Die Münchner Moriskentänzer - Welche Ausgabe, welcher Verlag, welche ISBN?

Die Münchner Moriskentänzer von Iris Lauterbach, Thomas Weidner - Informationen zur Ausgabe

Die Münchner Moriskentänzer von Iris Lauterbach, Thomas Weidner ist ein Titel aus dem Bereich Sachbuch, der thematisch klar positioniert ist und für Leserinnen und Leser mit Interesse an diesem Fach- oder Themengebiet besonders relevant sein kann. Repräsentation und Performanz städtischen Selbstverständnisses fungiert als präzisierende Ergänzung zu Die Münchner Moriskentänzer und macht die Zielsetzung des Buches schneller erfassbar. Die Kurzbeschreibung von Die Münchner Moriskentänzer zeigt, welche Inhalte Leserinnen und Leser erwarten dürfen: Made by the sculptor Erasmus Grasser in 1480, the Morris Dancers rank among the most valuable sculptures in the Münchner Stadtmuseum's collections. The name given to the figures most likely derives from leap dances developed by the Moors which were later performed at the major European courts. The first recorded mention of Erasmus Grasser dates back to 1475. In a submission to the Munich City Council during that year, the guild of "Painters, Carvers, Embroiderers and Glaziers" sought to prevent the young sculptor from the Palatinate from being granted the status of "Master Craftsman". In their document, Grasser is characterized as a "disruptive, promiscuous and disingenuous knave". Despite this, he evidently caught the eye with his innovative and unfamiliar style in Munich, and shortly afterwards was awarded a highly lucrative assignment from the city authorities. For the "Dance Hall" (now "Old City Hall") that Jörg von Halsbach had been building since 1470, Grasser made eleven coats of arms plus the symbols for the sun and the moon. In 1480 he received payment for his figures of sixteen Morris Dancers, part of a heraldic ceiling designed to historically legitimize Duke Albrecht IV of Bavaria's grandiose leadership aspirations. The conceptual design for the hall's ceiling was most likely created by Ulrich Fuetrer (1430-1496), a well-known painter, historian and writer. He had envisaged the arms of Emperor Ludwig the Bavarian (with its imperial eagle and the white and blue heart shield of the Wittelsbach dynasty) at the crown of the barrel-vaulted ceiling. This coat of arms, originally surrounded by a corona, was aligned cosmologically with the sun and moon images. The emperor's new aspirations of leadership were represented by a frieze which, with almost one hundred other coats of arms, was designed to symbolize the entire planet. The Morris Dancers too, ten of which have survived until the present day, were originally part of this frieze. They stood on consoles at a height of five meters at the intersection between the walls and wooden ceiling. The figures were removed to the safety of the museum in 1931 and the coats of arms in 1942 before the hall was destroyed in World War II. They have been replaced by copies in the hall which, following its restoration, is now used for municipal functions and banquets. The essays in the present volume are the results of a conference sponsored by the Zentralinstitut für Kunstgeschichte and the Münchner Stadtmuseum, July 2-3, 2009, and are devoted to examination of the figure ensemble from the perspectives of history, art history, musicology, sociology and costume design Bibliografisch ist Die Münchner Moriskentänzer mit dem Erscheinungsdatum 2013, dem Verlag Zentralinstitut für Kunstgeschichte und dem Ort München erfasst.

Einordnung nach Autor, Thema und Ausgabe

Durch die Zuordnung zur Kategorie Sachbuch wird Die Münchner Moriskentänzer auch für thematische Recherchen besonders relevant. Mit Zentralinstitut für Kunstgeschichte in München ist die verlegerische Zuordnung der Ausgabe klar nachvollziehbar. Gerade wer nach Werken von Iris Lauterbach, Thomas Weidner sucht, sollte Die Münchner Moriskentänzer näher betrachten. Auch das Veröffentlichungsdatum 2013 macht Die Münchner Moriskentänzer für zeitlich eingegrenzte Suchen besonders interessant. Mit der Sprache Deutsch lässt sich Die Münchner Moriskentänzer auch im internationalen oder mehrsprachigen Kontext präzise filtern.

