這是不是放在科研部門或科智所更適合？
Hanching Chung 愛迪生時代只懂得蠻幹或土法煉鋼，或情有可愿......
Jordan Wen 愛迪生在門羅公園是現代㐧一個用企業組織從事研究發展的人。
哈，我寫的時候想的統計學、理論。.....哪天將過去翻譯的Managerial Breakthrough ，《管理三部曲》pp.128~129：社會、經濟、技術三層面的突破印給大家.......
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Jordan Wen 愛迪生在門羅公園是現代㐧一個用企業組織從事研究發展的人。
哈，我寫的時候想的統計學、理論。.....哪天將過去翻譯的Managerial Breakthrough ，《管理三部曲》pp.128~129：社會、經濟、技術三層面的突破印給大家.......
Holy well
Max Burckhard (14 July 1854, Korneuburg, Lower Austria - 16 March 1912, Vienna) was director of the Burgtheater, Vienna, from 1890 to 1898.ウィーン分離派[編集]
ドイツの詩人ウーラントの詩に"Ver sacrum"（1880年）がある。世紀末のオーストリアで結成されたウィーン分離派は、ウーラントの詩に因み、機関誌に"Ver sacrum"（ドイツ語読みでフェル・ザクルム）と名付けた。作家マックス・ブルクハルトは創刊号（1898年1月）で古代のウェル・サクルムの伝承（聖なる春に生まれた子供たちが成人し、古い集団を離れて新しい集団をつくる）を紹介し、分離派の結成になぞらえている[7]。
1898◎ January, a separatist art magazine "Vel Sakulum" was published. I greeted Hermann Barre and Max Burghardt as a literary adviser. The name of the magazine comes from the ancient Roman ceremony of consecuting youth to God in the case of national security. "For us, there is no difference between large art and small art, I do not know the arts for rich people and the art for poor people Art is a good for the public" (first issue). In this magazine, Adolph Roth also blesses Vienna of Ringstraße as "Potemkin city" of Haribote by apparently killing it.
ルートヴィヒ・ヘヴェジィ（英語版） - 『ドイツの世紀末Ⅰ ウィーン 聖なる春』所収
1898年
◎1月，分離主義藝術雜誌“Vel Sakurum”出版。我向Hermann Barre和Max Burghardt作為文學顧問致意。雜誌名從古羅馬儀式，在國難當頭的年輕人奉獻給神的。 “對我們來說，有較大的藝術和小型藝術之間沒有什麼區別。不知道藝術的藝術和區別窮人為富人。藝術是該品為公眾”（第一期）。阿道夫·盧斯在這本雜誌是，維也納環形道上，Haribote在為“波將金市”揍失利明顯。
◎3月，分離主義者首次展覽。皇帝弗朗茨約瑟夫I我出席了。雄心勃勃的引進外國作品也是維也納分離主義者的偉大成就。 “在維也納這樣的外國作品是一次從未甚至一度進行了介紹。......幾乎沒有，甚至誰聽說過馬奈，高更，修拉的名字的人，梵高是出了問題。
◎十月份，Gerstol進入學院。
◎5月11日，作為分裂國家展的展廳，基於Mautona家庭和維特根斯坦房子的資金，在卡爾廣場建成為分裂國家畫廊Oruburihi設計。門面“，是那個時代的特定時代的藝術，藝術中的原始自由了”這套豪宅已經刻有展覽被打開第二次。從屋頂的獨特形式突然被稱為“金白菜”。 “公民豎起他的頭，笑，怒，跳過了雙關語。有時有人告訴阿巴斯，這是英雄的Al-馬哈迪上午墓......還在於它是溫室和高爐之間的交叉。進一步升級，排列了在亞述儀式現場。的比較......但沒有到達，直到市民仍然明白了，這是開始覺得暗示這東西，不能Shosatsu“（Hevejii）。
◎與Leopold·Brauensteiner，學院學習。
◎與Anton Hanark學院學習。
◎奧地利藝術工業博物館推出“工藝美術”雜誌。 *為了紀念弗朗茨約瑟夫一世的50週年紀念，現任Volksoper將成立。
**柏林柏林與利伯曼主席分居。
** 9月，日內瓦女皇伊麗莎白被意大利無政府主義者路易吉盧切尼暗殺。始終對反复這次歐洲旅行的各個地方的偏心的皇后意大利詩人Danunchio寫了一個美麗的紀念聲明，霍夫曼斯塔爾發布到其翻譯為“Tsuukunfuto”雜誌上。
** GeorgSchönler（1842-1921）開始“與羅馬一起練習”。從新教反天主教運動轉向德國民族主義的中心。
**七月，奧托·俾斯麥（1815-）歿。
1899年
工藝美術今年◎維也納學校，進行了改組歡迎分裂的鐵氰Furaiheru馮Myurubahha本金，約瑟夫·霍夫曼，科洛曼·莫澤，是阿爾弗雷德RORA變為工藝美術學院教授。
◎約瑟夫·瑪麗亞Oruburihi的工藝美術學校沒有給工作轉移到達姆施塔特離開維也納。
◎奧斯卡·拉斯克將從奧托瓦格納學院學習。
◎約瑟夫霍夫曼將受託負責維特根斯坦的鄉間別墅改造工程。
◎奧地利政府成立了“藝術委員會”。奧托瓦格納，卡爾莫爾等人，並將為分裂主義者的利益服務。
◎費迪南德·安德里，將擔任分裂主義者的主席。
◎阿爾賓·埃格爾·倫茲搬到了維也納。
◎設計Adolf Roses，咖啡廳Muzeum。從徹底的裝飾消除，它被稱為垃圾咖啡廳，“咖啡Nichirisumusu”。它可以被稱為“反分裂國家咖啡廳。因為這個店的現代性質，我們沒有什麼都沒有做什麼理解為分裂國家分裂國家設置與裝飾，腰部工作相當殺裝修，殺手......這個咖啡館一邊，而不是好東西也被丟棄所有的乾淨利索，不僅要證明是有實用一些美容的，有用性之間這證明了美麗無處不在“（”Vienna Lundshow“雜誌）。
