von einem gemälde – English Translation – Keybot Dictionary

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  www.rakwireless.com  
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, um 1614). Eine ähnliche Motivkette entwickelt sich ausgehend von einem Gemälde des flämischen Malers Michiel Coxcie mit dem Mord Kains an seinem Bruder Abel (
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, c. 1614). A similarly arresting chain of motifs unravels from a work by the Flemish painter Michiel Coxcie depicting Cains’s murder of his brother (
  europeanpolice.net  
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Man erkennt an der Frontmauer der Kapelle die Wappen von Österreich, Tirol und der Grafen von Trapp sowie einige Fresken. Der Altar in der Kapelle wurde 1660 errichtet und wird von einem Gemälde verziert, das den Hl.
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At the front wall of the chapel there are the emblems of Austria, Tyrol and the Counts Trapp as well as several other frescos. The altar in the chapel has been established in 1660. The paintings on this altar show the Saints Blasius, Valentin and Erasmus. Metal eagles and the Trapp emblem decorate the chairs in this room. Moreover there are precious relics such as a silver chalice dating back to the 13th century.
  cestovani.kr-karlovarsky.cz  
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Teil der Prälatur ist ein Sommerrefektorium, dessen Wände mit üppiger illusiver architektonischer Malerei verziert sind, die an der Ostwand von einem Gemälde von Mauer Fuchs aus Tirschenreuth "Abendmahl des Herrn" aus dem Jahre 1816 ergänzt wird.
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A summer refectory is a part of the prelature, the walls of which are richly decorated with illusive architectonic painting, which is complemented with a painting of the Last Supper created by Maurus Fuchs of Tirschenreuth in 1816. The ceiling fresco depicts the Conversion of Saint Paul – an allegory of faith and of the teachings of the Catholic Church. The pulpit situated at the north wall was made of pink stucco marble by J. Hennevogel.
  db-artmag.com  
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Dabei hat mich die Möglichkeit von Fehlinterpretationen fasziniert, von Doppeldeutigkeit und der Versuch, eine Kultur durch eine andere zum Sprechen zu bringen – egal ob es nun eine Fotografie ist, die von einem Gemälde erzählt, wie etwa das Projekt, dass ich mit den Helga Pictures von Andrew Wyeth gemacht habe, oder ob es eine amerikanische Stimme ist, die zu einem deutschen Körper spricht.
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I really like the idea of borrowing terminology or precepts from other fields. In part I would say this comes from an ’80s education over-determined by deconstruction and psychoanalytic theory. What has remained is the intensity of a viewer’s desire to puncture the surface of a work, to demand of it an explanation or to suppose that the artist wants to be “read” or deciphered. For the longest time I liked to relate to work through the study of comparative literature, meaning, in the most simplistic terms, that I was taking two texts, two languages, and intertwining them. Within that field, I was excited by possibilities of mistranslations, dual meanings, and of trying to make one culture speak through another, be it a photograph speaking about a painting (like the project I did with Andrew Wyeth’s Helga pictures) or an American voice to a German body.
  www.portugal-live.net  
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Sehen Sie sich den historischen Platz Adro da Sé an und besichtigen Sie die reich verzierte Kathedrale, die in seiner Mitte steht. Danach können Sie in das nahegelegene Museum für Renaissancekunst gehen und Ihren Blick von einem Gemälde zum anderen schweifen lassen.
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You will find the district’s prime attractions in its capital – the city of Viseu. Head to the historical Adro da Sé square and enter the richly embellished cathedral that stands in its centre. Go to the nearby Renaissance art museum and let your eyes wander from painting to painting and book a wine tour of the Solar do Dão to reward your taste buds with slow-paced sips of this region’s full-bodied wine. Also explore the Cava do Viriato, a pentagonal shaped park believed to have once been the military camp of the Lusitanian leader Viriato – a legendary warrior who protected Viseu from Roman invaders long ago.
  www.argoweb.it  
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Verziert ist, haben auf der rechten Seite einige Kapellen; neben der Tür der Sakristei ein "Krucifix", Kopie des XVIII Jahrhunderts von einem gemälde von Raffaello, das aktuell bei National Gallery in London ist.
