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Bibliography: p. 96-97

Bibliography: p. 96-97

Pedro Meier – Traumwelt – Loplop präsentiert die Braut des Windes – Paraphrase zu Max Ernst – Filigran – Serendipity-Zyklus – Surrealismus – Lyrische Abstraktion – Verfremdung – Mixed Media – Artwork by Pedro Meier Artist & Writer * Pedro Meier Multimedia Artist und Schriftsteller – am Jurasüdfuss und Anderswo – MyOberaargau – Kunstschamane, Soziale Plastik, Kunstnomade – Der Hang zum Gesamtkunstwerk – Lexikon AdS Autorinnen und Autoren der Schweiz – Visarte Schweiz – PEN Zentrum – Künstlerlexikon SIKART Zürich – DADA FLUXUS – Ateliers: Niederbipp am Jurasüdfuss Oberaargau – Kunsthalle Olten Offspace – Studio & Atelier in Bangkok BACC Thailand – Dschungelatelier am Golf von Siam – MyOberaargau – Pedro Meier Lyrik Gedichte Parallelwelten AMRAIN BOOKS * Werke (Bilder) von Pedro Meier in Kunstsammlungen: Kunsthaus Grenchen, Kunstmuseum Olten, UBS Art Collection, Kunstsammlung Julius Bär Art Collection , Schaulager Hanspeter Rentsch Grenchen, Kunstsammlung Heiner Hoerni Kunsthaus Zofingen, Kunstsammlung Kuratorium Kanton Solothurn – Bangkok Bank Thailand * Pedro Meier – Storylines-Themen – The Road – The Outsider – The Art Nomad – Gesamtkunstwerk – Pedro Meier Thai Artist Thailand *           siehe: Harald Szeemann – Der Hang zum Gesamtkunstwerk – When Attitudes become Form * Walter Benjamin – Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit                                                           *** Pedro Meier – Wikimedia : https://commons.wikimedia.org/wiki/Category:Pedro_Meier * Pedro Meier ist Mitglied: DeutschSchweizer PEN Zentrum – Pedro Meier Member: Swiss German PEN Centre – ( PEN International – PEN Berlin – PEN Club ) * Pedro Meier – Amazon : https://www.amazon.de/-/en/Pedro-Meier/e/B09L56MPZ6?ref_=dbs_p_pbk_r00_abau_000000 * https://www.pedro-meier-artist.ch/ * Pedro Meier Künstler – Kleio: ich https://pedro-meier.kleio.com/ * Work in Progress – @pedro.meier – @pedro.meier.schriftsteller – @Kunsthalle_Olten – Pedro Meier in: Autorenlexikon AdS , Künstlerlexikon SIKART Zürich – Visarte Schweiz – Autor AMRAIN BOOKS Verlag für Literatur und Kunst – Berner Schriftstellerverein BSV. * Vita: – Pedro Meier (*1941) ist Schriftsteller, Lyriker, Autor und multimedial arbeitender Künstler. Aufgewachsen in Niederbipp BE im Oberaargau am Jurasüdfuss. Er besuchte anschliessend Schulen in Bern und Neuchâtel. Er ist der Sohn von Schriftsteller Gerhard Meier – (» Land der Winde « – Bibliothek Suhrkamp). Pedro Meier absolvierte eine Buchhändlerlehre in der Buchhandlung Lüthy Solothurn, später war er Gründer und Besitzer eines Buchantiquariats in Zürich. Seit über 40 Jahren pendelt Pedro Meier zwischen Europa und Asien, seinem Dschungel-Atelier am Golf von Siam in Thailand. Orient und Okzident, Morgenland und Abendland, fernöstliche Kulturen, Spiritualität, Zen-Buddhismus, ein Pendler zwischen Kulturen und Zeiten; zeitlebens auf der Suche nach dem utopischen Gesamtkunstwerk. * Pedro Meier Bücher : Pedro Meier – » Parallelwelten – Wasteland Factory – Oder Der Garten der Lüste « – Gedichte und Mauerspuren – AMRAIN BOOKS Literatur Verlag * Pedro Meier – » Das Gewicht des Schattens im Sonnenschein « – Gedichte und Polaroid-Fotos – Streifzüge durch Berlin – Verlag Königshaus & Neumann, Würzburg * Pedro Meier – Museums-Ausstellungen – Kunstmuseum Olten – »Aschenbilder – Zeichnungen – Randmarken« – 1994             (Solo-Ausstellung) – Kunsthaus Grenchen – «Bilder der letzten 15 Jahre» – 1995 (Solo-Ausstellung) – Kunsthaus Zofingen – »Zwischenwelten« – 1997 – (Solo-Ausstellung) – Kunsthaus Grenchen – »Diese Kunst sammelt Grenchen« – 1998 – Kunsthaus Grenchen – »Forty examples« – 2012 – Kunstmuseum Solothurn – »Das dunkle Fest des    Lebens« – 1995             (In Zusammenhang mit Buchpräsentationen – Gerhard