◎Jung Nickel從慕尼黑來到維也納，並從學院的格力Pencail學習。
◎在Heinrich / Lechler課上學習Gerstol學院。這次是我認識了勳伯格。
Gustav Klimt: a life devoted to women
Gustav Klimt's golden visions of the female form are about to go on show in Britain. Martin Gayford reports
In June 1902, the great French sculptor Auguste Rodin was passing through Vienna, en route from Prague.
While in town, he accepted an invitation to visit the current exhibition of the Vienna Secession movement, and to meet the artist whose monumental work, the Beethoven Frieze, was at the heart of the display: Gustav Klimt.
The two artists - Rodin 62, and at the peak of his fame, Klimt just about to turn 40 - went to a café in the Prater garden. According to the art critic, Berta Zuckerkandl, they sat down "beside two remarkably beautiful young women at whom Rodin gazed enchantedly.
"That afternoon, slim and lovely vamps came buzzing around Klimt and Rodin, those two fiery lovers," Zuckerkandl recalled.
"Rodin leaned over and to Klimt and said, 'I have never before experienced such an atmosphere - your tragic and magnificent Beethoven fresco, your unforgettable, temple-like exhibition, and now this garden, these women, this music. What is the reason for it all?' And Klimt slowly nodded his beautiful head, and answered only one word: 'Austria.'"
Rodin and Klimt, despite differences in nationality, age and medium, had a great deal in common, not least that both of them had created daring works with a single theme: a kiss between naked male and female figures. Indeed, the word "kiss" is a little euphemistic. The subject was sex.
Klimt's kiss was the climactic moment of his monumental Beethoven Frieze, a recreation of which will be one of the highlights of the forthcoming exhibition at Tate Liverpool, Gustav Klimt: Painting, Design & Modern Life in Vienna 1900.
This will be the first substantial exhibition of work by Klimt ever staged in Britain. It will present around 26 paintings and 30 drawings in the context of an equal number of pieces of furniture and objects by contemporaries such as the architect and designer Josef Hoffmann.
Among the Klimts will be several important works including Nuda Veritas (1899), the sensuous naked nymphs of Water Serpents I (1904-7) and a 34-metre replica of the Beethoven Frieze.
This huge work was based on Richard Wagner's description of Beethoven's Ninth Symphony, which concludes, of course, with the singing of Schiller's "Ode to Joy". Wagner had described this epic piece of music as "a struggle, conceived in the most grandiose manner, by the Spirit for joy against the weight of those hostile powers that stand between us and earthly happiness".
Klimt represented Schiller's words, "Joy, beautiful sparks of the gods, this kiss for all the world", in the most earthy manner, with his naked, embracing lovers.
