groben schmutz – English Translation – Keybot Dictionary

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  35 Hits erozrys.juan.pl  
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Für Aussenbereich und groben Schmutz
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  cloturesalma.com  
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Eine Reinigung in der Waschanlage ist in diesem Fall eine Möglichkeit, um Ihren Pkw von sämtlichen Schmutz und Sand zu befreien. Beachten Sie jedoch, dass Sie zuvor den groben Schmutz oder Dreck mit einem Hochdruckreiniger entfernen, denn die Partikel können ansonsten Schäden im Lack hinterlassen.
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Cleaning your vehicle after the cold and dirty winter is essential. In this case, cleaning in the car wash is one way to remove all dirt and sand from your car. However, please note that you should first remove the coarse dirt with a high-pressure cleaner, otherwise the particles can leave damage in the paint. Of course you can also wash your car by hand. Do not forget to wash the underbody to remove the encrusted sand and salt deposits, which can be aggressive to the car mechanics.
  www.molnar-banyai.hu  
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Die Richtlinie besagt, dass Wasser von grob nach fein gefiltert werden soll. Ein feines Filtermaterial zu Beginn würde durch groben Schmutz zu schnell verstopfen und dann den Wasserdurchfluss verringern.
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The rule of thumb is that water needs to be filtered in a sequence from coarse to fine. A fine filter material would quickly clog and then reduce the water flow if used in a first stage. That’s why we prefilter first, then follow this with the biological filtering and ideally follow this with an additional fine post-filtering. Problem-solving filter material, such as phosphate removers are intended to replace the last part of the biological filter medium (due to lack of space) and need to be placed before the post-filtering.
  www.qcplannedgiving.ca  
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Zwischen 1966 und 1969 arbeitete Knoebel an einer Serie von Linienbildern, die neunzig Tafeln umfasst und die ich 2002 in der Ausstellung Imi gegen groben Schmutz im Kunstverein Braunschweig erstmalig präsentierte.
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True. Between 1966 and 1969 Knoebel worked on a series of Linienbildern, or line paintings, encompassing 90 panels which I first presented in the exhibition Imi gegen groben Schmutz (Imi Against Rough Dirt) at the Kunstverein Braunschweig. The Linienbilder mark the beginning of his artistic career and were shown for the first time at the Düsseldorf Academy's winter exhibition in 1967/68. They are marked primarily by their foreignness within Joseph Beuys' circle. By joining Joseph Beuys' class, Knoebel seems to have strictly separated himself from the Academy artists who worked traditionally, although in formal terms he made use of his training at the Werkkunstschule in Darmstadt. In the Linienbildern Imi Knoebel characterizes himself as someone searching for a beginning, someone who's only security is the pure square. Knoebel dealt with the closest thing at hand, the square, referring his first impression of art, the Black Square by Kazimir Malevich. Within this surface, which embodies the unreachable and the run-of-the-mill at the same time, he investigated black and white and the line. In individual works and series of works, Knoebel experimented with different structures and divisions of white and black image areas. Having performed endless exercises during his time at the Darmstädter Werkkunstschule, Knoebel was able to draw lines extremely accurately. He acquired this skill in that period and now he was investigating it in a new form. He drew a series of lines which ran parallel to one another at a fixed distance, changing this distance in each panel. The width of the lines varied from panel to panel. When the distances between the lines were bigger, the picture approached a white rectangle; when it was smaller, a black rectangle. And there are endless gradations between the two poles of homogenous white and homogenous black.
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Zwischen 1966 und 1969 arbeitete Knoebel an einer Serie von Linienbildern, die neunzig Tafeln umfasst und die ich 2002 in der Ausstellung Imi gegen groben Schmutz im Kunstverein Braunschweig erstmalig präsentierte.