Meier –             »Das dunkle Fest des Lebens – Amrainer Gespräche«, Werner Morlang – Kunsthaus Langenthal – »Kunst im Oberaargau« – Jahresausstellungen 1993/1995/1998 – Aargauer Kunsthaus – Kunstmuseum –   »Aargauer-Künstler – Jahresausstellung« – 1996 * 2001 – grosser Atelierbrand – Das Feuer zerstört das gesamte bisherige bildnerisches Werk von Pedro Meier. Über 1000 Öl- und Acrylbilder, ca. 10'000 Fotos, Text und Manuskriptseiten, Notizbücher, Zeichenbücher, Künstlerbücher, Artist Books , die gesamte Bibliothek von 12'000 Büchern, Skulpturen und Installationen etc wurden vernichtet und sind für immer verloren. * » Pedro Meier Urgestein der Beat-Generation , als letzter Mohikaner, Schamane, als Buschpilot in Alaska oder Australien, als Schriftsteller, als Multimedia Artist oder als Performance-Künstler. Ob in Kyoto, Mexico, New York oder Berlin, ob in Niederbipp alias Amrain oder in seinem Dschungelatelier am Golf von Siam: Pedro Meier ist ein unermüdlich nach dem Gesamtkunstwerk Forschender... «. Zitat aus Interview: – D. T. Koller – Vitaltransformer Zürich * Pedro Meier Zitat aus Interview 2022 : – »eXperimenta«, Magazin für Literatur, Kunst und Gesellschaft –   »Als Kind war ich ein großer Tagträumer. In meiner Hofstatt steht ein uralter Kirschbaum. Als Knabe bin ich da hinaufgestiegen. Ich bin tagelang in der Kirschbaumkrone gesessen und habe dem Wind, den zwirbelnden Blättern zugeschaut. Ich habe am Himmel die treibenden Wolken verfolgt, mir vorgestellt, mit diesen Wolken, über ferner Länder, Meere und Kontinente zu treiben. Ich lebte quasi in den Bäumen. Ein Tagträumer bin ich bis heute geblieben. – Vielleicht sind die Träume der Ursprung der Kunst.« Aus Baumzweigen verfertigte ich meine ersten Skulpturen. Quasi abstrakte Hunde, Pferde, Schwalben, Flugzeuge. An dem kleinen Flüsschen, das unseren Garten durchquert, baute ich mir Flosse und kleine Segelschiffe. Mit diesen Spielzeugsegelschiffen bereiste ich die Flüsse und Meere. Ich baute auch Leuchttürme, Hafenanlagen und Eisenbahnlinien. Ich erschuf mir meine eigene Welt.   Ich war Indianer, der letzte Mohikaner und Trapper, Grosswildjäger in Afrika und Flugpionier auf Atlantikflug zugleich. Und im Winter, wenn Schnee in der Hofstatt, lag durchquerte ich zu Fuss Grönland und die Antarktis. Im Sommer verirrte ich mich in die Wüste Gobi oder in die Sahara. Fantasie und Spiel. Ich malte mir Landkarten, Seekarten und Himmelskarten mit all den Sternbildern darin. Das waren also meine ersten Skulpturen und Bilder – so kam ich zur sogenannten Kunst.   Auch erzählte ich mir neue, selbst erfundene Märchen und Geschichten. Ich erfand Alibaba und die 40 Räuber neu – ebenso Tausendundeine Nacht. Ich versetzte mich mit meinen eigenen Geschichten in Angst und Schrecken. Schlaflose Nächte. – Das waren meine ersten Texte – so kam ich zur Literatur, so kam ich zum Schreiben.   Pedro Meier, Multimedia Artist und Schriftsteller. – Ich male Bilder, konstruiere und baue Skulpturen. Rauch- und Klang-Installationen. Licht- und Sprach-Performance. Ich bin ein leidenschaftlicher Fotograf. Ich lese und schreibe Bücher – ich bin Horizontsüchtig und professioneller Tagträumer. Ich liebe den Film und die Musik etc. Ich bin gelernter Buchhändler und besass ein Buchantiquariat in Zürich. 1969 fuhr ich mit der Transsibirischen Eisenbahn nach Japan. In Bangkok blieb ich hängen und betrieb für einige Jahre ein Restaurant mit Namen »Swiss-Inn«. Ich war Verleger und Buschpilot in Alaska und Australien. – Ich bin passionierter Kunst-Nomade und lebe sozusagen zwischen den Welten.   – Übrigens: – Eigentlich hätte ich nie aus den Kirschbaumkronen heruntersteigen sollen, hätte dort oben in den Bäumen bleiben sollen, auf immer und ewig. – * Zitat aus Pedro Meier Interview : https://www.pedro-meier-artist.ch/schriftsteller/pedro-meier-experimenta-de-künstler-des-monats/ ***

