vor dem bild – English Translation – Keybot Dictionary

  www.mercaato.net  

Show textShow cached sourceOpen source URL	Vor dem Bild der Mater Dolorosa - aufgenommen 2017
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  www.lecompa.fr  

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Seine Hand streift locker über die Schwarz-Weiß-Bilder an der Wand: „Dizzy, Charlie, Teddy, Billie, Miles. Als ich Kind war, gingen sie bei uns ein und aus.“ Vor dem Bild eines jungen Mannes, der sein Sohn sein könnte, bleibt er stehen: „Der Anzug ist super, oder? Hat meine Mutter genäht. Wir hatten kein Geld, aber mein Vater wusste, was gut ankommt.“

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“History doesn’t repeat itself, but it does rhyme,” says Thelonious Sphere “T. S.” Monk. He pushes open the iron door of Minton’s Playhouse and looks around the jazz bar. Monk is a wiry man in his late sixties who looks elegant even in a baseball cap and checkered shirt. He runs his hand lightly over the black-and-white photos on the wall: “Dizzy, Charlie, Teddy, Billie, Miles. They came and went here when I was a child.” He stops in front of a picture of a young man who looks like he could be his son. “That’s a great suit, isn’t it? My mother made it. We didn’t have any money but my father knew how to make a good impression.” That father , the legendary piano player Thelonious Monk, passed in 1982, but he is immortalized on every wall at Minton’s. This is where he invented bebop in the 1940s and quietly revolutionized jazz. “Jazz wasn’t background music then,” T. S. Monk recalls, “it was music for the masses, and people went wild dancing – like they do to hip-hop and Beyoncé today.” This was a thorn in the side of the authorities, and they used the cabaret law to prevent well-known musicians from performing. Once, Thelonious Monk and a friend were stopped by the police, who found drugs in the friend’s car. Although they could prove no connection between Monk and the drugs, his license to perform was confiscated and he went to jail.

  fiek.uni-pr.edu  

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Sie scheinen exemplarisch Blick- und Bewegungsrichtungen um diese Mittelachse auszurichten – in die Bildtiefe, im Profil zur Seite und direkt zu uns vor dem Bild – und so miteinander in Beziehung zu treten.

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The pastel drawing ‘Dreiergruppe mit Rückenakt’ [Group of Three, One Nude Seen from the Back] was painted by Oskar Schlemmer around 1929. The pictorial space is not structured by architectural fragments. Schlemmer rejected both drawn perspective lines and elements that simulate spatial depth. It is only the staggered arrangement of human bodies that creates the impression of spatial succession. Both as subjects and formally, the figures are ordered into a group around a central axis. They are geometrically simplified and the effect is as if they had been built. The parts of their bodies are locked into a system of verticals and diagonals. They appear to orient their gaze and direction of movement around the middle axis – in the depths of the picture, in profile to the side, and directly towards us in front of the picture – and thus to enter into a relationship with each other. The nude with his back to us is the centre of the composition. The work is one of a series Schlemmer made around 1930 of similar multi-figure compositions while teaching at the Bauhaus in Weimar and Dessau.

  db-artmag.de  

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Um die Welt jenseits des Ausstellungsraums mit ins Bild zu holen, ließ Richter das undurchsichtige Glas in den Fenstern zum Boulevard Unter den Linden durch transparente Scheiben ersetzen. So reflektierten seine grauen Monolithe im Deutsche Guggenheim nicht nur die Person vor dem Bild, sondern immer auch den Außenraum.

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Despite all its simplicity, Eight Gray opens up a wide field of associations. The work is based on a key function ascribed to paintings at least since the Renaissance—that of being a window to the world, or a mirror reflecting the world. In order to bring the world beyond the exhibition space into the work, Richter had the translucent glass in the windows facing the boulevard Unter den Linden replaced with transparent panes. And so his gray monoliths in the Deutsche Guggenheim not only reflected the person standing before the work, but always the outside as well. The minimalistic mirrored surfaces were a challenge—on the one hand hermetically sealed, on the other open to interpretation. Viewers could see everything, or nothing. As early as 1966, Richter noted the following in his sketchbook: “glass symbol—(see everything / not understand).

  db-artmag.com  

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Um die Welt jenseits des Ausstellungsraums mit ins Bild zu holen, ließ Richter das undurchsichtige Glas in den Fenstern zum Boulevard Unter den Linden durch transparente Scheiben ersetzen. So reflektierten seine grauen Monolithe im Deutsche Guggenheim nicht nur die Person vor dem Bild, sondern immer auch den Außenraum.

