The iconography of "Venus and Tannhäuser in the Venusberg" as seen by 49 visual artists. Slide presentation in three parts:
I from 1852 to 1885
II from 1886 to 1910
III from 1911 to 2005
Slides were uploaded as PDFs generated in the corresponding 'myHistro story'
View the timeline of all artists in my post of January 30, 2015 'Tannhäuser the villain! He has been in the Venusberg!'
http://kbender.blogspot.be/2015/01/tannhauser-villain-he-has-been-in.html
There the myHistro story is automatically shown with 1) text (read more) and references to the information source(s), 2) pictures, 3) videos and 4) geo-maps.
You can also move the timeline with the cursor and click any name in the timeline graph; or you can click any icon on the geo-maps.
Part I of a series of posts exploring how 'love and music' is depicted in art history, with special reference to the iconography of Aphrodite-Venus, the Greek-Roman Goddess of Love. Music cannot be far away because 'music is the food of love'.
For a full discussion, see Blog 'Iconography in Art History'
http://kbender.blogspot.be/?view=magazine
Venus and Tannhäuser Part III : from 1911 to 2005K. Bender
The iconography of "Venus and Tannhäuser in the Venusberg" as seen by 49 visual artists. Slide presentation in three parts:
I from 1852 to 1885
II from 1886 to 1910
III from 1911 to 2005
Slides were uploaded as PDFs generated in the corresponding 'myHistro story'
View the timeline of all artists in my post of January 30, 2015 'Tannhäuser the villain! He has been in the Venusberg!'
http://kbender.blogspot.be/2015/01/tannhauser-villain-he-has-been-in.html
There the myHistro story is automatically shown with 1) text (read more) and references to the information source(s), 2) pictures, 3) videos and 4) geo-maps.
You can also move the timeline with the cursor and click any name in the timeline graph; or you can click any icon on the geo-maps.
TIZIANO's 'Amor sacro e Amor-profano' and its repetitions Part IIK. Bender
The repetitions from 1900 to the present.
See further details in 'Iconography in Art History'
http://kbender.blogspot.be/2014/08/deja-vu-2-repetitions-of-tizianos-amor.html?view=magazine
TIZIANO's 'Allegory of marriage' (1533) and its many repetitions till the 19t...K. Bender
This painting of TIZIANO, also known as 'An allegory of marriage, in honour of Alfonso d'Avalos, marchese del Vasto' has a complicated provenance and was seemingly very popular, given the many known repetitions (drawings, copies, engravings). It was in the beginning of the 17th century in the collection of Charles I, where it was copied several times. It was finally sold to Louis XIV and entered the Musée du Louvre in 1785.
Venus and Tannhäuser Part I : from 1852 to1885K. Bender
The iconography of "Venus and Tannhäuser in the Venusberg" as seen by 49 visual artists. Slide presentation in three parts:
I from 1852 to 1885
II from 1886 to 1910
III from 1911 to 2005
Slides were uploaded as PDFs generated in the corresponding 'myHistro story'
View the timeline of all artists in my post of January 30, 2015 'Tannhäuser the villain! He has been in the Venusberg!'
http://kbender.blogspot.be/2015/01/tannhauser-villain-he-has-been-in.html
There the myHistro story is automatically shown with 1) text (read more) and references to the information source(s), 2) pictures, 3) videos and 4) geo-maps.
You can also move the timeline with the cursor and click any name in the timeline graph; or you can click any icon on the geo-maps.
A 2000-year old Roman wall decoration frieze known as the 'Aldobrandini Wedding (Nozze Aldobrandini)' was discovered in 1605 on the Esquiline Hill in Rome and soon transferred to a villa on the Quirinal Hill, possession of the Aldobrandini family, hence its name. Since 1818 it belongs to the Biblioteca Apostolica Vaticana in Rome. It was popular among artists of the 17th-19th centuries. See more about it my post of November 8, 2014 'Nuptial Allegory or the Aldobrandini Wedding' http://kbender.blogspot.be/2014/11/nuptial-allegory-or-aldobrandini-wedding.html?view=magazine
Part I of a series of posts exploring how 'love and music' is depicted in art history, with special reference to the iconography of Aphrodite-Venus, the Greek-Roman Goddess of Love. Music cannot be far away because 'music is the food of love'.