Inhalte, Themen und Relevanz

Im thematischen Kontext von Sachbuch setzt Die Münchner Moriskentänzer laut Beschreibung auf folgende Schwerpunkte: Made by the sculptor Erasmus Grasser in 1480, the Morris Dancers rank among the most valuable sculptures in the Münchner Stadtmuseum's collections. The name given to the figures most likely derives from leap dances developed by the Moors which were later performed at the major European courts. The first recorded mention of Erasmus Grasser dates back to 1475. In a submission to the Munich City Council during that year, the guild of "Painters, Carvers, Embroiderers and Glaziers" sought to prevent the young sculptor from the Palatinate from being granted the status of "Master Craftsman". In their document, Grasser is characterized as a "disruptive, promiscuous and disingenuous knave". Despite this, he evidently caught the eye with his innovative and unfamiliar style in Munich, and shortly afterwards was awarded a highly lucrative assignment from the city authorities. For the "Dance Hall" (now "Old City Hall") that Jörg von Halsbach had been building since 1470, Grasser made eleven coats of arms plus the symbols for the sun and the moon. In 1480 he received payment for his figures of sixteen Morris Dancers, part of a heraldic ceiling designed to historically legitimize Duke Albrecht IV of Bavaria's grandiose leadership aspirations. The conceptual design for the hall's ceiling was most likely created by Ulrich Fuetrer (1430-1496), a well-known painter, historian and writer. He had envisaged the arms of Emperor Ludwig the Bavarian (with its imperial eagle and the white and blue heart shield of the Wittelsbach dynasty) at the crown of the barrel-vaulted ceiling. This coat of arms, originally surrounded by a corona, was aligned cosmologically with the sun and moon images. The emperor's new aspirations of leadership were represented by a frieze which, with almost one hundred other coats of arms, was designed to symbolize the entire planet. The Morris Dancers too, ten of which have survived until the present day, were originally part of this frieze. They stood on consoles at a height of five meters at the intersection between the walls and wooden ceiling. The figures were removed to the safety of the museum in 1931 and the coats of arms in 1942 before the hall was destroyed in World War II. They have been replaced by copies in the hall which, following its restoration, is now used for municipal functions and banquets. The essays in the present volume are the results of a conference sponsored by the Zentralinstitut für Kunstgeschichte and the Münchner Stadtmuseum, July 2-3, 2009, and are devoted to examination of the figure ensemble from the perspectives of history, art history, musicology, sociology and costume design Die vorhandenen Tags verdichten die inhaltliche Einordnung des Buches zusätzlich: History, Congresses, Buildings, structures, Criticism and interpretation, Social life and customs, Medieval Wood sculpture, German Wood sculpture, Friezes, Altes Rathaus (Munich, Germany), Dancers in art, Renaissance Wood sculpture, Morris dance in art, Morris dance

ISBN, Revision und weitere Referenzdaten

Mit 3980607194 und 9783980607193 stehen zwei zentrale ISBN-Varianten zur Verfügung, die die Ausgabe eindeutig beschreiben. Durch die Kombination aus Zentralinstitut für Kunstgeschichte, München und 2013 lässt sich die Ausgabe sauber verorten. Im Open-Library-Kontext ist das Werk über OL32904892W sowie die Editionszuordnungen OL44746157M referenzierbar.

