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Adolf Franz Karl Viktor Maria Loos [1] (German pronunciation: [ˈaːdɔlf ˈloːs]; 10 December 1870 – 23 August 1933) was an Austrian and Czechoslovak architect, influential European theorist, and a polemicist of modern architecture.
The essay was written when Art Nouveau—known as Secession in Austria and which Loos had excoriated even at its height in 1900—was showing a new way forward for modern art. The essay was important in articulating some moralizing views, inherited from the Arts and Crafts movement , which would be fundamental to the Bauhaus design studio, and ...
Berlin art dealer Paul Cassirer saw promise in Kokoschka's works and launched the artist into the international circle. Around the same time, Herwarth Walden , a publisher and art critic who was introduced to Kokoschka by Loos , employed Kokoschka as an illustrator for his magazine Der Sturm . [ 2 ]
In his book Adolf Loos: The Art of Architecture, writer Joseph Masheck draws parallels between Loos's mausoleum and the work of later post-modern architects and artists including the brick installations of Carl Andre, the "gray prisms" of sculptor Robert Morris and the sculptures of Tony Smith, the last of which was an influence on I. M. Pei. [1]
English: Adolf Loos (1870–1933), Austrian architect and influential European theorist of modern architecture. Français : Adolf Loos (1870–1933), architecte autrichien, défenseur du dépouillement intégral dans l’architecture moderne.
Hugo Haberfeld (1875–1946), Jewish art dealer and gallery owner; Otto von Habsburg (1912–2011), politician, writer, heir to the thrones of Austria-Hungary; Theodor Herzl (1860–1904), "father of Zionism", lived most of his life in Austria; Alois Hitler (1837–1903), father of Adolf Hitler; Klara Hitler (1860–1907), mother of Adolf Hitler
Hugo Haberfeld (November 24, 1875 – February 6, 1946), [1] was an Austrian Jewish art dealer, who owned Galerie Miethke in early 20th century Vienna. When Austria joined Nazi Germany in the 1938 Anschluss, Haberfeld fled to Paris.
In earlier works McElheny played with notions of history and fiction. [4] Examples of this are works that recreate Renaissance glass objects pictured in Renaissance paintings [5] and modern (but lost) glass objects from documentary photographs (such as works by Adolf Loos). [6]