For a full discussion, see Blog 'Iconography in Art History'
http://kbender.blogspot.be/?view=magazine
Venus and Tannhäuser Part III : from 1911 to 2005K. Bender
The iconography of "Venus and Tannhäuser in the Venusberg" as seen by 49 visual artists. Slide presentation in three parts:
I from 1852 to 1885
II from 1886 to 1910
III from 1911 to 2005
Slides were uploaded as PDFs generated in the corresponding 'myHistro story'
View the timeline of all artists in my post of January 30, 2015 'Tannhäuser the villain! He has been in the Venusberg!'
http://kbender.blogspot.be/2015/01/tannhauser-villain-he-has-been-in.html
There the myHistro story is automatically shown with 1) text (read more) and references to the information source(s), 2) pictures, 3) videos and 4) geo-maps.
You can also move the timeline with the cursor and click any name in the timeline graph; or you can click any icon on the geo-maps.
TIZIANO's 'Amor sacro e Amor-profano' and its repetitions Part IIK. Bender
The repetitions from 1900 to the present.
See further details in 'Iconography in Art History'
http://kbender.blogspot.be/2014/08/deja-vu-2-repetitions-of-tizianos-amor.html?view=magazine
TIZIANO's 'Allegory of marriage' (1533) and its many repetitions till the 19t...K. Bender
This painting of TIZIANO, also known as 'An allegory of marriage, in honour of Alfonso d'Avalos, marchese del Vasto' has a complicated provenance and was seemingly very popular, given the many known repetitions (drawings, copies, engravings). It was in the beginning of the 17th century in the collection of Charles I, where it was copied several times. It was finally sold to Louis XIV and entered the Musée du Louvre in 1785.
Venus and Tannhäuser Part I : from 1852 to1885K. Bender
The iconography of "Venus and Tannhäuser in the Venusberg" as seen by 49 visual artists. Slide presentation in three parts:
I from 1852 to 1885
II from 1886 to 1910
III from 1911 to 2005
Slides were uploaded as PDFs generated in the corresponding 'myHistro story'
View the timeline of all artists in my post of January 30, 2015 'Tannhäuser the villain! He has been in the Venusberg!'
http://kbender.blogspot.be/2015/01/tannhauser-villain-he-has-been-in.html
There the myHistro story is automatically shown with 1) text (read more) and references to the information source(s), 2) pictures, 3) videos and 4) geo-maps.
You can also move the timeline with the cursor and click any name in the timeline graph; or you can click any icon on the geo-maps.
A 2000-year old Roman wall decoration frieze known as the 'Aldobrandini Wedding (Nozze Aldobrandini)' was discovered in 1605 on the Esquiline Hill in Rome and soon transferred to a villa on the Quirinal Hill, possession of the Aldobrandini family, hence its name. Since 1818 it belongs to the Biblioteca Apostolica Vaticana in Rome. It was popular among artists of the 17th-19th centuries. See more about it my post of November 8, 2014 'Nuptial Allegory or the Aldobrandini Wedding' http://kbender.blogspot.be/2014/11/nuptial-allegory-or-aldobrandini-wedding.html?view=magazine
The Louvre is an important museum in the world. It has a huge collection, including historical artifacts from the civilization of the Middle East to European heritage. In addition is a gallery of sculptures and most famously it paintings, including Leonardo’s Mona Lisa. But not possible for anyone to go through its entire collection in one day. So you need to plan you visit to get the best out of its collection. Unless you have some special interest, it is best to see its painting collection, otherwise you never feel you have been to the Louvre. 31 Aug 2021.
This slideshow show is an introduction to the most significant painters of the West, up to the end of the 19C. There are other painters that I have not been included like Rembrandt, to cut down the length (or size) of the slideshow. Each painter included in the slideshow is represented by a single painting of their work.
