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"Naturaleza muerta can refer to a work of art depicting inanimate subject matter. It can also refer to: *Naturaleza muerta, a 2003 film starring Hugo Stiglitz *Naturaleza muerta, also known as Still Life, a 2014 Argentinian thriller film *Naturaleza muerta con cachimba, a book by José Donoso *Naturaleza muerta (Rosas), a painting by Frida Kahlo *Naturaleza muerta, a 1954 painting by Rufino Tamayo *Naturaleza Muerta, a 1956 painting by Pedro Coronel Music *Naturaleza Muerta, a song by Mecano, featured on their 1991 album Aidalai *Naturaleza Muerta, a 2008 album by Argentinian hard rock band O'Connor *Naturaleza muerta, a 2001 album by Spanish electronic pop duo Fangoria *Naturaleza muerta, a song by Gustavo Cerati, released on his album Fuerza natural "
"Friedrich "Fritz" Wilhelm Schnitzler (16 December 1928 - 15 July 2011"Schnitzler, Friedrich Wilhelm", Landesbibliographie Baden-Württemberg online, retrieved 15 December 2014 .) was a German landowner and business manager, and also a local politician in the CDU, the founder of the agricultural association of the District of Reutlingen and co-founder of the landholders' association of Baden-Württemberg, and lobbyist in the state parliament. Life and career Schnitzler was born in Ohnastetten, now part of St. Johann, in the District of Reutlingen. He had a diploma in agricultural management and was a certified assessor of wildlife damage. While managing his property part-time, from October 1962 to December 1974 he was a district councillor and deputy mayor in Ohnastetten and also served as a lay judge in the state court at Tübingen. After Ohnastetten was incorporated into St. Johann, he served from 1975 to 1996 as its district representative and a member of the councils there and in St. Johann.Christina Hölz, "Fritz Schnitzler: Ein Kämpfer für den Bauernstand" , Südwest Presse, 20 July 2011 "Landwirt mit Kampfgeist und Beharrlichkeit", Reutlinger General-Anzeiger, 21 July 2011 . In January 1962 he was elected president of the then agricultural association of Reutlingen and in 1975 he united it with its counterpart in Münsingen to form the agricultural association of the District of Reutlingen (Kreisbauernverband Reutlingen e.V). He served as its chairman (Kreisobmann) from 1975 to 1992. During this time he also co-founded the landholders' association of Baden-Württemberg (Landesbauernverband in Baden-Württemberg) and became its first lobbyist in the state parliament. He worked in close association with the Minister-president, Lothar Späth; the Minister of Agriculture, Gerhard Weiser;Gerhard Weiser, "Zukunft der Südmilch AG", transcript of radio broadcast, Süddeutscher Rundfunk, 1993, at the State Archive of Baden-Württemberg / Stuttgart archives the Minister of the Environment Hermann Schaufler; the first president of the landholders' association, Ernst Geprägs; and the Baden-Württemberg state Ministry of agricultural land and the protection of land-use (Ministerium für Ländlichen Raum und Verbraucherschutz Baden-Württemberg). Schnitzler was the first representative of agriculture for the entire District of Reutlingen, and from 1992 until his death in 2011, was honorary chairman of the district agricultural association and a docent at the "Swabian Farmers' School" in Bad Waldsee. He played an important role in founding both the women's agricultural association of Reutlingen and the women's choir. Schnitzler's political and lobbying efforts focussed for the most part on farming, in particular dairy farming and milk processing. He introduced changes that aroused much discussion throughout the country. He introduced an annual meeting of the agricultural association in St. Johann on Presentation Day, February 2. He was also a business manager in dairy: he was assistant manager of the Reutlingen dairy plant and chairman of the board of the local dairy producers' association; he continued to advise it as honorary chairman until his death. He also served as both chairman of both the supervisory board and Vorstand of Südmilch AG, Germany's largest milk producer, after a financial scandal in the early 1990s; he was able to overcome the problems and the company was subsequently sold to what is now FrieslandCampina and became Campina GmbH. Personal life Schnitzler and his wife Anne-Marie lived on a dairy farm in Ohnastetten with their son Frank Christoph. Honours * 1984 Order of Merit on ribbon (Verdienstkreuz am Bande) of the Order of Merit of the Federal Republic of Germany * 1992 - 2011 Honorary chairman, Agricultural Association of the District of Reutlingen * 1996 - 2011 Honorary chairman, Association of Milk Producers of Reutlingen References Category:1928 births Category:2011 deaths Category:People from Reutlingen Category:German farmers Category:German business executives Category:Christian Democratic Union of Germany politicians Category:20th-century German businesspeople Category:21st- century German businesspeople Category:Recipients of the Cross of the Order of Merit of the Federal Republic of Germany "
