Hanauer Family Narrative

My journey to learn my heritage:

As I grew up, I had questions about my family. I knew my family was from Germany, but other than that, not much else. The only members of my family from Germany that were still alive would not open up to me about what happened to my grandfather or great grandparents.

My Father, Uri Hanauer was born in Berlin, Germany on February 6, 1940. I had no idea that he was a holocaust survivor until after his death on December 5, 1981. My grandmother pulled me aside at my father's memorial service and told me that she and my father had been in a concentration camp during WWII. She said she needed to tell me this so I would understand why my father was never open with me about his childhood. I asked her the name of the camp and she would not tell me.

In 2002 my grandfather's sister, Ilse had told me the name of the camp that my father, grandmother and great grandfather were taken to. It was Terezin (Theresienstadt) located in the Czech Republic. I started looking on the web for information on Theresienstadt and learned there was a museum in Israel that had the records of when people were transported to the camp. I had contacted the museum and they sent me copies of the transport documents for both my father and my grandmother. This was the beginning of my quest to learn the whole truth about my family's survival during the holocaust. The only problem was that the 3 members of my family who had survived were now all deceased.

I then started sending emails to various German agencies on what I knew about my family, which at this point was very little. Fortunately my great aunt Ilse had given me names of some of my relatives just before her death in 2002.

I started out by not knowing anything about my family. I have learned the following from documents I have obtained from many agencies around the world starting in 2003. The notebook that holds these documents is 5" thick and filled. I have added another note book with correspondences I have had with The International Red Cross, historians, authors and German's who knew my family during the war:

My grandfather's name was Hans Heinz Hanauer and he was born on June 19, 1918 in Berlin.

My grandfather Hans and grandmother Ursula were married April 30, 1940 in Paderborn, Germany. Almost 3 months after my father's birth.

On March 3, 1941, Hans had been warned not to leave his hiding place, because an arrest warrant had been issued against him. He was a member of an underground organization that had been plotting the assassination of Hitler and the organization had been infiltrated by a Nazi spy. Hans did not believe he would be arrested and he left his hiding place. As soon as he was spotted on the street, he was arrested.

Hans was then transported to the train station where he boarded the train that would be taking him to the labor camp, Gut Winkel in Spreenhagen. My father was with my grandmother at the train station where my grandfather had been taken. They were there to see him off. A soldier had asked my grandmother to hold my father, because he was trying to run to the train to be with his father. As Hans sat on the train, the wife of one of the soldier's had given him a pen and piece of paper so he could write a note to my grandmother. The original letter Hans had written to my grandmother Ursula as he sat on the train is below the translation. The letter was hand delivered to my grandmother by the wife of a soldier that was on the train. My father's half brother had given this letter to me in 2003. I had it translated right away. This is the exact translation:
3. III.41.

My Dear Love!

Now at day's end I want to send a few lines. At noon you were standing by the train and I thought you had already left. Just as the train started to pull out, the wife of one of the soldiers said that you are still there. I looked right away but you had already started to walk away. That made me so sad because you were standing there and I didn't look to see if you are still there.

That is the reason I wanted to write to you immediately so you will know that I am always with you in thought and I will always be thinking about you when there may be bad days like maybe today. Always know that there is someone thinking about you.

Dear Ursula I hope you won't have to suffer because of me, I hope all will be good again. I am hoping to hear from you, so I can stop worrying about you. Greetings and kisses from your loving, sometimes a little stupid
Hans

Give Uri a kiss from Pappa.

Written on side of postcard from the wife of one of the soldiers who had hand delivered note to my grandmother Ursula:
"You do not know me but I am sending greetings, Ester Binder".

Hans spent 2 years in Gut Winkel. This labor camp was set up to educate young Jewish men and women in agriculture and wood working so they could immigrate to Palestine.

Hans was transported from Gut Winkel to Auschwitz on March 4, 1943. There were 1159 people on the train and Hans was the 983rd person registered on the manifest. Hans was registered on the manifest as Hans Heinz Israel Hanauer. Hans arrived in Auschwitz on March 6, 1943 and was given the prison #106433. Hans was murdered at the age of 24 in Auschwitz on March 31, 1943.

Both of my great grandfathers were Jewish and both of my great grandmothers were Christian.

My great grandfather (Ursula's father) Jonas Rosenfeld had been incarcerated on 3 occasions. He documented all of the dates in a journal that my father's half brother had. I had made a copy of this journal in 2003

Jonas was held in a facility on Rosenstrasse (Rose St.) in Berlin with over 10,000 other Jewish men, women and children. This was from February 27, 1943 until March 8, 1943. This was to be the last evacuation of the remaining Jews in Berlin, most of which were in mixed marriages (Christian/Jews). When the Christian wives of the Jewish men found out they were being held there, they began to go to the building and protest against the detainment of their spouses. The protest actually ended on March 6, 1943. The prisoners were released in alphabetical order one by one. Because Jonas' last name was Rosenfeld, his release date was March 8, 1943.