The National Gallery of Ireland founded in 1854 houses an impressive collection of over 15,000 artworks. Spanning the history of western European art from around 1300 to the present day, the collection includes well-known artist from Mantegna and Titian to Monet and Picasso, including various schools and era.
The Louvre is an important museum in the world. It has a huge collection, including historical artifacts from the civilization of the Middle East to European heritage. In addition is a gallery of sculptures and most famously it paintings, including Leonardo’s Mona Lisa. But not possible for anyone to go through its entire collection in one day. So you need to plan you visit to get the best out of its collection. Unless you have some special interest, it is best to see its painting collection, otherwise you never feel you have been to the Louvre. 31 Aug 2021.
This slideshow show is an introduction to the most significant painters of the West, up to the end of the 19C. There are other painters that I have not been included like Rembrandt, to cut down the length (or size) of the slideshow. Each painter included in the slideshow is represented by a single painting of their work.
The National Gallery of Ireland founded in 1854 houses an impressive collection of over 15,000 artworks. Spanning the history of western European art from around 1300 to the present day, the collection includes well-known artist from Mantegna and Titian to Monet and Picasso, including various schools and era.
David Cox was one of the leading British watercolour artists of the early nineteenth century. Despite coming from a poor background in Birmingham, Cox became a successful watercolour artist, until late in life he decided to take up oil painting. In his remarkable oil paintings of the 1850s he seems to prefigure the work of the French Impressionists. In this slide presentation Dr Michael Paraskos tells the story of Cox and places his development in an historical context.
The Statens Museum for Kunst (SMK) is located in Copenhagen. It is home to Danish art. Its collection includes some 260,000 works, spanning more than seven hundred years from the late Middle Ages to the present day. It has numerous masterpieces by artists such as Albrecht Durer, Peter Paul Rubens, CW Eckersberg and Christen Kobke. Today, the SMK attracts around 450,000 visitors annually.
Most of us outside of Scandinavia, are unfamiliar with Nordic pictorial and sculptural traditions. But their paintings do reflect their underlying Nordic cultures, social values on compassion & emotion and finally their natural environment. The Nordic approach is visually less intense and flamboyant as compared with the Italian Baroque or to the French Impressionist. Their approach is more humanistic and much closer to our daily life. Stylistically their 18C and 19C paintings were mostly realistism with clarity, sharpness, crispness and on occasion melancolia. It much closer to ordinary persons and our life.
Sir Peter Paul Rubens (1577-1640) was from an Antwerp family. In 1591 he became a pupil Verhaecht, a landscape and decorative painter. In 1600 Rubens went to Italy and became a Court painter to Duke of Mantua. He travelled widely in Italy and visited many of the great cities. He spent time studied the works of Titan and Michelangelo. On return to Antwerp he was appointed as the Court Painter to the Spanish Governor of Netherlands, a post he held for the rest of his life. In Antwerp he built himself an Italianate palace and married Isabella Brandt in 1609. Afterward he became perhaps the most energetic and fruitful career in the history of art that made him the most important artist in Northern Europe and the greatest Baroque painter of Northern Europe.
The most learned, inventive and productive artist in the history of the northern Baroque, Rubens’s talent was extraordinary. The range of his work was colossal, encompassing portraiture, allegory, religious painting, landscapes and designs for ornament, tapestry, books and prints. A diplomat and scholar, his intelligent use of iconography was never rivalled, perfectly matching allusions to a patron’s aspirations, while his emotive religious works were actively intended as part of the Catholic armoury against the onslaught of the Protestant Reformation
3 Marco M. Mascolo Medieval Sculpture at the Detroit Institute of ArtsMarjan Debaene
Dr. Marco M. Mascolo, Kunsthistorisches Institut in Florenz-Max Planck Institut
Medieval Sculpture at the Detroit Institute of Arts: The Role of Wilhelm R. Valentiner between Expressionism and Connoisseurship
Collecting Medieval Sculpture - Ards Study Day Paris
November 23rd-24th
Musée du Louve – Paris
www.ards.be
Sir Peter Paul Rubens (1577-1640) was from an Antwerp family. In 1591 he became a pupil Verhaecht, a landscape and decorative painter. In 1600 Rubens went to Italy and became a Court painter to Duke of Mantua. He travelled widely in Italy and visited many of the great cities. He spent time studied the works of Titan and Michelangelo. On return to Antwerp he was appointed as the Court Painter to the Spanish Governor of Netherlands, a post he held for the rest of his life. In Antwerp he built himself an Italianate palace and married Isabella Brandt in 1609. Afterward he became perhaps the most energetic and fruitful career in the history of art that made him the most important artist in Northern Europe and the greatest Baroque painter of Northern Europe.