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Near the Palazzo Comunale stands the CATHEDRAL, dedicated to the Saints Florido and Amanzio and dating back to the11th century; enlarged in 1356 and totally restructured a century later, it has on the left side a part of the 14th century structure, with a Gothic portal decorated with columns and reliefs. The façade is divided into two parts: F. Lazzari built the lower one in Baroque forms in 1632; the upper one is from the Renaissance period. The beautiful round bell-tower is from the 13th century. The Renaissance interior is simple and elegant, and in the left transept can be admired the splendid "Trasfigurazione" by Rosso Fiorentino. Below the building is the lower church, where are preserved the mortal remains of the Saints Florido and Amanzio.
  db-artmag.de  
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Dabei hat mich die Möglichkeit von Fehlinterpretationen fasziniert, von Doppeldeutigkeit und der Versuch, eine Kultur durch eine andere zum Sprechen zu bringen – egal ob es nun eine Fotografie ist, die von einem Gemälde erzählt, wie etwa das Projekt, dass ich mit den Helga Pictures von Andrew Wyeth gemacht habe, oder ob es eine amerikanische Stimme ist, die zu einem deutschen Körper spricht.
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I really like the idea of borrowing terminology or precepts from other fields. In part I would say this comes from an ’80s education over-determined by deconstruction and psychoanalytic theory. What has remained is the intensity of a viewer’s desire to puncture the surface of a work, to demand of it an explanation or to suppose that the artist wants to be “read” or deciphered. For the longest time I liked to relate to work through the study of comparative literature, meaning, in the most simplistic terms, that I was taking two texts, two languages, and intertwining them. Within that field, I was excited by possibilities of mistranslations, dual meanings, and of trying to make one culture speak through another, be it a photograph speaking about a painting (like the project I did with Andrew Wyeth’s Helga pictures) or an American voice to a German body.
  www.db-artmag.com  
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Dabei hat mich die Möglichkeit von Fehlinterpretationen fasziniert, von Doppeldeutigkeit und der Versuch, eine Kultur durch eine andere zum Sprechen zu bringen – egal ob es nun eine Fotografie ist, die von einem Gemälde erzählt, wie etwa das Projekt, dass ich mit den Helga Pictures von Andrew Wyeth gemacht habe, oder ob es eine amerikanische Stimme ist, die zu einem deutschen Körper spricht.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine db-artmag.com as primary domain
I really like the idea of borrowing terminology or precepts from other fields. In part I would say this comes from an ’80s education over-determined by deconstruction and psychoanalytic theory. What has remained is the intensity of a viewer’s desire to puncture the surface of a work, to demand of it an explanation or to suppose that the artist wants to be “read” or deciphered. For the longest time I liked to relate to work through the study of comparative literature, meaning, in the most simplistic terms, that I was taking two texts, two languages, and intertwining them. Within that field, I was excited by possibilities of mistranslations, dual meanings, and of trying to make one culture speak through another, be it a photograph speaking about a painting (like the project I did with Andrew Wyeth’s Helga pictures) or an American voice to a German body.
  www.db-artmag.de  
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Dabei hat mich die Möglichkeit von Fehlinterpretationen fasziniert, von Doppeldeutigkeit und der Versuch, eine Kultur durch eine andere zum Sprechen zu bringen – egal ob es nun eine Fotografie ist, die von einem Gemälde erzählt, wie etwa das Projekt, dass ich mit den Helga Pictures von Andrew Wyeth gemacht habe, oder ob es eine amerikanische Stimme ist, die zu einem deutschen Körper spricht.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine db-artmag.de as primary domain
I really like the idea of borrowing terminology or precepts from other fields. In part I would say this comes from an ’80s education over-determined by deconstruction and psychoanalytic theory. What has remained is the intensity of a viewer’s desire to puncture the surface of a work, to demand of it an explanation or to suppose that the artist wants to be “read” or deciphered. For the longest time I liked to relate to work through the study of comparative literature, meaning, in the most simplistic terms, that I was taking two texts, two languages, and intertwining them. Within that field, I was excited by possibilities of mistranslations, dual meanings, and of trying to make one culture speak through another, be it a photograph speaking about a painting (like the project I did with Andrew Wyeth’s Helga pictures) or an American voice to a German body.