There was a movie released in 2003 and made by German director Margarethe Von Trotta named "Rosenstrasse". I saw this movie in 2005, and at that time I had no idea that my family had been involved in it. I actually purchased the movie the very next day, because I felt compelled to watch it again. It would be about 5 months later that I would go to the copied journal looking for birthdates of Jonas' family members. As I was going through his notes I came across the translations of his dates of arrest. I was in shock when I saw in his own handwriting the date 27 Feb. 1943 until 8 Mar. 1943.

I had been told that my family was protected by my great grandmother's Christian heritage. My great grandmother Emma Tscharntke-Rosenfeld died on August 16, 1944. On August 21, 1944, my father, grandmother and great grandfather were arrested. On September 8, 1944, the three of them were transported to Theresienstadt. They were liberated on June 7, 1945 and returned to Berlin. They left Berlin on May 29, 1946 on the SS Mariner and arrived in New York on June 18, 1946.

I was contacted by Michael Schneeberger in August of 2007. He was with the Ephraim Gustav Hoelein Genealogy Project of the Ronald S. Lauder Foundation located in Wuerzburg. He said my email was forwarded to him from an office in Berlin that had received my email over a year earlier. Michael had located information on my family which was held in Lower Franconia and created a family tree for me. In September 2007, I received my family tree that traced my Hanauer family back to Abraham Hanauer born in 1727 in Wiesenfeld, Bavaria. Michael had done a lot of research and had documented on property that was taken from my family, which included Gestapo numbers placed on the property. He had also included camps where my family were taken and murdered.

I have found 3 extended family members; Mike Jones lives in England, Ella Bauer lives in Las Vegas and Enrique Kahn lives in Buenes Aires. We have all come together through a website that bares our family name, Hanauer.

According to the German government, my grandfather Hans and grandmother Ursula were considered "Mischlinge" (half-breed). This was the label given to Christian Jews. All who were of Jewish heritage were mandated to take new middle names as they registered, "Israel" for males and "Sara" for females. This was how the Jews were identified by the Nazi's.

My great grandfather Max Hanauer owned a women's clothing factory in Berlin. It had been taken away from him during the holocaust and was destroyed during the bombings. In October, 2007 I received from Enrique Kahn, whom I came in contact with in 2006, a copy of listed addresses for businesses in Berlin in 1927. It shows my great grandfather, Max Hanauer's name, address and what type of business he owned.

My great grandmother Frieda Hanauer had sewn all of Max Hanauers' mother's jewelry into the hem of her clothing. She had also sewn family pictures into the lining of her dresses. There are over 200 photos dating back to the mid 1800's that were saved.

My great grandparents, Max and Frieda Hanauer were hidden in a small cabin in Grunau, just outside of Berlin. This was the property of a woman named Lotte Mader who was an employee of my great grandfather's clothing factory. I have learned this from Tutti. Tutti was an employee of my great grandfather's factory. She was friends of Ilse and Hans and she decided that it was time for our family to know the truth of what happened during the war. In 2005, Tutti had sent me a bowl and plate that my grandfather Hans had made as an apprentice and had given to her in the late 30's.

I have documented Max Hanauer's voyage to America in 1903. On the manifest, it showed him as a Brewer from Berlin. He had over $400 cash at the time he arrived to Ellis Island.

He traveled from New York to Salt Lake City to spend time with 3 cousins living there who owned the HANAUER SMELTING WORKS UTAH at Salt Lake City, Utah. I have learned that Hanauer St. in Salt Lake City was named after my family.

From Utah he went to San Francisco, where he survived the San Francisco earthquake of 1906. He had taken 2 panoramic pictures of the devastation and I have the copies. My cousin Juliette Hanauer has the originals. He went back to Germany sometime in 1906. I am still trying to find out where he had traveled and when he actually left America.

My great-great grandfather David Hanauer was a Hops and Barley trader in Bavaria. His brother's owned farms and were the growers of the hops and barley. He traded in Russia and China. My cousin, Mike Jones had told me that one of the Hanauer brother's had owned a tobacco farm in Bavaria.

There were many Hanauers' that were murdered during the holocaust.

I would like to share my story with the world. I know there are many stories already published about the holocaust, but I do believe mine has many pieces of German history not really known to the world.