The most learned, inventive and productive artist in the history of the northern Baroque, Rubens’s talent was extraordinary. The range of his work was colossal, encompassing portraiture, allegory, religious painting, landscapes and designs for ornament, tapestry, books and prints. A diplomat and scholar, his intelligent use of iconography was never rivalled, perfectly matching allusions to a patron’s aspirations, while his emotive religious works were actively intended as part of the Catholic armoury against the onslaught of the Protestant Reformation.
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One of the main reason why I was not keen on Rubens’ paintings is that he over dramatised, leading to theatrical and a sense of unreal, perhaps a bit too commercial. But of course technically he is very good and very successful, perhaps even better than Titan.
The Statens Museum for Kunst (SMK) is located in Copenhagen. It is home to Danish art. Its collection includes some 260,000 works, spanning more than seven hundred years from the late Middle Ages to the present day. It has numerous masterpieces by artists such as Albrecht Durer, Peter Paul Rubens, CW Eckersberg and Christen Kobke. Today, the SMK attracts around 450,000 visitors annually.
Most of us outside of Scandinavia, are unfamiliar with Nordic pictorial and sculptural traditions. But their paintings do reflect their underlying Nordic cultures, social values on compassion & emotion and finally their natural environment. The Nordic approach is visually less intense and flamboyant as compared with the Italian Baroque or to the French Impressionist. Their approach is more humanistic and much closer to our daily life. Stylistically their 18C and 19C paintings were mostly realism with clarity, sharpness, crispness and on occasion melancholia. It much closer to ordinary persons and our life.
Although the museum is one of the youngest in the United States, it is fairly large and comprehensive museum, a significant representation of European art, ranging from antiquity to the present day. The museum was inaugurated only in 1965. However, a large part of the collection came from the Los Angeles Museum of History, Science and Art, which was established a century earlier. The museum is also known for its Modern art items as well.
The Courtauld Institute is offering a range of courses on the history of art and architecture, It is one of the academic establishments that make up the University of London. The Courtauld Gallery was established in 1932.as an integral part of the Courtauld Institute. Its collections now numbers some 520 paintings, 7000 drawings, 20000 prints and over 550 works of decorative art and sculptures, from the 1300 to 1970. On painting, it is particularly noticeable for its collection on the Impressionists.
Similar to Venus and Tannhäuser Part II : from 1886 to 1910 (20)
Hadj Ounis's most notable work is his sculpture titled "Metamorphosis." This piece showcases Ounis's mastery of form and texture, as he seamlessly combines metal and wood to create a dynamic and visually striking composition. The juxtaposition of the two materials creates a sense of tension and harmony, inviting viewers to contemplate the relationship between nature and industry.
2137ad - Characters that live in Merindol and are at the center of main storiesluforfor
Kurgan is a russian expatriate that is secretly in love with Sonia Contado. Henry is a british soldier that took refuge in Merindol Colony in 2137ad. He is the lover of Sonia Contado.
2137ad Merindol Colony Interiors where refugee try to build a seemengly norm...luforfor
This are the interiors of the Merindol Colony in 2137ad after the Climate Change Collapse and the Apocalipse Wars. Merindol is a small Colony in the Italian Alps where there are around 4000 humans. The Colony values mainly around meritocracy and selection by effort.