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Despite all its simplicity, Eight Gray opens up a wide field of associations. The work is based on a key function ascribed to paintings at least since the Renaissance—that of being a window to the world, or a mirror reflecting the world. In order to bring the world beyond the exhibition space into the work, Richter had the translucent glass in the windows facing the boulevard Unter den Linden replaced with transparent panes. And so his gray monoliths in the Deutsche Guggenheim not only reflected the person standing before the work, but always the outside as well. The minimalistic mirrored surfaces were a challenge—on the one hand hermetically sealed, on the other open to interpretation. Viewers could see everything, or nothing. As early as 1966, Richter noted the following in his sketchbook: “glass symbol—(see everything / not understand).

  dbartmag.com  

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Um die Welt jenseits des Ausstellungsraums mit ins Bild zu holen, ließ Richter das undurchsichtige Glas in den Fenstern zum Boulevard Unter den Linden durch transparente Scheiben ersetzen. So reflektierten seine grauen Monolithe im Deutsche Guggenheim nicht nur die Person vor dem Bild, sondern immer auch den Außenraum.

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Despite all its simplicity, Eight Gray opens up a wide field of associations. The work is based on a key function ascribed to paintings at least since the Renaissance—that of being a window to the world, or a mirror reflecting the world. In order to bring the world beyond the exhibition space into the work, Richter had the translucent glass in the windows facing the boulevard Unter den Linden replaced with transparent panes. And so his gray monoliths in the Deutsche Guggenheim not only reflected the person standing before the work, but always the outside as well. The minimalistic mirrored surfaces were a challenge—on the one hand hermetically sealed, on the other open to interpretation. Viewers could see everything, or nothing. As early as 1966, Richter noted the following in his sketchbook: “glass symbol—(see everything / not understand).

  www.qcplannedgiving.ca  

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Um die Welt jenseits des Ausstellungsraums mit ins Bild zu holen, ließ Richter das undurchsichtige Glas in den Fenstern zum Boulevard Unter den Linden durch transparente Scheiben ersetzen. So reflektierten seine grauen Monolithe im Deutsche Guggenheim nicht nur die Person vor dem Bild, sondern immer auch den Außenraum.

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Despite all its simplicity, Eight Gray opens up a wide field of associations. The work is based on a key function ascribed to paintings at least since the Renaissance—that of being a window to the world, or a mirror reflecting the world. In order to bring the world beyond the exhibition space into the work, Richter had the translucent glass in the windows facing the boulevard Unter den Linden replaced with transparent panes. And so his gray monoliths in the Deutsche Guggenheim not only reflected the person standing before the work, but always the outside as well. The minimalistic mirrored surfaces were a challenge—on the one hand hermetically sealed, on the other open to interpretation. Viewers could see everything, or nothing. As early as 1966, Richter noted the following in his sketchbook: “glass symbol—(see everything / not understand).

  www.viaggiareinpuglia.it  

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Ein Viehhüter, der seine verloren gegangene Färse suchte, findet ihn kniend vor dem Bild und um die Aufmerksamkeit der anderen Bauern auf sich zu lenken, bindet er ein buntes Taschentuch an seinen Stock und beginnt ihn in die Luft zu werfen.

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A church located to the north-east of Carovigno is dedicated to the saint patron of the town, the Madonna of Belvedere, whose icon is held in the church. The celebrations for the saint patron take place on the first Tuesday after Easter. The cult of the Holy Madonna of Belvedere is linked to the local tradition of the "Nzegne", which derives from a legend. This legend has it that a critically ill Lord from Conversano dreamt about a Matron dressed with stars who told him that if he wanted to recover from his illness he had to go to the district of Belvedere in Carovigno and retrieve her painting in a cave. A herdsman looking for a lost heifer found him kneeling in front of the painting and started throwing up his stick with a coloured handkerchief tied around it in order to attract the other farmers' attention.

  eipcp.net  

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Die Modulation ist Modulation von Bewegungen, Strömen, Intensitäten, Schwingungen, Rhythmen einer Welt, die dem Menschen vorhergeht (einer Welt vor dem Bild, wie wir es wahrnehmen, einer Welt vor dem Klang, wie wir ihn hören, einer Welt vor dem Wort, wie wir es artikulieren).

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So we have an abstract and non-figurative line (a wave), an analogical flow of electric waves that vibrate like a sound object, and a modulation device (a TV, radio, computer) that tunes in directly to the analogical fluxes by producing figures, words, sounds. The modulation is a modulation of the movements, flows, intensities, vibrations, rhythms of a world before man (a world before the image as we perceive it, a world before sound as we hear it, a world before speech as we articulate it). A world of “pure experience”, before the crystallization of object and subject. A non-“human” world, since it goes beyond our ability to perceive these movements, these intensities, these rhythms. All is movement in the video, all is time – but these movements, this time is non-“human”. “The division into lines and frames are purely divisions in time: the openings and closings of temporal windows that demarcate periods of activity within an electronic flow. So the video image is a living, dynamic energy field, a vibration that takes on the appearance of solidity only because it exceeds our capacity to detect such minute intervals of time.” (Bill Viola)

  www.db-artmag.com  

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Um die Welt jenseits des Ausstellungsraums mit ins Bild zu holen, ließ Richter das undurchsichtige Glas in den Fenstern zum Boulevard Unter den Linden durch transparente Scheiben ersetzen. So reflektierten seine grauen Monolithe im Deutsche Guggenheim nicht nur die Person vor dem Bild, sondern immer auch den Außenraum.