Every word written is the truth backed by documentation from many sources. The United States Holocaust Memorial Museum has documented many pictures and documents of my family and I have donated my father's ID card and his release card from Theresienstadt to the USHMM.

This is a testimonial to how God has answered my prayers. I had prayed to learn my family history and I was given the most amazing documentation.

As I finalized my father's family documentation, my mother asked me to start on her genealogy. Now, that is a whole other story that holds an amazing tracking of her ancestors as Mormon pioneers. I have a feeling I will find a connection between my great grandfather, Max Hanauer and one of my mother's ancestors in Salt Lake City. It wouldn't surprise me a bit.

Stop Feeling Like a Failure - Finding Your Vision of Success

Feeling like a failure is the dark side of our culture's obsession with being rich, famous and thin.

Who owns the definition of success?
Feeling like a failure might be better reframed as an excessive tendency to compare oneself to others. If you have an uncritical belief that worth can be measured by money, status or fame you are setting yourself up for unhappiness and missing out on other very important areas of human experiencing. Stories abound of successful executives or performers whose personal and spiritual lives were in a shambles.. sometimes to deadly effect.

Initial definitions of success are often inherited from family and culture
One of the first holes that we have to climb out of is the origin of our standards. Up until a certain age (say, nine or ten), we accept the standards of our culture and our families fairly uncritically. For one thing, as children, our intimate universe is largely confined to family, school and neighbourhood and there may be few competing value structures to pull or push us out of them. In adolescence or young adulthood opportunities appear to consciously adopt alternative value systems but we do not always consider this. In fact, if we feel at all unsteady as we go out into the world, unfamiliar value systems may be scoffed at and felt to be inferior or at the very least strange and possibly dangerous. Our inclination to remain with what is familiar, no matter how hurtful it may be to us, is often a trap that confines us like an invisible electric fence. The tiny spark of uncomfortable anxiety that we feel when we are touched by "the shock of the new" is too often enough to make us recoil instinctively... and respond with a put-down, a joke or a snarl ... anything but courageous curiosity and an open mind.

Is Steven Hawkins with his brilliant mind confined to a wheelchair successful in the same terms as an olympic athlete? Is a nun successful in the same terms as a pop star? Is a good mother successful in the same terms as a business executive?

Received values vs Personal values

Question where your visions of success come from.
"Everybody says so" or "Everybody knows" are not actually authorities.

In fact, "everyone" is just as likely to be "no one".

Speak to real people you admire about what they consider important in life. Read biographies of individuals whose lives you consider to be successful. You may be very surprised at what parts of their life they feel humanly best and worst about. The top athlete may value his emotional connection to his team members, or his commitment to his faith or feel deeply proud of his volunteering. The eminent professor may be very proud of his golf score. Even individuals who have achieved substantial "worldly" success may regret other personal paths not taken.

Develop your own authentic vision of a good life and try to live it.
"Everybody's" standards may actually be too vague and general for you as an individual. Positive psychology researchers have discovered that there is a nearly universal set of 24 positively valued human attributes. They include:  Love, Curiosity, Fairness, Judgement and Open-mindedness, Love of learning, Creativity, Appreciation of Beauty and Excellence, Honesty, Humor, Self-regulation, Social intelligence, Modesty and Humility, Zest for life, Prudence, perspective and a dozen others. It is worth considering what it might mean to be a success in these domains of value... qualities of character that are honored and appreciated in every age, social group and human culture.

Five ways to feel more successful now.

(1) Choose reasonable goals.Goal setting and motivation work best on mid-level and achievable goals.
YES!... Getting to sing a solo in your church choir or school talent show requires effort and dedication and gets you recognition from real people around you.
NO!... Chasing a fantasy of becoming Britanney Spears by the time you are nineteen is a recipe for heartbreak and frustration.
(2) Take a broader view of success. Include the positive human values proposed above. Write them into your plans and aspirations and check your success and progress in those terms.
(3) Take an incremental view. Incremental means "baby steps." Judge your success by whether you are advancing over-all.
(4) Choose your role models wisely. Focusing your desire to emulate on a real person in your accessible environment has many benefits.
YES!... Find yourself a role model in your community who has access to local facilities, and contacts. They can provide real world support and advice.
NO!... Trying to emulate a multimillionaire international expert in a field is NOT an incremental goal...You will be unnecessarily frustrated by your lack of means and options.
(5) Celebrate your incremental successes. The moment of a success is sometimes fleeting and often private. Fragile memories of genuine successes can be too easily erased by set-backs and hurdles.

So...

Mark your successes mentally and emotionally by talking about them to people you care about.
Write about them in your journal.
Keep a souvenir as a momento.
Raise a glass of wine in a celebratory toast to yourself with a friend.