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True. Between 1966 and 1969 Knoebel worked on a series of Linienbildern, or line paintings, encompassing 90 panels which I first presented in the exhibition Imi gegen groben Schmutz (Imi Against Rough Dirt) at the Kunstverein Braunschweig. The Linienbilder mark the beginning of his artistic career and were shown for the first time at the Düsseldorf Academy's winter exhibition in 1967/68. They are marked primarily by their foreignness within Joseph Beuys' circle. By joining Joseph Beuys' class, Knoebel seems to have strictly separated himself from the Academy artists who worked traditionally, although in formal terms he made use of his training at the Werkkunstschule in Darmstadt. In the Linienbildern Imi Knoebel characterizes himself as someone searching for a beginning, someone who's only security is the pure square. Knoebel dealt with the closest thing at hand, the square, referring his first impression of art, the Black Square by Kazimir Malevich. Within this surface, which embodies the unreachable and the run-of-the-mill at the same time, he investigated black and white and the line. In individual works and series of works, Knoebel experimented with different structures and divisions of white and black image areas. Having performed endless exercises during his time at the Darmstädter Werkkunstschule, Knoebel was able to draw lines extremely accurately. He acquired this skill in that period and now he was investigating it in a new form. He drew a series of lines which ran parallel to one another at a fixed distance, changing this distance in each panel. The width of the lines varied from panel to panel. When the distances between the lines were bigger, the picture approached a white rectangle; when it was smaller, a black rectangle. And there are endless gradations between the two poles of homogenous white and homogenous black.
  dbartmag.com  
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Zwischen 1966 und 1969 arbeitete Knoebel an einer Serie von Linienbildern, die neunzig Tafeln umfasst und die ich 2002 in der Ausstellung Imi gegen groben Schmutz im Kunstverein Braunschweig erstmalig präsentierte.
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True. Between 1966 and 1969 Knoebel worked on a series of Linienbildern, or line paintings, encompassing 90 panels which I first presented in the exhibition Imi gegen groben Schmutz (Imi Against Rough Dirt) at the Kunstverein Braunschweig. The Linienbilder mark the beginning of his artistic career and were shown for the first time at the Düsseldorf Academy's winter exhibition in 1967/68. They are marked primarily by their foreignness within Joseph Beuys' circle. By joining Joseph Beuys' class, Knoebel seems to have strictly separated himself from the Academy artists who worked traditionally, although in formal terms he made use of his training at the Werkkunstschule in Darmstadt. In the Linienbildern Imi Knoebel characterizes himself as someone searching for a beginning, someone who's only security is the pure square. Knoebel dealt with the closest thing at hand, the square, referring his first impression of art, the Black Square by Kazimir Malevich. Within this surface, which embodies the unreachable and the run-of-the-mill at the same time, he investigated black and white and the line. In individual works and series of works, Knoebel experimented with different structures and divisions of white and black image areas. Having performed endless exercises during his time at the Darmstädter Werkkunstschule, Knoebel was able to draw lines extremely accurately. He acquired this skill in that period and now he was investigating it in a new form. He drew a series of lines which ran parallel to one another at a fixed distance, changing this distance in each panel. The width of the lines varied from panel to panel. When the distances between the lines were bigger, the picture approached a white rectangle; when it was smaller, a black rectangle. And there are endless gradations between the two poles of homogenous white and homogenous black.
  db-artmag.de  
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Zwischen 1966 und 1969 arbeitete Knoebel an einer Serie von Linienbildern, die neunzig Tafeln umfasst und die ich 2002 in der Ausstellung Imi gegen groben Schmutz im Kunstverein Braunschweig erstmalig präsentierte.
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True. Between 1966 and 1969 Knoebel worked on a series of Linienbildern, or line paintings, encompassing 90 panels which I first presented in the exhibition Imi gegen groben Schmutz (Imi Against Rough Dirt) at the Kunstverein Braunschweig. The Linienbilder mark the beginning of his artistic career and were shown for the first time at the Düsseldorf Academy's winter exhibition in 1967/68. They are marked primarily by their foreignness within Joseph Beuys' circle. By joining Joseph Beuys' class, Knoebel seems to have strictly separated himself from the Academy artists who worked traditionally, although in formal terms he made use of his training at the Werkkunstschule in Darmstadt. In the Linienbildern Imi Knoebel characterizes himself as someone searching for a beginning, someone who's only security is the pure square. Knoebel dealt with the closest thing at hand, the square, referring his first impression of art, the Black Square by Kazimir Malevich. Within this surface, which embodies the unreachable and the run-of-the-mill at the same time, he investigated black and white and the line. In individual works and series of works, Knoebel experimented with different structures and divisions of white and black image areas. Having performed endless exercises during his time at the Darmstädter Werkkunstschule, Knoebel was able to draw lines extremely accurately. He acquired this skill in that period and now he was investigating it in a new form. He drew a series of lines which ran parallel to one another at a fixed distance, changing this distance in each panel. The width of the lines varied from panel to panel. When the distances between the lines were bigger, the picture approached a white rectangle; when it was smaller, a black rectangle. And there are endless gradations between the two poles of homogenous white and homogenous black.