Explore the multifaceted world of Muntadher Saleh, an Iraqi polymath renowned for his expertise in visual art, writing, design, and pharmacy. This SlideShare delves into his innovative contributions across various disciplines, showcasing his unique ability to blend traditional themes with modern aesthetics. Learn about his impactful artworks, thought-provoking literary pieces, and his vision as a Neo-Pop artist dedicated to raising awareness about Iraq's cultural heritage. Discover why Muntadher Saleh is celebrated as "The Last Polymath" and how his multidisciplinary talents continue to inspire and influence.
1. Venus and Tannhäuser, Part II: from 1886 to 1910
A selection of iconography about Venus and Tannhäuser in the Venusberg
Story by: K. Bender
2. ROCHEGROSSE, Georges: Tannhauser au Vénusberg
1888
Painting by the French historical and decorative painter Georges Antoine Rochegrosse (1859 Versailles ?1938 Paris),
exhibited as n°1962 in the III. Internationalen Kunstausstellung (Münchener Jubiläumsausstellung) im Königl. Glaspalaste zu
München 1888.
Whereabouts unknown, but illustrated in J. Valmy-Baysse "Georges Rochegrosse, sa vie, son oeuvre", published 1910 by
Librairie F. Juven in Paris .
3. STAHL, Friedrich: Tannhäuser im Venusberg
1890
A wood engraving, dated ca 1890, 30 x 45 cm, by the German artist Friedrich Stahl (1863 München-1940 Roma),
published in an art journal.
Source: eBay DE 18.4.2012
An oil painting, 54 x 81 cm, with this title was sold in 1920 by Galerie Heinemann München, Heinemann Nr.: 13376.
4. ROMBEAUX, Egide: Venusberg
1893
Sculptures by the Belgian artist Egide Rombaux (1863 Schaarbeek-1942 Ukkel).
A. bronze, 175 x 120 x 114 cm, in Gent, Museum Museum voor Schone Kunsten, inv. n°1899-O
B. two plaster groups, 43.5 x 27.5 cm, in Bruxelles, Musées Royaux des Beaux-Arts de Belgique, inv. nrs 6449 & 6434
There is also an ivory sculpture, size and location unknown, exhibited at the Brussels International Exhibition 1897, n°320.
5. KAEMPFFER, Eduard: Tannhäusersage
1895
Two paintings by Eduard Kämpffer (1859 Münster-1926 Obernigk) in the City Hall of Erfurt.
A.Tannhäuser wird von dem getreuen Eckhart vor dem Betreten der Höhle gewarnt.
B. Tannhäuser in der Venusgrotte.
Treppenaufgang des Erfurter Rathauses. Stadtarchiv Erfurt.
Ref.Schulze, I. (1999) p.224-226 'Literarisches Bildthema - Klänge als Farben erlebt. Tannhäuser in Werken der bildenden
Kunst.
in Weigel, Heinrich; Klante, Wolfram & Schulze, Ingrid (1999) Tannhäuser in der Kunst. Quartus-Verlag, Bucha bei Jena.
6. LEEKE, Ferdinand;
1895 - 1914
Illustrations by German painter Ferdinand Leeke (1859 Magdeburg-1923 or1937? Nuremberg), famous for his depictions
of scenes from Wagnerian operas.
A. ''He saw a beautiful woman'colour lithograph, dated 1905, The Stapleton Collection Ref Bridgeman.
B. 'Tannhäuser - Venuserscheinung' gouache drawing, dated ca 1895, Nationalarchiv der Richard-Wagner-Stiftung
Bayreuth. Ref. Schulze, I. (1999) p.222 'Literarisches Bildthema - Klänge als Farben erlebt. Tannhäuser in Werken der
bildenden Kunst. in Weigel, Heinrich; Klante, Wolfram & Schulze, Ingrid (1999) Tannhäuser in der Kunst. Quartus-Verlag,
Bucha bei Jena.