All these gestures create memory traces and underline "success memories" in your mind so that they are more salient and memorable.

Lost your values? Failure feelings may signal clinical depression. Look for help!
Do you feel adrift? Do you have trouble feeling that anything is of value?

Hopelessness and emptiness are signs of depression. If your feeling of failure is associated with mild or serious depression, it may be wise to seek help. Speak to your doctor to rule out medical reasons for depression, seek counseling to address the emotional or relationship issues that are creating your lowered mood. Resolving your depression may be the first step towards regaining the energy and focus that you need to invest in action and move forward towards your goals.

Worth noting: Research by psychologist Brett Pelham (1993) suggests that even the most highly depressed individuals hold at least one positive self-view and on this aspect of self they feel just as confident and successful as anyone else...or even more successful than others. Pelham observes that depressed individuals often focus positively on these areas in order to lever themselves out of depressed periods.

Beware "non-human, non-solutions"
Individuals who feel unsuccessful may sometimes try to "self-medicate" with drugs or alcohol. Drugs and alcohol temporarily deaden the emotional distress and may fill the individual with chemically induced feelings of success, attractiveness or influence... for a few minutes or hours. These are non-human "non-solutions" which actually do nothing but damage the body and typically rebound emotionally to create even deeper negative self-opinions, ie: "I'm a failure AND I have no will power."

Other individuals may attempt to deflect their worries about success by creating an artificial "show" of material affluence, by spending money to impress others, by engaging in shopping sprees, by endebting themselves to purchase status objects or by gambling and chasing a big win or a big but risky business opportunity, especially if money is their gauge of success.

Non-human, non-solutions ultimately cause more problems than they solve.

One, two, three... Stop feeling like a failure.

(1) Start by being true to your self...
Judge yourself by a unique set of personally meaningful values.
(2) Adopt a questing mindset...
When you are open and curious about your life and experiences there is no such thing as failure, only opportunities for understanding, development and growth.
(3) Avoid falling prey to what "Everybody knows" by seeking "uncommon wisdom"...
It often helps to seek support in this domain. Talking to a therapist or counsellor, or joining a special interest or faith group, can support and underscore the attitudes and perspectives that you are trying to maintain or develop.... and help you start feeling like a success... in the broadest, deepest and most meaningfully human sense.

If you are interested in seeing your own personal rankings of the universal human values mentioned above, consider taking the Values in Action self-test at: http://www.viasurvey.org

To access the French-language version, set your browser to French, then go to the Survey Center. The instructions and the VIA-IS will appear in French, as will your results.

References:
Pelham, B (1983). On the Highly positive Thoughts of the Highly Depressed. In R. Baumeister (ed.) Self Esteem: The Puzzle of Low Self-Regard. New York, Plenum Press. pp.183-199.

Implanting A Lasting Impression Of Louisville's Downtown Ornate Beauty And Expansiveness

West Main Street at the center of Old Louisville downtown is at the heart of the cultural district of Louisville featuring the second largest collection of cast-iron facades in the United States.

Over a century ago, cast iron made it possible to build beautiful decorative features that were too expensive to carve out of stone. The sidewalk bricks in front of the columns are placed sideways and flecked with iron to make the cast iron buildings easily identifiable. To doubly ascertain you carry along as you walk by a magnet which is most likely to stick to buildings whose facades are cast iron. Ironwood trees grow in front of cast iron buildings surrounded by replicas of authentic coal hole covers. A stand of three trees are planted together thus indicating that the building is masonry. Cast iron walking sticks and tree rings give hints as to the original uses of nearby buildings.

West Main Street has more examples of 19th century cast-iron architecture than any other place in America except New York's SoHo. The façade of the Hart Block, a five story building designed in 1884 at a foundry is a jigsaw puzzle of bolting cast iron pieces together. This early Victorian pre-fab construction allowed for large windows and greater height. The tiny St Charles Hotel, constructed before 1832 is the oldest here.. A third generation Main Street building, it was preceded by Fort Nelson which was followed by log huts. Three story brick buildings came in next and lined the streets at the time of Civil War.

Fort Nelson, a haven for settlers in the late 1700s once stood between 6th and 8th streets on Main before being ravaged by fire and tornado more than a century ago. This site was the terminus of the Wilderness Road, the first overland route west from Virginia across the Appalachian Mountains through the Cumberland Gap, and the site of the first permanent settlement in what would become Louisville.