52

Zoomable full resolution image available at davidrumsey.com . This image 14256.147 is a part of image group 14256.000 . Eight black and white floor plan diagrams, as well as descriptive text for four maps of Switzerland, numbered 37 within Atlas der Schweiz, in German, French and Italian. On fourth page - back cover - of thirty-seventh (numbered) folio. Title translates to: [Rural architecture : Explanations (continued)]. Indexed to indicate different parts of construction. With bibliographic citations at bottom of sheet. "37" in upper left corner. Four related maps on second and third pages of folio. (Date taken from preceding page.) Eduard Imhof’s Atlas der Schweiz [= Atlas of Switzerland], published in Wabern bei Bern in 1978 (first edition). Housed in a red solander case, with gilded parallel titles on front cover. The Atlas was issued in nine “Lieferung” [= deliveries], from 1965 to 1978, each with its own cover, which includes a table of contents listing the maps within that delivery. All nine covers are included, in chronological order (newest to oldest), following the folios in the case. In addition, a table of contents sheet appears at the beginning of the atlas, with a comprehensive list of the maps within the folios of all nine deliveries. Five unnumbered folios introduce the atlas, with a title page, table of contents, introductory text, and several overview maps of Switzerland on loose transparent sheets, at different scales to represent the range of scale within the atlas. Following the introductory text text are eighty-six numbered folios containing double plates printed with maps, diagrams, charts and profiles. In addition, some maps and diagrams appear alongside the text on the front and back covers of the folios. Scale of the principal maps is 1:500,000. Folios all include German, with French and Italian translations; the folios with maps on language also include Romansh, the national language of Switzerland. In 1981, a second edition was published, edited by Ernst Spiess, who contributed to the first edition as an author. The superlative graphic design of the maps expertly communicates many geographic dimensions of Switzerland, spanning its natural, statistical, cultural, economical and historical features, over centuries. See, for instance, the exquisite visual language in the map entitled Rhonegletscher [= Rhone glacier] within folio 79, Wallis [= Valais] (List No. 14256.283), which delicately illustrates the lines of glaciers receding, comparing the glacial coverage in 1602, 1818, 1914 and 1971. The representation of topography in the glaciers is also impressive, with the slopes represented in ice blue contour lines, over white expanses representing ice. In addition to the mesmerizing visuals, the text is also strikingly artistic, with its poetic titles and descriptions of the maps. For example, this title of a map within folio 13, Klima und Wetter III [= Climate and weather III] (List No. 14256.064): Début du printemps indiqué par la date de floraison de la dent-de-lion (taraxacum officinale), Moyenne des années 1951 à 1960 [= Spring arrival, shown on the data of the dandelion flowering, mean values for the years 1951-1960]. Other examples abound throughout Atlas der Schweiz, a cartographic masterpiece. “Eduard Imhof, Swiss cartographer, was asked to produce an Atlas of Switzerland in 1961. The atlas illustrated the country ,,, in maps that exhibited the full expression of Imhof’s abilities. Supported by numerous Swiss scientists the first edition was finished in 1978 and published by the Federal Office of Topography. The maps are authoritative precisely because of this fundamental scientific basis and consultation but they are brought to life by the artistry of Imhof … an expert cartographer and artist. That combination is fundamental to understanding his work since the artistic dimension to his many works creates maps that are [aesthetically stunning, as well as scientific]. Here, even a complex statistical map showing daily commuter patterns in 1960 mixes clear geometric point symbology with perfectly curved distributive flow-lines.” With his keen visual sensibilities, Imhof minimized text within the maps, allowing full attention to graphic details. Still, Imhof supplied thorough scientific information through the texts accompanying the maps, in the preceding and subsequent pages. Field, Kenneth (2014). Atlas of Switzerland 1961-1978 by Eduard Imhof, 1978. ICA Commission on Map Design. https://mapdesign.icaci.org (Parallel titles in French and Italian included, but parallel statements of responsibility and imprints omitted, except for within Pub Title. Omissions indicated by ellipses https://mapdesign.icaci.org