C. Copper print of B: Tannhäuser , III.Act , III. Scene , 48,4 x 34,5 cm.
D. postcard c1914 ''Tannhäuser - 1. Aufzug - Tannhäuser: Dir töne Lob!' Verlag: L. Pernitzsch, Kunsthandlung, Leipzig.
Universität Osnabrück | Historische Bildpostkarten
7.
8. KOE, Lawrence: Venus and Tannhauser
1896
Painting, dated ca 1896, oil on canvas, 142 x 243 cm, by the English artist Lawrence Koe (1869 Brighton ? 1913).
Brighton and Hove Museums and Art Galleries, inv FA000590.
BBC Your Paintings
9. WAGREZ, Jacques: Tannhäuser au Venusberg
1896
Painting, oil on canvas, 46 x 38 cm, by Jacques-Clément Wagnez (1850 Paris-1908), exhibited in the Salon de 1896, Paris.
Owner unknown.
Ref. Wikimedia
10. BEARDSLEY, Aubrey: Venus and Tannhäuser - An Erotic Tale
1896 - 1907
Novel written and illustrated by Aubrey BEARDSLEY (1872 Brighton - 1896 Menton), never completed. Some chapters
had appeared previously, were reprinted in 1904, and the original manuscript was privately printed in a limited edition in
1907 by Smithers, London.
The novel was reprinted in 1985 in a folio format by Bracken Books, London, under the title:
Venus and Tannhäuser - An Erotic Tale by AUBREY BEARDSLEY
The story of Venus and Tannhauser in which is set forth an exact account of the manner of state held by Madam Venus,
Goddess and Meretrix under the famous Horselberg, and containing the adventures of Tannhauser in that place, his
repentance, his journeying to Rome, and return to the loving mountain.
The reprint, without numbered pages, has a cover image with 'Venus between Terminal Gods', a double page frontispiece
and only two illustrations strictly belonging to the novel. It features however many other drawings from other works
(Lysistrata, Salomé, etc) by BEARDSLEY.
The book is ludicrously dedicated 'To the most eminent and reverend Prince GIULIO POLDO PEZZOLI Cardinal of the Holy
Roman Church...etc' and the chapters have hilarious titles:
I How the Chevalier Tannhauser entered into the Hill of Venus.
II Of the manner in which Venus was coiffed and prepared for supper.
III How Venus supped; and thereafter was mightily amused by the curious pranks of her entourage.
IV How the court of Venus behaved strangely at her supper.
V Of the ballet danced by the servants of Venus.
VI Of the amorous encounter which took place between Venus and Tannhauser.
VII How Tannhauser awakened and took his ablutions in the Venusberg.
VIII Of the extasy of Adolphe, and of the remarkable manifestation threreof.
IX How Venus and Tannhauser breakfasted and then drove through the palace gardens.
X Of the 'Stabat Mater', Spiridon, and De La Pine
A full account of the history of the publication is told by John Glasco who extended the incomplete story. The original ends
abruptly in the middle of Chapter X where Tannhäuser is still enjoying the hedonistic domain of Venus, but Glasco added
Chapters XI to XIX including Tannhäuser's withdrawal from the Hill of Venus (Chapter XIV), his pilgrimage to Rome, his
audience of the pope and finally his return to Venus.
11. It is published under the title 'The Story of Venus and Tannhäuser'by Aubrey Beardsley and John Glasco, - unexpurgated,
with a frontispiece and eight drawings - Wordsworth Classics, Hertfordshire 1995,139 pp.
Original drawing: Venus: title-page design, black ink and graphite on white paper, 11.3 x 8.1, first published in 'The Studio'
vol 13, 1898.
Harvard, Fogg Art Museum, inv. nr 1943.646
Giclee canvas print: Venus between Terminal Gods: frontispiz, pen and ink, 21.9 x 17.8.