At the northwest corner of 7th and Main is a pocket park, studded with historical markers and architectural cues from nearby structures. One of the street's first restorations which helped speed its renaissance is 'Stairways' housing the Main Street Association Visitor and Information Center. A block of the street still preserving much of its 19th century look is the 100 block whose building fronts are exactly as they were in the mid-1800. Both ends of the building are of much interest. The first street end shows a fascinating Renaissance revival building built in 1852 with six unique bays. The Second Street corner is the site of the original Galt House Hotel which was burnt to the ground in 1865. The sprawling Galt House Hotel Complex at Fourth and Main Streets including offices, apartments, retail spaces, restaurants and the city's largest hotel convention facilities has twin office towers topped with whimsical rotating search lights. The Second Street Bridge otherwise called George Rogers Clark Memorial Bridge from which it's one mile to Indiana has an art deco entrance designed in 1929 by Paul Gret, architect of Cincinnati's Union Station.

40 stories of glass, steel and booming business designed by Harrison and Abromovitz of New York in 1972 constitutes what is called the National City Tower. The first national bank was headquartered here before it was acquired by National City Bank, First National Bank of Louisville. Naturalist John Audubon lived on this site 200 years ago when it hosted the Indian Queen Hostelry.

Also here is the Science Center/ IMAXX theatre a 19th century warehouse full of science arcades and demonstrations such as an Egyptian mummy's tomb, a Foucault pendulum, and plenty of hands-on displays appealing especially so to kids. Also to be seen are exhibits on space exploration and the human body. Constructed of limestone and cast iron for use as a wholesale dry goods store in 1878, it is an excellent example of adaptive reuse. Cork Marcheschi's geometric kinetic sculpture in front projects a stunning street market day or night - as skies darken, photo-electric sensors activate its colored lights. Worlds of wonder are preserved on three floors of fun, fantasy and science.

Energy, one of the oldest utility companies in the U.S dating back to 1838 and the city's most powerful business has its headquarters at One Corporate Plaza at Third and Main streets. Place Montpellier a few steps from a great park overlooking the Ohio River brings you to the statue of Louisville's founder, George Rogers Clark standing on the plaza where you will learn the secrets of the city's beginnings. By following the blue bricks you trace the outline of the Ohio River. A few steps away you emerge at the Waterfront Park and the riverfront elevator.

The grand post-modern Humana Building built in 1985 has established a reputation for itself internationally as Time magazine pick of the building of the last 20 years. The eclectic creation of the gifted architect Michael Graves, it pays homage to its River City location with waterwall fountains and steel bridgework at the lobby. Inside this lobby you are welcomed by a combination of classical art and fascinating architecture. The graduated façade of differing styles complements and harmonises with the shorter adjoining buildings.

Just a few yards off is the American Life and Accident Building at Riverfront Plaza. This unique structure designed by Mies Van der Kohe and completed in 1973 is called the Rusty Building after its oxidized Cor-Ten steel covering designed to rust to a beautiful bronze hue.

A delightful array of styles thus distinguish Main Street: Greek revival [columns, pilasters, heavy cornices] at Actors Theater, Italianate [decorative cast-iron facades and villa-type character] at the Hart Block Building; Richardsonian Romanesque [rounded archways and windows, limestone and terra cotta construction] at the Doe-Anderson Building; International [sleek, concrete, glass and steel] at National City Tower and Post-Modern [new colors, stone and symbolic ties to environmental features] at the Humana Building.

All these I trod through thus walking the path where famous feet have trod. Such famous feet were of Daniel Boone, Abraham Lincoln, U.S. Grant, Thomas Edison, Charles Dickens, John James Audubon, D.W. Griffith, Muhammad Ali, Pee Wee Reese, Mary Anderson and many others.

A 15 foot concrete floodwall paralleling Main Street with fixtures for gates to be installed to close the wall at 2nd to 8th streets is a grim reminder of the flood of 1937 whose recurrence it is built to forestall. Then most of downtown got flooded by the Ohio River waters. But Main Street shopkeepers found themselves on the backbone of the 'City Island' and were spared.

Historic preservations of Louisville's past beauty and glory is also to be seen in a wider stretch of downtown moving up to my own hostel. The Roman Catholic Cathedral of the Assumption at Fifth Street is a Gothic Revival structure built between 1849 and 1852 and restored between 1985 and 1994. The Jefferson County Courthouse at Jefferson Street is a Greek Revival landmark designed by Gideon Shyrock and built in 1835 with the intent of luring the state government to Louisville. The 35-story Aegean Center at Market Street dominating Louisville's skyline and holding court as the tallest building in Kentucky has a dramatic geodesic dome which tops the 1992 art deco-style structure designed by New York architect John Burger. Down Fourth street which was home to me for six weeks is a mansion prominently signposted SPALDING UNIVERSITY. This Italianate Renaissance Revival home built around 1871 is one of the few remaining structures designed by Henry Whileston a prominent Louisville architect. The mansion including the stained glass, the symbol of Spalding University is preserved within the administration building as a National and Kentucky landmark.

