ornamentierung – English Translation – Keybot Dictionary

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  8 Hits berlindisplay.de  
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Interessant ist, dass diese Karten überhaupt keine Herstellerangaben haben, sondern lediglich eine Ornamentierung.
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Interesting that these cards have no manufacturer information, but ornamentation only.
  www.db-artmag.de  
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Der Begriff des Barock ist häufig zur stilistischen Bestimmung der von extravaganter Künstlichkeit und Ornamentierung geprägten Periode in der europäischen Kunst und Literatur der Nachrenaissance und Gegenreformation verwendet worden.
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The term baroque has often been used to designate a stylistic period of extravagant artificiality and ornamentation in post- Renaissance, Counter-Reformation European art and literature. More recently, it has come to describe particular instances of cultural alterity. Within this discourse, the baroque functions in Mehretu’s work as a trope for a complex ethnic and artistic mixture, rather than as a reference to the European hegemonic conception of the term historical period or iconography. This idiosyncratic contemporary baroque is an emancipating and transculturating one.
  db-artmag.com  
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Der Begriff des Barock ist häufig zur stilistischen Bestimmung der von extravaganter Künstlichkeit und Ornamentierung geprägten Periode in der europäischen Kunst und Literatur der Nachrenaissance und Gegenreformation verwendet worden.
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The term baroque has often been used to designate a stylistic period of extravagant artificiality and ornamentation in post- Renaissance, Counter-Reformation European art and literature. More recently, it has come to describe particular instances of cultural alterity. Within this discourse, the baroque functions in Mehretu’s work as a trope for a complex ethnic and artistic mixture, rather than as a reference to the European hegemonic conception of the term historical period or iconography. This idiosyncratic contemporary baroque is an emancipating and transculturating one.
  2 Hits gitstap.nl  
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Das unermessliche Repertoire der keltischen Musik weist sowohl zeitlich als auch räumlich sehr unterschiedliche Wurzeln auf, und jedes Element bietet höchst interessante Information über ihren Charakter, Technik, Ornamentierung, Stil und Spielweise.
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Although these different ways of retrieving and updating the traditional musical memory are possible and legitimate, that does not mean that they are better than the more traditional versions, or that they are the only possible source of innovative interpretations available to us today. The vast repertoire of Celtic music has widely differing origins in time and space, each providing fascinating information about its character, technique, ornamentation, style and performance. They provide the key to versions that respect both the historical context and the new performance trends. In music, as in art, evolution and development are not necessarily synonymous with true progress.
  careers.hikma.com  
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Die quené sind charakteristische Muster, die auf vereinfachte Weise die unter Ayahuasca-Einfluß sichtbaren geometrischen und graphischen Strukturen, Energielinien und psychedelischen Muster andeuten. Die quené sind aber mehr als nur Zierde oder Ornamentierung; sie stellen ein Kommunikationssystem, eine Art Schrift, als Medium mit der anderen Wirklichkeit, dar.
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The Shipibo-Conibo are living with one foot in the 21st century and with one foot in an unfathomably deep past probably spanning millenia in the Amazonian rain forest. They still practice many of their own unique traditions such as the Anisheati ceremony, and ayahuasca shamanism. They have a very distinct artistic tradition and their decorative and geometric designs inspired by Ayahuasca & shamanic songs (icaros) are found in their clothing, pottery, tools, and traditional textiles.
  www.larosadeivini.com  
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Schriften und Bauten von Louis H. Sullivan zeichneten entscheidende Positionen der Moderne vor, auch ihre Janusköpfigkeit. Seine zur modernen Bauweise parallel gedachte und gestaltete, organische Ornamentierung wurde in Deutschland kaum wahrgenommen.
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Sullivans's writings and constructions set out central positions of modernism, including its ambiguity. His organic ornamentation, conceived and created in conjunction with modern methods of construction, was barely noticed in Germany. Although Sullivan's work was displayed at the centre of the "Exhibition of New American Architects" in Berlin's Academy of the Arts in 1926, Europeans did not consider Sullivan to be of interest as a Theoretician, even though he was Frank Lloyd Wright's teacher.
  whalebird.social  
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Aber ihre Lesart der Stücke zeichnet sich vor allem durch die langen mäandernden Phrasen der rechten Hand mit ihrer fein gewebten Ornamentierung aus, die durch dezente Veränderungen der Betonung filigran geformt werden, die jede Nuance erkennen lassen.
