The Museum 'Without an Exit' - Daniel Libeskind's Felix-Nussbaum-Museum in Osnabrück

Daniel Libeskind's Felix-Nussbaum-Museum in Osnabrück

Nonfiction, Entertainment, Drama, Anthologies
Cover of the book The Museum 'Without an Exit' - Daniel Libeskind's Felix-Nussbaum-Museum in Osnabrück by Sonja Longolius, GRIN Publishing
View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart
Author: Sonja Longolius ISBN: 9783638399340
Publisher: GRIN Publishing Publication: July 18, 2005
Imprint: GRIN Publishing Language: English
Author: Sonja Longolius
ISBN: 9783638399340
Publisher: GRIN Publishing
Publication: July 18, 2005
Imprint: GRIN Publishing
Language: English

Seminar paper from the year 2003 in the subject American Studies - Culture and Applied Geography, grade: 1, University of Hamburg (Kunstgeschichtliches Institut), course: Hauptseminar, 15 entries in the bibliography, language: English, abstract: 'If I perish, don't let my paintings die, exhibit them!' While speaking these words in his Belgian exile in 1942, Felix Nussbaum did not know that he had only two more years to live until the terror regime of National-Socialism would murder him and his wife, Felka Platek, in Auschwitz. Being only forty years of age when murdered, the artist seemed to have abandoned all hope after being forced to live in exile and under constant threat of discovery since 1933. Nevertheless, this personal hopelessness did not include the destiny of his artwork, for which Felix Nussbaum cared as long as possible. 'The unpainted paintings of Felix Nussbaum demand nothing less than to become visible to the contemplating eye' and so Daniel Libeskind built a museum in Osnabrück to house the largest collection of Nussbaum's paintings as well as to create 'a profound place for the encounter of the future and the past and not only a testament to an impossible fate.' In July 1998, 54 years after Felix Nussbaum's deportation to Auschwitz, the museum opened its gates to the public. 'The Museum without an Exit', as Daniel Libeskind coined his building, challenges the traditional idea of museums as 'Temples of Contemplation.' Libeskind insists on emotional and physical experiences evoked when entering the museum's space. His difficult building does not allow visitors to be passive spectators, since the museum does not simply offer space for distributing works of art. Rather, Libeskind's building urges people to get closer to the experience of Felix Nussbaum and hence sets new standards in regard of museum-building.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

Seminar paper from the year 2003 in the subject American Studies - Culture and Applied Geography, grade: 1, University of Hamburg (Kunstgeschichtliches Institut), course: Hauptseminar, 15 entries in the bibliography, language: English, abstract: 'If I perish, don't let my paintings die, exhibit them!' While speaking these words in his Belgian exile in 1942, Felix Nussbaum did not know that he had only two more years to live until the terror regime of National-Socialism would murder him and his wife, Felka Platek, in Auschwitz. Being only forty years of age when murdered, the artist seemed to have abandoned all hope after being forced to live in exile and under constant threat of discovery since 1933. Nevertheless, this personal hopelessness did not include the destiny of his artwork, for which Felix Nussbaum cared as long as possible. 'The unpainted paintings of Felix Nussbaum demand nothing less than to become visible to the contemplating eye' and so Daniel Libeskind built a museum in Osnabrück to house the largest collection of Nussbaum's paintings as well as to create 'a profound place for the encounter of the future and the past and not only a testament to an impossible fate.' In July 1998, 54 years after Felix Nussbaum's deportation to Auschwitz, the museum opened its gates to the public. 'The Museum without an Exit', as Daniel Libeskind coined his building, challenges the traditional idea of museums as 'Temples of Contemplation.' Libeskind insists on emotional and physical experiences evoked when entering the museum's space. His difficult building does not allow visitors to be passive spectators, since the museum does not simply offer space for distributing works of art. Rather, Libeskind's building urges people to get closer to the experience of Felix Nussbaum and hence sets new standards in regard of museum-building.

More books from GRIN Publishing

Cover of the book Censorship in contemporary Russia by Sonja Longolius
Cover of the book La Corrida de Toros: Patrimonio Cultural de la Humanidad - ¿sí o no? by Sonja Longolius
Cover of the book Terrorism and the balance between freedom and security by Sonja Longolius
Cover of the book Evaluation and comparison of ajax frameworks regarding applicability, productivity and technical limitations by Sonja Longolius
Cover of the book Friedrich Nietzsche's and Oscar Wilde's Critique of Sympathy by Sonja Longolius
Cover of the book Artificial intelligence in every day social life by Sonja Longolius
Cover of the book An economic analysis of the Motivation Crowding-out Theory by Sonja Longolius
Cover of the book Economic Development in Cambodia by Sonja Longolius
Cover of the book The Islamic banking system - Not conductive to the start-up of young, innovative business firms by Sonja Longolius
Cover of the book Self-efficacy, self-monitoring and self-esteem by Sonja Longolius
Cover of the book Garment Workers in New York City's Chinatown after 1965 by Sonja Longolius
Cover of the book Performance Evaluation: Methods and their qualities by Sonja Longolius
Cover of the book Politeness in Romania by Sonja Longolius
Cover of the book Integrated Sustainability and its Impact on Accounting and Finance by Sonja Longolius
Cover of the book Why Crime Occurs in Society by Sonja Longolius
We use our own "cookies" and third party cookies to improve services and to see statistical information. By using this website, you agree to our Privacy Policy