Un ensayo problemático que viene a plantear en el fondo la cuestión sobre qué sería considerado delito y pena si desde el origen nuestras valoraciones y concepciones de justicia no estuvieran marcadas por su desarrollo patriarcalista.

Ernst Zundel with Canadian Jewish media personality Max Lipson.

Rechtsphilosophie by Max Ernst Mayer

Rechtsphilosophie by Max Ernst Mayer

Drucksache des deutschen Bundestages vom 26.04.2005. Automatically mirrored from the german parliamentary documentation system . Reproduction without modification allowed as long as the source is credited (according to § 5 Abs. 2 of the german Urheberrecht). This is not the authoritative version, but an unofficial mirror. Please check the primary sources when in doubt. This post was automatically created using pdok-mirror and the python internetarchive library.

82 p. : 25 cm

Prehistoric Future: Max Ernst and the Return of Painting between the Wars   by Ralph Ubl and Elizabeth Tucker

Film aus dem deutschen dritten Reich von 1942. Unser kleiner Junge.  U.a mit Hermann Speelmanns und Ernst von Klipstein 

A travers la toile de Marx Ernst « La Grande Ville », réalisée en 1936, Françoise Bonardel revient ici sur les rapports – féconds – d’André Breton avec la psychanalyse… Vaste sujet ! Extrait d'un exposé intitulé « Point sublime et surréalité, une frontière à nos sens ordinaires » par Françoise Bonardel. Pour accéder au film : https://www.baglis.tv/corps/art-sacre/4218-point-sublime-surrealite-frontiere-sens-ordinaires.html * Facebook : https://www.facebook.com/Baglis-TV-48999337696/ * Instagram : https://www.instagram.com/BAGLISTV/ * Newsletter BAGLIS : http://www.baglis.tv/newsletter-baglis-tv.html * Image : Marx Ernst « La Grande Ville »

1 vol. (non paginé) : 21 cm

446 S. 22 cm

Artikel van Ben Vollers over het leven van de surrealistische schilder Max Ernst, tekst 2002

Mer information på http://arkivkopia.se/sak/digmus-smm-Fo45851A .

