1.
Paul Friedrich Meyerheim
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Paul Friedrich Meyerheim was a German painter and graphic artist. He did portraits and landscapes, but is best known as a painter of animals and he and his brother took their first art lessons from his father. This experience led him to specialize in animal painting, from 1857 to 1860 he attended the Prussian Academy of Arts. Later, he made study trips to Switzerland, Belgium. In 1883, he established a painting class at the Academy. He was appointed a Professor there in 1887 and became a member of the Academic Senate, Meyerheim was a friend of the Borsig family, owners of the Borsig-Werke, a company that manufactured railroad locomotives. He produced many illustrations and designs especially for them, a major attraction at the Great Berlin Art Exhibition in 1912 was a series of seven huge images, painted on copper, that he had done for the Borsigs in 1873/76. The panels were called Lebensgeschichte einer Lokomotive and were intended for the garden loggia at their home in Alt-Moabit. Some panels are now in the possession of the Märkisches Museum in Berlin-Mitte and his father was the painter Friedrich Eduard Meyerheim, his elder brother, Franz Meyerheim, was also a painter as were his uncles, Wilhelm and Hermann. German Wikipedia, Lebensgeschichte einer Lokomotive Staatliche Museen Berlin, Kunst in Berlin 1648–1987, hans Joachim Neidhardt, Deutsche Malerei des 19. E. A Seemann Verlag, Leipzig 1990, ISBN 3-363-00468-0, irmgard Wirth, Berliner Malerei im 19. Siedler Verlag, Berlin 1990, ISBN 3-572-10011-9, p.418, arcadja Auctions,49 works by Meyerheim Literature by and about Paul Friedrich Meyerheim in the German National Library catalogue
2.
Walter Crane
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Walter Crane was an English artist and book illustrator. Cranes work featured some of the colourful and detailed beginnings of the child-in-the-garden motifs that would characterize many nursery rhymes. He was part of the Arts and Crafts movement and produced an array of paintings, illustrations, childrens books, ceramic tiles, Crane is also remembered for his creation of a number of iconic images associated with the international Socialist movement. Crane was the son of Thomas Crane, a portrait painter and miniaturist, and Marie Crane. His older brother Thomas would also go into illustration, and sister Lucy a noted writer, a set of coloured page designs to illustrate Tennysons Lady of Shalott gained the approval of wood-engraver William James Linton to whom Walter Crane was apprenticed for three years in 1859–62. He was a student who admired the masters of the Italian Renaissance, a further and important element in the development of his talent was the study of Japanese colour-prints, the methods of which he imitated in a series of toy books, which started a new fashion. From the early 1880s, initially under William Morriss influence, Crane was closely associated with the Socialist movement and he did as much as Morris himself to bring art into the daily life of all classes. With this object in view he devoted attention to designs for textiles and wallpapers, and to house decoration. For a long time he provided the cartoons for the Socialist organs Justice, The Commonweal. Many of these were collected as Cartoons for the Cause and he devoted much time and energy to the work of the Art Workers Guild, of which he was master in 1888 and 1889 and to the Arts and Crafts Exhibition Society, which he helped to found in 1888. He was also a Vice President of the Healthy and Artistic Dress Union and they produced numerous pamphlets setting out their cause, including one entitled How to Dress Without a Corset which Crane illustrated. Although not himself an anarchist, Crane contributed to several publishers, including Liberty Press. He is credited with the design and decoration of the front facade of The Bomb Shop, Hendersons bookshop at 66 Charing Cross Road specialising in left-wing, Crane was controversial in his support of the four Chicago anarchists executed in 1887 in connection with the Haymarket affair. Financial support was withdrawn and planned dinners in Cranes honor were cancelled, the incident was memorialized in the press as probably the most dramatic episode in the artists career. Walter Crane died on 14 March 1915 in Horsham Hospital, West Sussex and his body was cremated at the Golders Green Crematorium, where his ashes remain. He was survived by three children, Beatrice, Lionel and Lancelot, in 1863 the printer Edmund Evans employed Crane to illustrate yellowbacks, and in 1865 they began to collaborate on toy books of nursery rhymes and fairy tales. From 1865 to 1876 Crane and Evans produced two to three toy books each year and these are a few of his illustration suites, In 1864 he began to illustrate a series of sixpenny toy books of nursery rhymes in three colours for Edmund Evans. He was allowed more freedom in a beginning with The Frog Prince which showed markedly the influence of Japanese art
3.
