsche Bank. The sculptor and graphic artist – active mainly in Zurich, though he also served as the rector of the Ulm Academy of Design from 1951-56 – was assigned perhaps the most prominent place in the Deutsche Bank's entire collection. Situated on the public plaza in front of the twin towers of the Frankfurter headquarters, Max Bill's granite monolith Kontinuität (Continuity, 1982-86) greets Deutsche Bank employees and visitors alike. The sculpture, 4.5 m high, is one of the last works by the "Grand Old Man" of Swiss art, perfecting a motif Bill had explored since the early thirties: artistic variations on the Möbius strip, named after the German mathematician August Möbius (1790-1868). This Möbius strip, given one twist and joined seamlessly to produce the baffling phenomenon of one continuous surface, had preoccupied Bill ever since his apprenticeship at the Bauhaus in Dessau. In Frankfurt it attains its ultimate concretion with a conceptually challenging double twist to the infinite strip. As such the sculpture is the complex summation of a mathematically inspired motif which Bill explored almost obsessively, thus influencing a whole generation of Swiss artists.
  db-artmag.de  
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Die 4,5 m hohe Skulptur ist eines der letzten Werke des "Grand Old Man" der Schweizer Kunst und bringt ein Thema zur Vollendung, welches Bill seit den frühen dreißiger Jahren ausgelotet hatte: Künstlerische Variationen der nach dem deutschen Mathematiker  August Möbius (1790-1868) benannten Möbius-Schleife.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine db-artmag.de as primary domain
One of the very few leading figures of "Swiss art" who conveyed national identity both at home and abroad was Max Bill (1908 Winterthur - 1994 Berlin) – an artist who also takes a key position in the collection of the Deutsche Bank. The sculptor and graphic artist – active mainly in Zurich, though he also served as the rector of the Ulm Academy of Design from 1951-56 – was assigned perhaps the most prominent place in the Deutsche Bank's entire collection. Situated on the public plaza in front of the twin towers of the Frankfurter headquarters, Max Bill's granite monolith Kontinuität (Continuity, 1982-86) greets Deutsche Bank employees and visitors alike. The sculpture, 4.5 m high, is one of the last works by the "Grand Old Man" of Swiss art, perfecting a motif Bill had explored since the early thirties: artistic variations on the Möbius strip, named after the German mathematician August Möbius (1790-1868). This Möbius strip, given one twist and joined seamlessly to produce the baffling phenomenon of one continuous surface, had preoccupied Bill ever since his apprenticeship at the Bauhaus in Dessau. In Frankfurt it attains its ultimate concretion with a conceptually challenging double twist to the infinite strip. As such the sculpture is the complex summation of a mathematically inspired motif which Bill explored almost obsessively, thus influencing a whole generation of Swiss artists.