127 p. : 31 cm

Film aus dem deutschen dritten Reich von 1941. Das Mädchen mit dem guten Ruf.  U.a mit Olga Tschechowa und Attila Hörbiger 

Includes bibliographical references (p. 167-174) and index

Includes bibliographical references (p. 167-174) and index

German language - no subtitles

Customized version of http://www.thingiverse.com/thing:74322 Created with Customizer! http://www.thingiverse.com/apps/customizer/run?thing_id=74322

Film aus dem deutschen dritten Reich von 1944. Glück unterwegs  u.a mit Paul Kemp und Hilde von Stolz 

Film aus dem deutschen dritten Reich von 1944. Glück unterwegs  u.a mit Paul Kemp und Hilde von Stolz 

Artikel van Ben Vollers over de vrouw en erotiek in het werk van Max Ernst, de surrealistische schilder.

Artikel van Ben Vollers over de vrouw en erotiek in het werk van Max Ernst, de surrealistische schilder.

Ernst Zundel interviews a well-known Canadian Jewish media personality.

This volume contains the previously unpublished correspondence of the philosopher and writer Günther Anders (1902-1992) with philosophers of a related philosophical tradition. Some of the letters date from the pre-war period of the 1920s and 1930s, the majority dates from the post-war period up to the 1970s. Based on the correspondence of this volume, Anders’ intellectual and biographical development from an academic philosopher to a politically engaged thinker and activist can be traced. Moreover these letters make it clear that he was part of an intellectual network that included numerous philosophers, writers and activists of the 20th century and therefore are also a contemporary historical document which illustrates a part of German history of philosophy of the 20th century.

Film aus dem deutschen dritten Reich von 1943. Wenn die Sonne wieder scheint.  U.a mit Paul Klinger und Paul Wegener 

Zoomable full resolution image available at davidrumsey.com . This image 14256.054 is a part of image group 14256.000 . Descriptive text for seven maps of Switzerland, numbered 10 within Atlas der Schweiz, in German, French and Italian. On first page - front cover - of tenth (numbered) folio. Maps follow text on second and third pages of folio. Title translates to: [Geophysics]. Titles of maps listed beneath folio title. Text begins: Karte 1 vermittelt einen Überblick über die Erdbebentätigkeit in der Schweiz bis und mit dem Jahre 1960, soweit diese durch makroseismische Beobachtungen belegt ist ... [= Map 1 gives an overview of the earthquake activity in Switzerland up to and including 1960, as far as this is proven by macroseismic observations ... ]. Text continues on back cover of folio with French and Italian translations of German on front cover. Extended statement of responsibility credits additional authors. Includes scale statements for differing scales. "10" in upper right corner. (Date taken from following page.) Eduard Imhof’s Atlas der Schweiz [= Atlas of Switzerland], published in Wabern bei Bern in 1978 (first edition). Housed in a red solander case, with gilded parallel titles on front cover. The Atlas was issued in nine “Lieferung” [= deliveries], from 1965 to 1978, each with its own cover, which includes a table of contents listing the maps within that delivery. All nine covers are included, in chronological order (newest to oldest), following the folios in the case. In addition, a table of contents sheet appears at the beginning of the atlas, with a comprehensive list of the maps within the folios of all nine deliveries. Five unnumbered folios introduce the atlas, with a title page, table of contents, introductory text, and several overview maps of Switzerland on loose transparent sheets, at different scales to represent the range of scale within the atlas. Following the introductory text text are eighty-six numbered folios containing double plates printed with maps, diagrams, charts and profiles. In addition, some maps and diagrams appear alongside the text on the front and back covers of the folios. Scale of the principal maps is 1:500,000. Folios all include German, with French and Italian translations; the folios with maps on language also include Romansh, the national language of Switzerland. In 1981, a second edition was published, edited by Ernst Spiess, who contributed to the first edition as an author. The superlative graphic design of the maps expertly communicates many geographic dimensions of Switzerland, spanning its natural, statistical, cultural, economical and historical features, over centuries. See, for instance, the exquisite visual language in the map entitled Rhonegletscher [= Rhone glacier] within folio 79, Wallis [= Valais] (List No. 14256.283), which delicately illustrates the lines of glaciers receding, comparing the glacial coverage in 1602, 1818, 1914 and 1971. The representation of topography in the glaciers is also impressive, with the slopes represented in ice blue contour lines, over white expanses representing ice. In addition to the mesmerizing visuals, the text is also strikingly artistic, with its poetic titles and descriptions of the maps. For example, this title of a map within folio 13, Klima und Wetter III [= Climate and weather III] (List No. 14256.064): Début du printemps indiqué par la date de floraison de la dent-de-lion (taraxacum officinale), Moyenne des années 1951 à 1960 [= Spring arrival, shown on the data of the dandelion flowering, mean values for the years 1951-1960]. Other examples abound throughout Atlas der Schweiz, a cartographic masterpiece. “Eduard Imhof, Swiss cartographer, was asked to produce an Atlas of Switzerland in 1961. The atlas illustrated the country ,,, in maps that exhibited the full expression of Imhof’s abilities. Supported by numerous Swiss scientists the first edition was finished in 1978 and published by the Federal Office of Topography. The maps are authoritative precisely because of this fundamental scientific basis and consultation but they are brought to life by the artistry of Imhof … an expert cartographer and artist. That combination is fundamental to understanding his work since the artistic dimension to his many works creates maps that are [aesthetically stunning, as well as scientific]. Here, even a complex statistical map showing daily commuter patterns in 1960 mixes clear geometric point symbology with perfectly curved distributive flow-lines.” With his keen visual sensibilities, Imhof minimized text within the maps, allowing full attention to graphic details. Still, Imhof supplied thorough scientific information through the texts accompanying the maps, in the preceding and subsequent pages. Field, Kenneth (2014). Atlas of Switzerland 1961-1978 by Eduard Imhof, 1978. ICA Commission on Map Design. https://mapdesign.icaci.org (Parallel titles in French and Italian included, but parallel statements of responsibility and imprints omitted, except for within Pub Title. Omissions indicated by ellipses https://mapdesign.icaci.org