"The elevation of the Cross, Unionskirche Michael Angelo ImmenraetName variations: Michael Angelo Immenraedt, Michelangelo Immenraed, Michael Angelo Emmelraet, Michael Angelo Emmenraet (18 October 1621, Antwerp - 1683, Utrecht), was a Flemish history and portrait painter who is mainly remembered for the lavish Baroque painting series of Biblical scenes which he produced for the Unionskirche, Idstein in Germany. Life Philips Augustijn Immenraet was born in Antwerp as the son of a German piano builder who had immigrated to Antwerp. He was the older brother of the successful landscape painter Philips Augustijn Immenraet.Michael Angelo Immenraet at the RKD It is not clear with whom he trained but on the basis of his style he is often regarded as a painter from the school of Peter Paul Rubens. The Baptism in the Jordan, Unionskirche Immenraet married Maria Vergouwen, the sister of the paintress Johanna Vergouwen on 8 February 1661. The couple had three daughters. His wife died in 1664 upon giving birth to the third child.Jaarboek, The Museum, 2000, p. 50 Immenraet and his sister-in-law Johanna Vergouwen engaged in extensive legislation regarding the inheritance of his deceased wife. On 26 November 1665 he married Margaretha Corthals and after her death he married a third time with Maria Brouwers. He had four daughters and two sons from the three marriages.Max Rooses, Franz von Reber, Geschichte der Malerschule Antwerpens, München, 1880, p. 333 Immenraet is documented in The Hague in 1661. Here he paints a chimney piece for the 'Hofje van Nieuwkoop', a housing project for poor widows funded from the inheritance of Johan de Bruijn van Buijtewech, a rich citizen of The Hague. The chimney piece represents the double portrait of Odila en Philippine van Wassenaer, the nieces of van Buijtewech and two first governesses of the project.Hofje van Nieuwkoop en de kunst at the RKD The two young governesses are depicted as shepherdesses.Alison McNeil Keetering, The Dutch Arcadia: pastoral art and its audience in the Golden Age, Allanheld and Schram, 1983, p. 176 He was registered in the Antwerp Guild of Saint Luke in 1663. The Visitation, Unionskirche He worked in Germany for a period where between 1673 and 1678. He was responsible together with his pupil or assistant Johann Caspar Bencard for 38 of the oil on canvas paintings decorating the ceiling of the Unionskirche, Idstein. Little is known about his later years except that he died in Utrecht. Work Michel Angelo Immenraet painted allegorical, history, religious and genre scenes as well as portraits. Aside from the painting cycle in the Unionskirche, Idstein not many of his works are known. The earliest known work by him is the Double portrait of Odila en Phillipine van Wassenaer as Shepherdesses of 1661 ('Hofje van Nieuwkoop', The Hague). The portrait depicts the two young governesses of het 'Hofje van Nieuwkoop' as shepherdesses in an Arcadian landscape. This type of idealized representation was in vogue in the Dutch Republic at the time. The best-known works from his oeuvre are the series of 38 paintings, which the realized with the assistance of Johann Caspar Bencard for the ceiling of the Unionskirche, Idstein. The commission was given by Johann of Nassau-Idstein (1603–77) who wished to turn the existing church into a Baroque "Predigt- und Hofkirche" (sermon and court church) after the Thirty Years' War. The Dutch painters Joachim von Sandrart and his nephew Johann von Sandrart also created paintings for the church.Evangelische Pfarrkirche (Unionskirche) at Denkmalpflege Hessen The difficulty for the artists was to create a language that corresponded to Lutheran sensitivities. The programme of works all represent scenes from the Bible without any depictions of saints as would typically have been the case in a Catholic church. The works represented the stories from the Bible as ever present, living realities. The Biblical figures are dressed in courtly Baroque garments. The painting of the "Visitation" shows Mary arriving with a servant who carries her cases on his head. Saint Elisabeth’s residence with its formal garden in the background resembles the Idstein residential palace of Johann of Nassau-Idstein, the construction of which was commenced in 1646.Graf Johannes von Nassau-Idstein at nassau-info.de The subjects and the use of Baroque optical illusionism in the paintings in the center of the ceiling are intended to make the viewer look up, from altar to the back: The Transfiguration, the Elevation of the Holy Cross, The Resurrection, The Deposition, The Ascension and The Vision of St. John on Patmos. Double portrait of Odila en Philippine van Wassenaer as Shepherdesses A number of Immenraet’s compositions for the Unionskirche were based on well-known works by Rubens. For instance The Wedding at Cana on the south wall is largely inspired by Rubens' painting The Feast of Herod which is in the collection of the National Gallery of Scotland in Edinburgh.Anordnung der Wand- und Deckenbilder in der Unionskirche Idstein (Layout of the wall- and ceiling-paintings in the Union Church, Idstein) at Evangelische Kirchengemeinde Idstein Hessen The Feast of Herod at the National Galleries of Scotland Online Collections The series of works were at the time regarded as a remarkably unique Baroque contribution to church decoration in Protestant Germany.Göbel, Karl G., Die Bildzyklen in der Idsteiner Stadtkirche (Unionskirche) und ihre Bedeutung, in: NassA 118 (2007), pp. 341–384 References External links * * Paintings in the Unionskirche Category:Flemish Baroque painters Category:Flemish portrait painters Category:Flemish history painters Category:Artists from Antwerp Category:Members of the Antwerp Guild of Saint Luke Category:1621 births Category:1683 deaths "