At night I have often spotted horse-drawn carriages carrying one or two passengers round . These I learnt later are carriage tours organized in the downtown hotel area following interesting routes giving the riders a haunting view of historical sites, restaurants, theatres and the riverfront. A trolley also travels through 4th street between the Galt House Hotel and Suites by the WATERFRONT and the Theatre Square and on Main and Market Streets between 11th and Clay streets.

Our city tour by bus gave us a vantage view of all these sights. But it also gave us a panoramic view of the widening differentiation in residential areas according to race as well as class. The more easterly part mainly inhabited by blacks were far away from the shopping centers a high incidence of which there is in the white enclaves. This is an area that I would wish to further explore.

Our tour led us towards Bardstown where we had the chance of exploring the interior of one of the most famous slave houses Farmington Historic Home with close connections with two U.S presidents. Abraham Lincoln we were told once lived here as a guest of the Speeds, the original owners of the slave plantation and house there. The house was reputed to have been designed from a plan done by Thomas Jefferson, though that has been recently contested.

This 14-room Federal style home with well tended lawns interlaced by wooden and concrete paved paths and a pool at the far side was part of the slave-holding plantations of the South where hemp and rice were grown . Wine was also brewed here. It is amazing how well this house has been redesigned and preserved to reflect the colors and spirit of the 19th century with some of the same articles including books preserved and where not possible the nearest approximations reflective of that period are brought in as proxies.

Veduta - The City Horizon Captured on Canvas

Veduta - The Concept
Veduta, an Italian word meaning 'view,' is an art form in which the scene of a city, land, sea, or any other 'scape' is captured. These paintings are usually quite large in scale.

The History
The origination of Veduta can be traced back to the 16th century with the first of Vedute (plural) making their mark in the city of Flanders, a region shared by present day Belgium, France, and the Netherlands. By the 17th century, the royal and wealthy Dutch The families were proud to show the prospects of amazing detail painting. The magnificent view over the river Thames in London, are also among the early works of view. Venice was the hub of the sale in about half of the eighteenth century.

Details
Although very similar sound to many other forms of art, depicting the beauty of a city or a natural scene, captured the subtleties of view in a class by itself. Works depicting the beauty of nature, as the views of the rivers&/or waterfalls, exemplary ancient architecture (majestic churches and arch-bridges), panoramic scenes from a mountaintop, and seascapes showing setting sun in clean blue sea waters were the essence of early Vedute. The particular favorites of the Veduta artists were cities, like Rome and Venice, which were full of natural beauty.

The Artists & the Artworks
Early Veduta artists (Vedutisti) included Paul Brill (Belgium, 1554-1626), who was recognized as the founding father of Veduta. Canaletto (Venice, 1697-1768) painted the splendid life like views of famous Venetian vistas. His select works are housed presently in the great art museums of the world. Another early work of merit is Johannes Vermeer's (Dutch, 1632-75) 'View of Delft' (1659-60). There were other three famous Veduta artists, Giacomo (1678-1716), Giannantonio (1699-1760), and Francesco (1712-1793), co-incidentally belonging to the same Italian Guardi family. They focused mainly on the views of the city of Venice. The most famous of the Guardi trio was Francesco, who was considered at par with Canaletto. In fact, Francesco's works were more depictive and the flow of ideas and brush-strokes were freer than the works of Canaletto. Giovanni Pannini (Italian, 1691-1765) was a revolutionary Vedutisti who focused only on painting the views of ruins. Giovanni Battista (also Giambattista) Piranesi's (1720-78) Varie Vedute di Roma Antica e Moderna (1745) was a series of famous Veduta works, that recorded painting instead.

Conclusion
While the first form of art based on the view of cities like Venice, Dresden, Warsaw and London, the number and variety of later works were presented. Towards the end of the nineteenth century view developed on an individual performances. By the time the photograph was incorporated gender.

Art Museums Around the World

Museums collect and care for objects of scientific, artistic, or historical importance and make them available for public viewing through exhibits that may be permanent or temporary. Large museums are located in major cities throughout the world and more local ones exist in small cities.

At Saatchi Gallery you can see the List of Main Art Museums around the World few of those are given as below.

The Museum Of Modern Art - New York

The Museum of Modern Art is dedicated to being the foremost museum of modern art in the world. The rich and varied collection constitutes one of the most comprehensive and panoramic views of modern art. The Museum Archives contains primary source material related to the history of Museum of Modern Art and contemporary art.