Zoomable full resolution image available at davidrumsey.com . This image 14256.054 is a part of image group 14256.000 . Descriptive text for seven maps of Switzerland, numbered 10 within Atlas der Schweiz, in German, French and Italian. On first page - front cover - of tenth (numbered) folio. Maps follow text on second and third pages of folio. Title translates to: [Geophysics]. Titles of maps listed beneath folio title. Text begins: Karte 1 vermittelt einen Überblick über die Erdbebentätigkeit in der Schweiz bis und mit dem Jahre 1960, soweit diese durch makroseismische Beobachtungen belegt ist ... [= Map 1 gives an overview of the earthquake activity in Switzerland up to and including 1960, as far as this is proven by macroseismic observations ... ]. Text continues on back cover of folio with French and Italian translations of German on front cover. Extended statement of responsibility credits additional authors. Includes scale statements for differing scales. "10" in upper right corner. (Date taken from following page.) Eduard Imhof’s Atlas der Schweiz [= Atlas of Switzerland], published in Wabern bei Bern in 1978 (first edition). Housed in a red solander case, with gilded parallel titles on front cover. The Atlas was issued in nine “Lieferung” [= deliveries], from 1965 to 1978, each with its own cover, which includes a table of contents listing the maps within that delivery. All nine covers are included, in chronological order (newest to oldest), following the folios in the case. In addition, a table of contents sheet appears at the beginning of the atlas, with a comprehensive list of the maps within the folios of all nine deliveries. Five unnumbered folios introduce the atlas, with a title page, table of contents, introductory text, and several overview maps of Switzerland on loose transparent sheets, at different scales to represent the range of scale within the atlas. Following the introductory text text are eighty-six numbered folios containing double plates printed with maps, diagrams, charts and profiles. In addition, some maps and diagrams appear alongside the text on the front and back covers of the folios. Scale of the principal maps is 1:500,000. Folios all include German, with French and Italian translations; the folios with maps on language also include Romansh, the national language of Switzerland. In 1981, a second edition was published, edited by Ernst Spiess, who contributed to the first edition as an author. The superlative graphic design of the maps expertly communicates many geographic dimensions of Switzerland, spanning its natural, statistical, cultural, economical and historical features, over centuries. See, for instance, the exquisite visual language in the map entitled Rhonegletscher [= Rhone glacier] within folio 79, Wallis [= Valais] (List No. 14256.283), which delicately illustrates the lines of glaciers receding, comparing the glacial coverage in 1602, 1818, 1914 and 1971. The representation of topography in the glaciers is also impressive, with the slopes represented in ice blue contour lines, over white expanses representing ice. In addition to the mesmerizing visuals, the text is also strikingly artistic, with its poetic titles and descriptions of the maps. For example, this title of a map within folio 13, Klima und Wetter III [= Climate and weather III] (List No. 14256.064): Début du printemps indiqué par la date de floraison de la dent-de-lion (taraxacum officinale), Moyenne des années 1951 à 1960 [= Spring arrival, shown on the data of the dandelion flowering, mean values for the years 1951-1960]. Other examples abound throughout Atlas der Schweiz, a cartographic masterpiece. “Eduard Imhof, Swiss cartographer, was asked to produce an Atlas of Switzerland in 1961. The atlas illustrated the country ,,, in maps that exhibited the full expression of Imhof’s abilities. Supported by numerous Swiss scientists the first edition was finished in 1978 and published by the Federal Office of Topography. The maps are authoritative precisely because of this fundamental scientific basis and consultation but they are brought to life by the artistry of Imhof … an expert cartographer and artist. That combination is fundamental to understanding his work since the artistic dimension to his many works creates maps that are [aesthetically stunning, as well as scientific]. Here, even a complex statistical map showing daily commuter patterns in 1960 mixes clear geometric point symbology with perfectly curved distributive flow-lines.” With his keen visual sensibilities, Imhof minimized text within the maps, allowing full attention to graphic details. Still, Imhof supplied thorough scientific information through the texts accompanying the maps, in the preceding and subsequent pages. Field, Kenneth (2014). Atlas of Switzerland 1961-1978 by Eduard Imhof, 1978. ICA Commission on Map Design. https://mapdesign.icaci.org (Parallel titles in French and Italian included, but parallel statements of responsibility and imprints omitted, except for within Pub Title. Omissions indicated by ellipses https://mapdesign.icaci.org