  db-artmag.com  
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Zwischen 1966 und 1969 arbeitete Knoebel an einer Serie von Linienbildern, die neunzig Tafeln umfasst und die ich 2002 in der Ausstellung Imi gegen groben Schmutz im Kunstverein Braunschweig erstmalig präsentierte.
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True. Between 1966 and 1969 Knoebel worked on a series of Linienbildern, or line paintings, encompassing 90 panels which I first presented in the exhibition Imi gegen groben Schmutz (Imi Against Rough Dirt) at the Kunstverein Braunschweig. The Linienbilder mark the beginning of his artistic career and were shown for the first time at the Düsseldorf Academy's winter exhibition in 1967/68. They are marked primarily by their foreignness within Joseph Beuys' circle. By joining Joseph Beuys' class, Knoebel seems to have strictly separated himself from the Academy artists who worked traditionally, although in formal terms he made use of his training at the Werkkunstschule in Darmstadt. In the Linienbildern Imi Knoebel characterizes himself as someone searching for a beginning, someone who's only security is the pure square. Knoebel dealt with the closest thing at hand, the square, referring his first impression of art, the Black Square by Kazimir Malevich. Within this surface, which embodies the unreachable and the run-of-the-mill at the same time, he investigated black and white and the line. In individual works and series of works, Knoebel experimented with different structures and divisions of white and black image areas. Having performed endless exercises during his time at the Darmstädter Werkkunstschule, Knoebel was able to draw lines extremely accurately. He acquired this skill in that period and now he was investigating it in a new form. He drew a series of lines which ran parallel to one another at a fixed distance, changing this distance in each panel. The width of the lines varied from panel to panel. When the distances between the lines were bigger, the picture approached a white rectangle; when it was smaller, a black rectangle. And there are endless gradations between the two poles of homogenous white and homogenous black.
  www.db-artmag.de  
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Zwischen 1966 und 1969 arbeitete Knoebel an einer Serie von Linienbildern, die neunzig Tafeln umfasst und die ich 2002 in der Ausstellung Imi gegen groben Schmutz im Kunstverein Braunschweig erstmalig präsentierte.
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True. Between 1966 and 1969 Knoebel worked on a series of Linienbildern, or line paintings, encompassing 90 panels which I first presented in the exhibition Imi gegen groben Schmutz (Imi Against Rough Dirt) at the Kunstverein Braunschweig. The Linienbilder mark the beginning of his artistic career and were shown for the first time at the Düsseldorf Academy's winter exhibition in 1967/68. They are marked primarily by their foreignness within Joseph Beuys' circle. By joining Joseph Beuys' class, Knoebel seems to have strictly separated himself from the Academy artists who worked traditionally, although in formal terms he made use of his training at the Werkkunstschule in Darmstadt. In the Linienbildern Imi Knoebel characterizes himself as someone searching for a beginning, someone who's only security is the pure square. Knoebel dealt with the closest thing at hand, the square, referring his first impression of art, the Black Square by Kazimir Malevich. Within this surface, which embodies the unreachable and the run-of-the-mill at the same time, he investigated black and white and the line. In individual works and series of works, Knoebel experimented with different structures and divisions of white and black image areas. Having performed endless exercises during his time at the Darmstädter Werkkunstschule, Knoebel was able to draw lines extremely accurately. He acquired this skill in that period and now he was investigating it in a new form. He drew a series of lines which ran parallel to one another at a fixed distance, changing this distance in each panel. The width of the lines varied from panel to panel. When the distances between the lines were bigger, the picture approached a white rectangle; when it was smaller, a black rectangle. And there are endless gradations between the two poles of homogenous white and homogenous black.