Cecil Higgins Art Gallery, Bedford, Bedfordshire, UK
12. JAMES, Gilbert: Venus tempts Tannhauser
1898
Illustration, 40.6 x 30.5 cm, by the English artist Gilbert James, active: 1886-1926,. Published on May 18, 1898, p.147 '
A Reminiscence of the Opera' in The Sketch, a British illustrated newspaper weekly.
The British Library holds a complete run of The Sketch.
Source: eBay UK 28.2.2013
13. WAGNER, Franz: Tannhäuser-Bildteller
1900
A painted porcelain plate, 24 x 24 cm, by Franz Wagner (active 1894 - 1908 in Wien) after the painting by Otto Knille
(1873).
Sale of Dorotheum, Wien, June 15, 2011, lot 534.
Ref. Artnet
14. ROZYNSKI, Kurt von: Tannhäuser im Venusberg
1900
Painting by Kurt von Rozynski (1864 Schippenbeil- 1895 to 1937 in Berlin -?), date, size and location unknown.
Ref. Postcard
15. COLLIER, John: Tannhäuser in the Venusburg
1901
Painting, oil on canvas, 243 x 168 cm, by the English artist John Collier (1850 London - 1934).
Atkinson Art Gallery, Southport, Lancashire, inv.n° SOPAG:95
BBC Your Paintings
A smaller replica entitled 'The Venus Borg' oil on board, 35.5 x 22.9 cm, is in a private collection.
Ref. Bridgeman
16. BRAUNE, Hugo: Tannhäuser im Venusberg-Bacchanal
1906
Illustration by Hugo L. Braune (1875 Frankenhausen-1940?) in his publication 'Tannhäuser und der Sängerkrieg auf der
Wartburg' Handlung in 3 Aufzügen von Richard Wagner ; In Bildern / dargest. von Hugo L. Braune Verlag J. J. Weber
(Leipzig) 10 Bl. ; 4 .
Ref. Staatsoper Unter den Linden Berlin (1999) p.12: 'Tannhäuser und der Sängerkrieg auf Wartburg' von Richard Wagner.
Insel Verlag.
17. SHAW, Byam: Tannhäuser is allured back to Venusberg
1908
Color print illustration, one of 24, by Indian-born British painter, illustrator, designer and teacher John Byam Liston Shaw,
commonly known as Byam Shaw (1872 Madras-1919 London) for J Cuthbert Hadden's book "The Operas of Wagner, their
plots, music and history" published 1908 by Thomas Nelson & Sons, London.
Ref.eBay UK
18. MEID, Hans: Venusberg
1910
Print, 13,1 x 17,5 cm, by painter and illustrator Hans Meid (1883 Pforzheim-1957 Ludwigsburg), published 1910 by Verlag
E.A. Seemann, Leipzig.
On auction in München, Kettererkunst 3.2.2007, Sale: 311 Modern Art & Post-War & Old Masters, lot 91.
19. CHALON, Louis: Tannhäuser with the naked Venus
1910
Sculptures by French painter, sculptor, and illustrator Louis Chalon (1866 Paris-1940).
A. a gilt-bronze and ivory group, dated ca 1910, 56,5 cm height, sold by Christie's, South Kensington, London, 29.10.2008,
sale-lot 5341-87.
B. a patinated bronze group, depicting Tannhauser standing up in medieval clothes, the naked Venus next to him trying to
seduce him, on oval marble base ,64.8 x 50.8 cm. Signed in the bronze L. Chalon.
William Bunch Auction, Chadds Ford, PA, USA, 8 December 2009, lot n°302
20. SLEVOGT, Max: Hörselberg
1910
Painting, oil on canvas, 290,5 x 370,2 cm, by Max Slevogt (1868-1932).
Germanisches Nationalmuseum, inv. n° Gm2055 (no image available).
Ref. Schulze, I. (1999) pp. 151-238 'Literarisches Bildthema - Klänge als Farben erlebt. Tannhäuser in Werken der
bildenden Kunst'. p.239-241.
in Weigel, Heinrich; Klante, Wolfram & Schulze, Ingrid (1999) Tannhäuser in der Kunst. Quartus-Verlag, Bucha bei Jena.