Billedværk

Billedværk

Max Ernst.

artikel van Ben Vollers over het thema 'Woud' in het werk van Max Ernst - surrealist

Bibliography: p. 91-93

Bibliography: p. 91-93

Ernst Zundel interviewed by Jewish former radio talk show host Max Lipson, who was fired for hosting Zundel on his show twice. This was the first test run for a possible future show. Ernst Zundel Archive Ernst Zundel with Max Lipson - pilot interview (1994) https://worldtruthvideos.website/watch/ernst-zundel-with-max-lipson-pilot-interview-1994_fQOBkiSyFgsPCt5.html

Film aus dem deutschen dritten Reich von 1941. Blutsbrüderschaft.  U.a mit Hans Söhnker und Ernst von Klipstein 

Max Ernst: Kriegsfahnen im Mittelalter und die Reichssturmfahne von Markgröningen. In: Württembergische Vierteljahrshefte für Landesgeschichte NF 36 (1930), S. 102-132

Max Ernst: Kriegsfahnen im Mittelalter und die Reichssturmfahne von Markgröningen. In: Württembergische Vierteljahrshefte für Landesgeschichte NF 36 (1930), S. 102-132

Bibliography: p. 15

Bibliography: p. 15

Bibliography: p. 15

Max Ernst From the collection of  Letterform Archive . To schedule a visit, please  click here.

Max ERNST, Der grüne Hof in Ulm, in: Ulm und Oberschwaben 28, 1932, S. 71-90

Max ERNST, Der grüne Hof in Ulm, in: Ulm und Oberschwaben 28, 1932, S. 71-90

158 p. : 27 cm