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Despite all its simplicity, Eight Gray opens up a wide field of associations. The work is based on a key function ascribed to paintings at least since the Renaissance—that of being a window to the world, or a mirror reflecting the world. In order to bring the world beyond the exhibition space into the work, Richter had the translucent glass in the windows facing the boulevard Unter den Linden replaced with transparent panes. And so his gray monoliths in the Deutsche Guggenheim not only reflected the person standing before the work, but always the outside as well. The minimalistic mirrored surfaces were a challenge—on the one hand hermetically sealed, on the other open to interpretation. Viewers could see everything, or nothing. As early as 1966, Richter noted the following in his sketchbook: “glass symbol—(see everything / not understand).

  ec.jeita.or.jp  

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Resultat: seine Kirche ist immer voll und viel zu klein, um alle Leute zu fassen, die zum Gebet kommen. Vergangenen Winter kam er wieder nach Medjugorje, empfahl seine Pfarrei dem Schutz Mariens vor dem Bild der Unbefleckt Empfangenen von Tihaljina (P. Jozo verteilt dieses Bild an die Pilger):

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To understand the monthy messages, which can serve to guide us for the month, one has to remember the main messages. These derive mostly from the Bible and in part from Church tradition. From the Bible are derived the messages of peace, conversion, prayer, faith, love, fasting. From Church tradition are derived those which regard ways of praying which matured over the centuries; thus the recommendation of Holy Mass, the Rosary, adoration, veneration of the Cross, Bible reading and fasting twice weekly which is also part of the Hebrew tradition.

  colored.club  

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Während sie vor dem Bild stehen, welches auf die Wand projiziert wird, bitten Sie die Schülerin oder den Schüler die Kulisse auf dem Bild zu beschreiben und die Frage zu beantworten, warum dies ihr oder sein Lieblingsferienort ist.

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Have students bring in or call up a picture of their favourite holiday destination. This could be a place where they’ve actually been on holidays, or one that they want to visit in the future. Standing in front of the picture, projected on the screen, ask them to describe the scenery in the picture and what special attraction it has for them. Stimulate them to use the picture background in a creative way, as a part of their explanation.

  2 Hits www.microsoft.com  

Show textShow cached sourceOpen source URL	Sie können ein Textfeld, eine Form oder ein Bild ganz intuitiv und einfach überall auf der Seite platzieren. Sie möchten, dass der Text vor dem Bild statt dahinter angezeigt wird? Mit dem neuen Tool zum Neuanordnen von Objekten können Sie die Reihenfolge von Objekten auf Ihrer Folie ganz einfach verändern, indem Sie die Ebenen ziehen.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine microsoft.com as primary domain	Microsoft PowerPoint for Mac 2011 makes complex slide layout a breeze. You can place a text box, shape, or picture anywhere on the page intuitively and easily. Want that text in front of the picture instead of behind it? The new Reorder Objects tool allows you to move and reshuffle the order of objects on your slide simply by dragging the layers.

  www.aldereteysocios.com  

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Weder durch reine Anschauung noch durch Hinzunahme unseres Wissens. Steht man frontal vor dem Bild, dann sieht man ein Quadrat, das von einer Art Passepartout eingefasst ist. Am linken unteren Bildrand sorgen zwei ebenfalls graue Flächen dafür, dass wir darin einen parallel-perspektivischen Würfel erkennen.

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In the case of Wolfram Ullrich’s »Cube«, this perception simply does not succeed. Neither by simply looking, nor by consulting our knowledge. If one stands flat-on in front of the picture, one sees a square in a kind of passe-partout. On the lower left margin, two grey surfaces make sure that we recognize this as a cube in parallel perspective. Only when we change our focus does the semblance of a cube fall apart, and the arrangement reveals itself to be a relief.

  viaggiareinpuglia.it  

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Ein Viehhüter, der seine verloren gegangene Färse suchte, findet ihn kniend vor dem Bild und um die Aufmerksamkeit der anderen Bauern auf sich zu lenken, bindet er ein buntes Taschentuch an seinen Stock und beginnt ihn in die Luft zu werfen.

