Übersetzung für "Graeser" in Deutsch

Jürgen Graeser, technician at the Research Unit Potsdam of the Alfred Wegener Institute, prepares an ozone sonde.

Similarly, Andreas Graeser judges the unwritten principles to be a 'contribution to a discussion with student interns' and Jürgen Mittelstraß takes them to be 'a cautious question to which a hypothetical response is suggested.'

Camille Graeser forms the 81 squares into different groups and deploys primary and secondary colours, black and white and grey.

Following the European Avant-garde movement of the constructivists in the 20s and 30s, particularly the Zurich Concrete Art representatives headed by Max Bill, Richard Paul Lohse and Camille Graeser intensified and systemized in the 40s and 50s the critical dealing with this canon of forms.

After its founding by former automotive manager and engineer Wolf-Peter Graeser and acquisition of the old Lavatec on 1 June 2010, Lavatec Laundry Technology quickly returned to its position as a leading and highly successful company.

After a period of almost 40 years, Museum Kunstpalast will once again be presenting these works, supplemented by a number of sheets held by the Camille Graeser Stiftung, in a comprehensive retrospective presentation.

Concrete and constructive art (Fleischmann, Fruhtrunk, Graeser, Loewensberg, etc.) contains formal inspirations that lend a visual translation to the musical variations of the fugue, the concept of counterpoint or the chord combinations of jazz.

Jürgen Graeser, a 49-year-old scientific technician of the Potsdam Research Unit of the Alfred Wegener Institute, has spent seven months on an ice floe and gained observational data from a region, which is normally inaccessible during the Arctic winter.

Commentated viewing with Brigitte HaasEvery Tuesday, 12.15 – 12.45 pm15/22 and 29 January 2019 Camille Graeser (1892–1980) is, along with Verena Loewensberg (1912–1986), Max Bill (1908–1994) and Richard Paul Lohse (1902–1988), at the heart of Zurich Concrete Art.

Under the title "Colorful is My Favorite Color" – a quote from Bauhaus founder Walter Gropius – the colored pencil drawings of the Art Brut artists are juxtaposed with selected modern works on paper: masterpieces by Sophie Taeuber-Arp, Johannes Itten, Meret Oppenheim, Richard Paul Lohse and Camille Graeser.

Graeser, who turned to the Zurich Concrete artists in 1933 after destroying almost all of his previous work, soon began creating paintings in which the visual shifting of colored forms are played out on basic monochromatic surfaces.

While they can appear purely two-dimensional (Graeser, Uglow, Fruhtrunk, Nemours), a younger generation also understands surfaces as membranes between spaces (Carstensen, Büchel, Ikemura, Bohatsch), treating them accordingly with their painting techniques.

With Camille Graeser, Verena Loewensberg and Richard Paul Lohse, the last-mentioned formed the core of the ›Zurich Concrete‹ group, whose spokesman and theorist Bill remained until the 1960s.

Graeser and Loewensberg were similar in their relaxed attitude, with allowed them to deviate from the system of rules and take intuitive decisions into account when the aesthetic of the painting demanded it.

Camille Graeser, who was a key member of the circle of Zurich Concrete artists, described his artistic program in 1944: "Concrete implies a strictly logical approach to the creation and design of works of art, which have their own intrinsic laws.

Martina Graeser works in the Hamburg branch and provides support for the Project Manager and is responsible for the office management as well as the content of our web site and takes on the specialist system supervision of our aquabench online software.

With Camille Graeser, Verena Loewensberg and Richard Paul Lohse, the last-named of these form the core of the 'Zurich concrete' artists, whose spokesman and chief theorist was Max Bill, whose tenure extended into the 1960s.

Whilst Bill and Richard Lohse turned increasingly to mathematical processes to produce images, Verena Loewensberg and Camille Graeser preferred a more playful, intuitive approach.

The complete print works of Antonio Calderara and Camille Graeser lend weight to Concrete Art within the collection, while Wolfgang Hanck's recent, generous donation extends the area of contemporary art with striking instances, including smaller groups of drawings by Miriam Cahn, Silvia Bächli and Susan Turcot.

JÃ1?4rgen Graeser, a 49-year-old scientific technician of the Potsdam Research Unit of the Alfred Wegener Institute, has spent seven months on an ice floe and gained observational data from a region, which is normally inaccessible during the Arctic winter.