Wichtige Buchdaten im Überblick

1. Open-Library-Work-ID: OL32904892W
2. Internationale Standardbuchnummer (ISBN-10): 3980607194
3. Ort der Veröffentlichung: München
4. Schlagwörter: History, Congresses, Buildings, structures, Criticism and interpretation, Social life and customs, Medieval Wood sculpture, German Wood sculpture, Friezes, Altes Rathaus (Munich, Germany), Dancers in art, Renaissance Wood sculpture, Morris dance in art, Morris dance
5. Kurzbeschreibung: Made by the sculptor Erasmus Grasser in 1480, the Morris Dancers rank among the most valuable sculptures in the Münchner Stadtmuseum's collections. The name given to the figures most likely derives from leap dances developed by the Moors which were later performed at the major European courts. The first recorded mention of Erasmus Grasser dates back to 1475. In a submission to the Munich City Council during that year, the guild of "Painters, Carvers, Embroiderers and Glaziers" sought to prevent the young sculptor from the Palatinate from being granted the status of "Master Craftsman". In their document, Grasser is characterized as a "disruptive, promiscuous and disingenuous knave". Despite this, he evidently caught the eye with his innovative and unfamiliar style in Munich, and shortly afterwards was awarded a highly lucrative assignment from the city authorities. For the "Dance Hall" (now "Old City Hall") that Jörg von Halsbach had been building since 1470, Grasser made eleven coats of arms plus the symbols for the sun and the moon. In 1480 he received payment for his figures of sixteen Morris Dancers, part of a heraldic ceiling designed to historically legitimize Duke Albrecht IV of Bavaria's grandiose leadership aspirations. The conceptual design for the hall's ceiling was most likely created by Ulrich Fuetrer (1430-1496), a well-known painter, historian and writer. He had envisaged the arms of Emperor Ludwig the Bavarian (with its imperial eagle and the white and blue heart shield of the Wittelsbach dynasty) at the crown of the barrel-vaulted ceiling. This coat of arms, originally surrounded by a corona, was aligned cosmologically with the sun and moon images. The emperor's new aspirations of leadership were represented by a frieze which, with almost one hundred other coats of arms, was designed to symbolize the entire planet. The Morris Dancers too, ten of which have survived until the present day, were originally part of this frieze. They stood on consoles at a height of five meters at the intersection between the walls and wooden ceiling. The figures were removed to the safety of the museum in 1931 and the coats of arms in 1942 before the hall was destroyed in World War II. They have been replaced by copies in the hall which, following its restoration, is now used for municipal functions and banquets. The essays in the present volume are the results of a conference sponsored by the Zentralinstitut für Kunstgeschichte and the Münchner Stadtmuseum, July 2-3, 2009, and are devoted to examination of the figure ensemble from the perspectives of history, art history, musicology, sociology and costume design
6. Ergänzender Titelzusatz: Repräsentation und Performanz städtischen Selbstverständnisses
7. Publiziert bei: Zentralinstitut für Kunstgeschichte
8. ISBN-13: 9783980607193
9. Autor beziehungsweise Autoren: Iris Lauterbach, Thomas Weidner
10. Open-Library-Editions-IDs: OL44746157M
11. Primäre Kategorie: Sachbuch
12. Erscheinungsdatum: 2013
13. Umfang: 214 Seiten
14. Titel: Die Münchner Moriskentänzer
15. Verfügbare Sprache dieser Ausgabe: Deutsch

Auffindbarkeit und bibliografische Präzision

Durch die Kombination aus Titel, Autorenschaft, Kategorie und Schlagwörtern - also Die Münchner Moriskentänzer, Iris Lauterbach, Thomas Weidner, Sachbuch und History, Congresses, Buildings, structures, Criticism and interpretation, Social life and customs, Medieval Wood sculpture, German Wood sculpture, Friezes, Altes Rathaus (Munich, Germany), Dancers in art, Renaissance Wood sculpture, Morris dance in art, Morris dance - ist der Datensatz sowohl für Suchmaschinen als auch für Nutzerinnen und Nutzer sehr gut interpretierbar. Eindeutige Referenzdaten wie 3980607194, 9783980607193 und OL32904892W verbessern die bibliografische Verlässlichkeit zusätzlich.

Fragen und Antworten rund um diese Ausgabe

Hier findest du weitere ausgewählte Links.