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A church located to the north-east of Carovigno is dedicated to the saint patron of the town, the Madonna of Belvedere, whose icon is held in the church. The celebrations for the saint patron take place on the first Tuesday after Easter. The cult of the Holy Madonna of Belvedere is linked to the local tradition of the "Nzegne", which derives from a legend. This legend has it that a critically ill Lord from Conversano dreamt about a Matron dressed with stars who told him that if he wanted to recover from his illness he had to go to the district of Belvedere in Carovigno and retrieve her painting in a cave. A herdsman looking for a lost heifer found him kneeling in front of the painting and started throwing up his stick with a coloured handkerchief tied around it in order to attract the other farmers' attention.

  www.db-artmag.de  

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Um die Welt jenseits des Ausstellungsraums mit ins Bild zu holen, ließ Richter das undurchsichtige Glas in den Fenstern zum Boulevard Unter den Linden durch transparente Scheiben ersetzen. So reflektierten seine grauen Monolithe im Deutsche Guggenheim nicht nur die Person vor dem Bild, sondern immer auch den Außenraum.

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Despite all its simplicity, Eight Gray opens up a wide field of associations. The work is based on a key function ascribed to paintings at least since the Renaissance—that of being a window to the world, or a mirror reflecting the world. In order to bring the world beyond the exhibition space into the work, Richter had the translucent glass in the windows facing the boulevard Unter den Linden replaced with transparent panes. And so his gray monoliths in the Deutsche Guggenheim not only reflected the person standing before the work, but always the outside as well. The minimalistic mirrored surfaces were a challenge—on the one hand hermetically sealed, on the other open to interpretation. Viewers could see everything, or nothing. As early as 1966, Richter noted the following in his sketchbook: “glass symbol—(see everything / not understand).

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Show textShow cached sourceOpen source URL	Die Leere vor dem Bild
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  kunsthallezurich.ch  

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Man befindet sich aber auch vor dem Bild des Internets, des Nervensystems und Marcel Duchamps konzeptuellen und para-wissenschaftlichen Strategien oder aber auf einem wilden Ritt entlang der Grenzen wissenschaftlicher Modelle die Science Fiction und Realität zugleich sind.

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In Keith Tyson's work we are confronted simultaneously, as an idea and in material form, with the library of Babel: an infinite number of rooms and books that themselves open up rooms and ideas, multi-dimensionally and to infinity, as described by the writer Jorge Luis Borges. This universe contains no two books (or things) that are identical, it is infinite both in its spatial extent and its spatial reduction; it is perhaps only time. But we also find ourselves facing an image of the internet, the nervous system and Marcel Duchamp's conceptual and parascientific strategies, or taking a wild ride along the boundaries of scientific models that are Science Fiction and reality at the same time.

  transversal.at  

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Die Modulation ist Modulation von Bewegungen, Strömen, Intensitäten, Schwingungen, Rhythmen einer Welt, die dem Menschen vorhergeht (einer Welt vor dem Bild, wie wir es wahrnehmen, einer Welt vor dem Klang, wie wir ihn hören, einer Welt vor dem Wort, wie wir es artikulieren).

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So we have an abstract and non-figurative line (a wave), an analogical flow of electric waves that vibrate like a sound object, and a modulation device (a TV, radio, computer) that tunes in directly to the analogical fluxes by producing figures, words, sounds. The modulation is a modulation of the movements, flows, intensities, vibrations, rhythms of a world before man (a world before the image as we perceive it, a world before sound as we hear it, a world before speech as we articulate it). A world of “pure experience”, before the crystallization of object and subject. A non-“human” world, since it goes beyond our ability to perceive these movements, these intensities, these rhythms. All is movement in the video, all is time – but these movements, this time is non-“human”. “The division into lines and frames are purely divisions in time: the openings and closings of temporal windows that demarcate periods of activity within an electronic flow. So the video image is a living, dynamic energy field, a vibration that takes on the appearance of solidity only because it exceeds our capacity to detect such minute intervals of time.” (Bill Viola)

  www.rakwireless.com  

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Das kostenfreie, multimediale Vermittlungsangebot veranschaulicht, wie einschneidend Luthers theologische Positionen – beispielsweise der Vorrang des Wortes vor dem Bild – für Künstler waren und wie diese Zeitenwende den Umgang mit Bildern bis heute bestimmt.

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In line with this year’s quincentennial of Martin Luther’s posting of his theses, the Städel Museum’s first theme digitorial explores the consequences of the renewal of the Church for art: The shift from devotional to didactic image, the emergence of new pictorial subjects, and the interpretation of existing iconographies in the spirit of the Reformation were as much part of this development as the loss of commissions on the part of the Church and the development of a private art market. Drawing on works from the Städel’s holdings, the digitorial highlights the historical differences between the Catholic and the Protestant understanding of images and sheds lights on protagonists of the Reformation such as Luther and Melanchthon or key places like the Wartburg or Rome. The free multimedia educational offer visualizes the decisive impact of Luther’s theological positions like the priority of the word over the image on artists and illustrates how this turn has influenced the way how images are dealt with to this day.