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Brasil, a country better-known for its football stars and guitarists, is also home to two of great pianists: João Carlos Martins, who along with Glenn Gould is the foremost Bach scholar and, since she ‘arrived' on the concert stage at three years, the prodigious Eliane Rodrigues who seems, with an uncanny ability to interpret the passions innate in humanity, would appear more suited to interpreting the work of Beethoven. On Notturno, however, she has given notice that her Chopin is not only as natural as her own ability to breathe, but is music so spiritually attuned to its composer music that reaches the ultimate rarefied realm of the heavens, carrying with anyone who sits in silence and listens to her play.
  db-artmag.de  
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Der Begriff des Barock ist häufig zur stilistischen Bestimmung der von extravaganter Künstlichkeit und Ornamentierung geprägten Periode in der europäischen Kunst und Literatur der Nachrenaissance und Gegenreformation verwendet worden.
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The term baroque has often been used to designate a stylistic period of extravagant artificiality and ornamentation in post- Renaissance, Counter-Reformation European art and literature. More recently, it has come to describe particular instances of cultural alterity. Within this discourse, the baroque functions in Mehretu’s work as a trope for a complex ethnic and artistic mixture, rather than as a reference to the European hegemonic conception of the term historical period or iconography. This idiosyncratic contemporary baroque is an emancipating and transculturating one.
  www.db-artmag.com  
Show textShow cached sourceOpen source URL
Der Begriff des Barock ist häufig zur stilistischen Bestimmung der von extravaganter Künstlichkeit und Ornamentierung geprägten Periode in der europäischen Kunst und Literatur der Nachrenaissance und Gegenreformation verwendet worden.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine db-artmag.com as primary domain
The term baroque has often been used to designate a stylistic period of extravagant artificiality and ornamentation in post- Renaissance, Counter-Reformation European art and literature. More recently, it has come to describe particular instances of cultural alterity. Within this discourse, the baroque functions in Mehretu’s work as a trope for a complex ethnic and artistic mixture, rather than as a reference to the European hegemonic conception of the term historical period or iconography. This idiosyncratic contemporary baroque is an emancipating and transculturating one.
  www.design-museum.de  
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Die Ganzheit einer Stadt, eines Hauses oder eines Möbels mußte von der Integration seiner Teile abhängen und jede Form zugleich ihre Entstehung reflektieren. In der Ornamentierung sah Wright dabei einen wesentlichen Ausdruck schöpferischer Vorstellungskraft, welche „natürliche Muster hervorbringt, um sich zu strukturieren”.1
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The interior design of a house had a fixed place in the architecture of Frank Lloyd Wright. He regarded this as the ornamental extension of his buildings, just as he believed the buildings were abstractions and organic extensions of their environment. A Constructivist aesthetics was in the foreground of his work, whereby an internal harmony of freedom and calmness was meant to pervade the outer form. To his mind, the unity of a city, a house, or an item of furniture depended on the integration of its parts, and each form had at the same time to reflect its origin. Wright believed that ornamentation was an essential expression of creative imagination, which produces “natural patterns to structure itself.”1 He designed the Peacock Chair, with its complicated and concentrated ornamentation for the Imperial Hotel in Tokyo, which was built between 1915 and 1922 – in terms of ground plan, elevation, and decoration the building is considered one of his most complex works. The hexagons in the back and on the sides of the chair’s base are also encountered in numerous places in the building: in the ceilings, on walls, and even in a coffee set designed by Wright. Since the chairs were quite fragile, they were changed at least three times in the life of the hotel, which was torn down in 1968. The presumably earliest models had wicker seat, sides, and back and a loose upholstered cushion. MSC
  de.rism.info  
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Wie sehr Pisendel sich mit dem "Il Carbonelli"-Adagio identifiziert haben muss, lässt sich wohl auch daran ablesen, dass er die ihm vorschwebende Ornamentierung gleichsam stenografisch in die für ihn bestimmte Solostimme eingetragen hat.
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Talbot has now succeeded in identifying the divergent movement from Mus.2364-O-7: it is the Adagio from Antonio Vivaldi's Violin Concerto in B-flat major RV 366 (Il Carbonelli), transposed from D minor to E minor. It is a work that may have been composed for the violinist Giovanni Stefano Carbonelli, who was active in England, and which is also present in two copies in Schrank II. The variant found in Mus.2364-O-7 is a pasticcio, a piece consisting of already-composed works or parts of works brought together to create something new. We cannot credit the copyist of the manuscript with the pasticcio, the violist and copyist Morgenstern, but rather his “boss” Johann Georg Pisendel (1687 – 1755). It is possible that the captivating Adagio by his teacher Vivaldi just simply spoke to the legendary concertmaster of the Dresden Court Orchestra more than Brescianello's lengthy original did. Just how closely Pisendel must have identified with the "Il Carbonelli" Adagio may be seen by the fact that he used a sort of shorthand to write the ornamentation that he envisioned on the solo part that was meant for him.