National Gallery - London

The National Gallery houses some of the most famous and familiar paintings in the world, in a building that is an internationally recognised landmark.

The Metropolitan Museum - New York

The Metropolitan Museum of Art is one of the world's largest and finest art museums. Its collections include more than two million works of art spanning 5,000 years of world culture, from pre-history to the present and from every part of the globe.

Tate Modern - London

Tate Modern is the national gallery of international modern art. Located in London, it is one of the family of four Tate galleries which display selections from the Tate Collection. The Collection comprises the national collection of British art and of international modern art from the year 1500 to the present day

National Gallery of Art, Washington - Washington DC

The National Gallery of Art, one of the world's preeminent museums, was created for the people of the United States of America by a joint resolution of Congress accepting the gift of financier, public servant, and art collector Andrew W. Mellon in 1937.

Guggenheim Museum - New York

The Foundation realizes this mission through exceptional exhibitions, education programs, research initiatives, and publications, and strives to engage and educate an increasingly diverse international audience through its unique network of museums and cultural partnerships.

Los Angeles County Museum of Art - Los Angeles

Established in 1910 as part of the Los Angeles Museum of History, Art and Science,
Experience European masterpieces, cutting-edge contemporary art, an extensive collection of American art from the United States and Latin America.

Colors of Narcissism

He wrote in his little booklet;

"I do not remember exactly when I was offered a stone bowl filled with poison.

Several times I stopped (it was the story will take place on this ).... Twice caught in the act of stealing clothes say Demoiselles d'Avignon in France and once in India, Vishnu is the name that I did. Very often, I was declared as the "enfant terrible" and incorrigible. "

Many times at the bar, it is placed oddly alarming. Speak

When you are seduced by the goddess of life, reveals the power of talking to me about all her nudity, vulgarity, rude and inconsiderate.

My job is to collect recruitment life measures expression. The context of efforts can be of any shape and could be anything. "

Narcissus was the first to fall in love with himself after that mirrors the image reflected on the water surface, I am the third to have been trapped by the different levels of a single table, while dressing36 calligraphic paintings are designed around me! When the artist who created all things that would in any case, this second line!

There was a time painting and wallpaper used in the context of other across the room or the living room, now by artists such as Malik Ejaz, you have the freedom gained from the interior all in accordance with the concepts and dreamy artistic, including the popular demand and the power of the developed instinctiveAesthetics.

An exhibition of furniture and paintings on the art trade Nairang Malik took a lot of thinking and the use of internal conceptual art all together, as the glass shelves, curved shelves, you can choose from a variety of visually expand the field and made conceptual device.

As founder and director of the Department of Interior Design at the NCA, Malik has taken this responsibility will be practical and workable solutions to long-to meet all academic requirements. The tabletop glass displays the inscriptions of Ghalib, Faiz and Keats, on the surface, while on the other hand, put Malik shows a series of images designed calligraphic nervous that they were thirsty six in number, organize Bismilla Bismilla 1 to 36 surroundings, bright colors, intricate but simple linear texture and vibrant quality could have occurred because of inadvertent crossing and figurationOverlap the straight and curved lines and areas with scenic serenity to misuse of pure colors and crisp. The simple reason for this effort could be traced, as are Malik says

"I can not think of this world without color, what could be a great world around us in popular colors or no color."

As for these 36 paintings by the artist drew almost 1,400 drawings, which provided him the opportunity to choose the best. A catalog wasLook through the effort in conjunction with the drawings, which develops, finally, the show's final view of paintings and exciting display of furniture.

Once you have a drawer, while in several vanity as a "narcissist" would be the Bell Tolls would be at the same time as the entire environment visually Bismilla marbles!

Viewed critically, the majority of Malik's paintings look great inspiration of an architect and designerthat most of the frames were displaying the overwhelmed quality of design rather than painting. The canvases could not be categorized as abstract expression neither they could be termed as expressionistic, though calligraphy prevailed through and across the visual and actual frames simultaneously, the style of pure static calligraphy was also absent but what the artist had succeeded to attain was the quality of a well-designed and synchronized assortment of casings, displayed along with other objects of the exhibition.

A frame under the title of 'BISMILLA 10' was a striking piece with open composition of form, strikingly appealing division by solid yet subtle line towards the left and curvilinear shapes assimilated to evoke an impact of solid formation. Red and Yellow in pure and Straw-brown tinges had enriched the visual impact collectively.

On the other hand, a closed composition with lines creeping diagonally suggested the hair-lock of a female face while coiling lines impacted the facial contours. In this frame, clear outlines of eyes, painted in deliberate ignorance showed the conception of an idea in personal and individual or rather indivisible manner.