To Klimt, it seems, the hostile powers - naked temptresses and a huge snarling ape - above all symbolised the disease syphilis of which he was terrified - and understandably, since he had contracted it at an early age.
Thus, his frieze brought together the themes of music, death, love - or sex - so fundamentally fascinating to the Vienna of Sigmund Freud and Arthur Schnitzler. That was perhaps what Klimt meant by his laconic answer to Rodin's question.
As this incident suggests, Klimt was a man of few words, but he made a forceful physical impression. Alfred Lichtwar, the director of the Hamburger Kunsthalle, described him as "a stocky man, more or less chubby" with "the cheerful, brusque manners of a nature boy, a sailor's brown skin, strong cheekbones and little darting eyes. When he speaks, it is with a resounding voice and strong dialect."
A young woman named Frederike Beer-Monti rang on Klimt's doorbell in 1915, hoping he would paint her portrait (she had already posed for his younger rival, Schiele). She found him both taciturn and formidable.
"Klimt took her hand, looked at it, turned it over and for a long time, said not a single word."
Beer-Monti was finally allowed to enter. But, "It took a lot of talking to make him a little friendlier."
Klimt eventually agreed to paint her - an arduous business which took three sittings of three hours each per week for six months. Though the result was a magnificent picture, Beer-Monti was ambivalent about the artist.
"Klimt was exceptionally animal-like. His body exuded a peculiar odour. As a woman, one was really afraid of him."
Born in 1862, Klimt was from a relatively humble background - the second of seven children, his father a gold engraver. There was something feral about him. In photographs he is often wearing a full-length smock, in which he resembles a classical faun dressed up as a biblical prophet.
His studio was filled, as was Rodin's, with models who posed for endless drawings - often, again like Rodin's, of a startling eroticism.
These models inhabited his studio, rather like his pet cats. When he was painting Frederike Beer-Monti, "He took a break every hour and went into an adjacent room to relax and chat for a while with the models who were always there.
Alma Schindler reported that he 'would take them to the theatre or races, always slipped them a banknote'." Alma Schindler herself - later Alma Mahler, and subsequently the lover of Oskar Kokoschka and the wife of the architect Walter Gropius - was one of Klimt's failed conquests.
He pursued her to Italy in 1899, where she was on holiday with her family. He kissed her in a Genoese hotel room, embraced her on a bridge in Venice while they looked into the dark waters of the canal, but she, though wildly in love, was firm ("not without a ring on my finger").
About the same time, Klimt fathered three sons - one of whom went on to become a well-known film director - by two other women, and began a long-lasting, though apparently open, relationship with a talented proprietor of a Viennese fashion salon, Emilie Flöge.
The names of the models and other women in his life do not always survive, partly because Flöge burnt much of Klimt's correspondence after his death from a stroke in 1918. One who has been identified by chance recently was Hilde Roth, a beautiful Bohemian redhead from Budapest whose face can be seen Lady with Hat and feather Boa (c1910), and voluptuous body - probably - in Goldfish (1901-02).
Although he was a delightful painter of landscapes, women were Klimt's theme above all others.
Richard Muter, in a newspaper review of 1909, claimed that "the new Viennese woman, a specific sort of new Viennese woman - their grandmothers were Judith and Salome - has been invented or discovered by Klimt. She is delightfully vicious, charmingly sinful, fascinatingly perverse."
Klimt was certainly able, like certain couturiers and fashion photographers, to make his sitters and models look extraordinarily glamorous. In his later portraits, the work for which above all he is famous, his strategy was to retain the academic realism of his earlier work for the face and figure of the subject.
But he dissolved the rest of the image in luxuriant decoration, derived from Byzantine mosaics, Celtic design, and the Oriental textiles and ceramics that filled his studio. The effect is sumptuous, sensual, near-abstract but not too dauntingly avant-garde.
That ornament, however, tended to be filled with meaning. When Klimt died, an unfinished painting entitled The Bride was left in his studio. The right half was dominated by a semi-naked female figure.
As the art historian Alessandra Comini described it, "The knees were bent and the legs splayed out to expose a carefully detailed pubic area on which the artist had leisurely begun to paint an overlay 'dress' of suggestive and symbolic ornamental shapes."
Thus Klimt's own death revealed the sexual obsession that lay beneath his shimmering surfaces.
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