One of the sketches, which were put in compiled form at the venue in connection with the true understanding of this exhibition, revealed that during his voyage of numerous shapes, Malik convoluted the human figures from womb fetus to a grown up, though unintentionally but definitely due to the collective psyche and the conscious extended towards past, over millions of years in terms of life and sufferings.

Moreover, Malik's efforts got best in frame No 20; where the articulacy seemed congenial with creativity as the irresistible design element absorbed in true compositional requirements rather than 'fashioned requirements' whereas texture, space, line quality together with naturally produced lights and darks, were giving an impression of perfect harmonization whereas the art had played more effective role as a replacement for of the artist, for a change in fact!

Collectively, Maliks compositions were dominated by design, overlapping gay colors; merging in such a way that one could trace sfumato technique at a less significant level, but concurrently, he had also used the linear quality by varying it as per requirement and enriched the total impact by cross hatching, where needed.

One could find the academic manipulations of an architect and a designer who looked as if breathing sharply behind the malleable intuitions of a painter.

The collection that was displayed was exceptional in many ways but chiefly for, who's looking to have his or her home 'interiored', for the reason that thought provoking and poetic table tops, nicely poised chairs and sculpturesque shelves would capture your gaze when you would be ensnared by the premeditated calligraphic designs framed to exploit the viewer at a maximum level.

But the 'Vishnu', the 'thief who stole clothes of demoiselles d' Avignon', and the 'enfant terrible' wants us all to look and feel the way he likes, or has seen what ever is there in mother earth's lap, since he has all the colors and titles pasted on his own forehead, as suggested by his own statement!...A NARCISSIST!

The Many Functions of Ancient African Art

Unlike their Western counterparts, only very little art bears the individual stamps of their artists. African artists were sometimes requested to create specific artworks for a king or a leader, but most of the time these were created by several tribal artists that had to work according to tradition. But in spite of these restrictions, many African artists still managed to express their own techniques and imagination. If a new technique was proven to be good or practical, it easily became part of the artistic tradition.

So much of African art was created for religious purposes. Spiritism, magic, ancestor worship and many other aspects of the religions of African tribes are commonly reflected in their art. Artworks were also created for celebrating marriage, funerals and other festive occasions. While most Western artists value art for its own beauty, African artists seem to place tremendous value and meaning to the forms, arrangement of shapes and lines on each work of art. It is very rare for an African sculptor to create art just for the sake of creating something beautiful. Nearly everything an African artist does has a function and a purpose.

Sculptures were made to honor ancestors, gods and kings. Elaborate masks were created to be worn on festive occasions. Beads, trinkets and jewelry were mostly used to indicate wealth, adolescence, marriage, or personal authority. Guardian figures made out of clay or metal were fastened to coffins to invite good spirits that would protect the dead and chase away evil demons. Stools, spoons, bowls, combs, as well as a variety of other useful items were carved to make them a little more decorative. But the object of African art is always meant to be useful first and beautiful only second.

Masks were an important piece of art in Africa. The use of masks had an important role in the spirit world that dominated the lives of the African people. They were used at initiation ceremonies, for example, when a boy was accepted as an adult in the tribe. Their main purpose however, was to scare away evil intruders and spirits. Among the most admired and prized masks are those from Sudan region. These have smooth finishes and very graceful lines that show off the intricate craftsmanship of their artists. Sometimes the masks were decorated with feathers and other trinkets. African masks were designed to be worn on top of the head instead of over the face. Their designs were usually based on the horns of an animal reaching heavenward.

Another important form of metal sculpture in Africa is the gold weight. These weights were also made in bronze, copper, or brass. These small cast figures were made in various sizes and weights to measure quantities of gold. Most of these weights were made in what is now known as the Ghana and they were essential to the gold trade. The Ashanti tribe, which produced more gold weights than any other tribe, patterned figures after medicine men, reptiles, trees, plants and geometric designs. Aside from weights, Africans have also made jewelry out of gold. African women of all ages wore gold trinkets for ornamentation in. Men on great occasions also wore long gold chains and pendants. The African goldsmith was a masterful craftsman and created intricate work with 18 karat gold.

Africans were also very good at making handicrafts. They wove their own textiles bags, robes and other decorative products. The artists who created fabrics were usually women while all other paintings were left to the men. The designs were generally geometrical in nature.

Pottery was also an important craft in Africa. Bowls and stools were usually very functional and simple in design. It is their simplicity that makes them so interesting. They also made baskets, shoes, fans and rugs made of a coarse cloth called samfos or a fiber like raffia.