German language
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German is a West Germanic language that is mainly spoken in Central Europe. It is the most widely spoken and official language in Germany, Austria, Switzerland, South Tyrol, the German-speaking Community of Belgium and it is also one of the three official languages of Luxembourg. Major languages which are most similar to German include other members of the West Germanic language branch, such as Afrikaans, Dutch, English, Luxembourgish and it is the second most widely spoken Germanic language, after English. One of the languages of the world, German is the first language of about 95 million people worldwide. The German speaking countries are ranked fifth in terms of publication of new books. German derives most of its vocabulary from the Germanic branch of the Indo-European language family, a portion of German words are derived from Latin and Greek, and fewer are borrowed from French and English. With slightly different standardized variants, German is a pluricentric language, like English, German is also notable for its broad spectrum of dialects, with many unique varieties existing in Europe and also other parts of the world. The history of the German language begins with the High German consonant shift during the migration period, when Martin Luther translated the Bible, he based his translation primarily on the standard bureaucratic language used in Saxony, also known as Meißner Deutsch. Copies of Luthers Bible featured a long list of glosses for each region that translated words which were unknown in the region into the regional dialect. Roman Catholics initially rejected Luthers translation, and tried to create their own Catholic standard of the German language – the difference in relation to Protestant German was minimal. It was not until the middle of the 18th century that a widely accepted standard was created, until about 1800, standard German was mainly a written language, in urban northern Germany, the local Low German dialects were spoken. Standard German, which was different, was often learned as a foreign language with uncertain pronunciation. Northern German pronunciation was considered the standard in prescriptive pronunciation guides though, however, German was the language of commerce and government in the Habsburg Empire, which encompassed a large area of Central and Eastern Europe. Until the mid-19th century, it was essentially the language of townspeople throughout most of the Empire and its use indicated that the speaker was a merchant or someone from an urban area, regardless of nationality. Some cities, such as Prague and Budapest, were gradually Germanized in the years after their incorporation into the Habsburg domain, others, such as Pozsony, were originally settled during the Habsburg period, and were primarily German at that time. Prague, Budapest and Bratislava as well as cities like Zagreb, the most comprehensive guide to the vocabulary of the German language is found within the Deutsches Wörterbuch. This dictionary was created by the Brothers Grimm and is composed of 16 parts which were issued between 1852 and 1860, in 1872, grammatical and orthographic rules first appeared in the Duden Handbook. In 1901, the 2nd Orthographical Conference ended with a standardization of the German language in its written form
4.
Fairy tale
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Fairy tales may be distinguished from other folk narratives such as legends and explicitly moral tales, including beast fables. The term is used for stories with origins in European tradition and, at least in recent centuries. In less technical contexts, the term is used to describe something blessed with unusual happiness. Colloquially, a tale or fairy story can also mean any far-fetched story or tall tale, it is used especially of any story that not only is not true. Legends are perceived as real, fairy tales may merge into legends, Fairy tales are found in oral and in literary form, the name fairy tale was first ascribed to them by Madame dAulnoy in the late 17th century. Many of todays fairy tales have evolved from stories that have appeared, with variations. The history of the tale is particularly difficult to trace because only the literary forms can survive. Still, according to researchers at universities in Durham and Lisbon, such stories may date back thousands of years, Fairy tales, and works derived from fairy tales, are still written today. Folklorists have classified fairy tales in various ways, the Aarne-Thompson classification system and the morphological analysis of Vladimir Propp are among the most notable. Other folklorists have interpreted the significance, but no school has been definitively established for the meaning of the tales. It moves in a world without definite locality or definite creatures and is filled with the marvelous. In this never-never land, humble heroes kill adversaries, succeed to kingdoms, a fairy tale with a tragic rather than a happy end is called an anti-fairy tale. Although the fairy tale is a genre within the larger category of folktale. The term itself comes from the translation of Madame DAulnoys conte de fées, Vladimir Propp, in his Morphology of the Folktale, criticized the common distinction between fairy tales and animal tales on the grounds that many tales contained both fantastic elements and animals. Were I asked, what is a fairytale, I should reply, Read Undine, that is a fairytale. of all fairytales I know, I think Undine the most beautiful. As Stith Thompson points out, talking animals and the presence of magic seem to be common to the fairy tale than fairies themselves. However, the presence of animals that talk does not make a tale a fairy tale, especially when the animal is clearly a mask on a human face. Steven Swann Jones identified the presence of magic as the feature by which fairy tales can be distinguished from other sorts of folktales, davidson and Chaudri identify transformation as the key feature of the genre
5.
Brothers Grimm
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Their first collection of folk tales, Childrens and Household Tales, was published in 1812. The brothers spent their formative years in the German town of Hanau and their fathers death in 1796 caused great poverty for the family and affected the brothers for many years after. They both attended the University of Marburg where they developed a curiosity about German folklore, which grew into a dedication to collecting German folk tales. The rise of romanticism during the 19th century revived interest in folk stories. With the goal of researching a scholarly treatise on folk tales, between 1812 and 1857, their first collection was revised and republished many times, growing from 86 stories to more than 200. The popularity of the Grimms best folk tales has endured well, Jacob Ludwig Carl Grimm was born on 4 January 1785 and his brother Wilhelm Carl Grimm on 24 February 1786. They were the second- and third-eldest surviving siblings in a family of nine children, in 1791, the family moved to the countryside town of Steinau, when Philipp was employed there as district magistrate. The family became prominent members of the community, residing in a home surrounded by fields. Biographer Jack Zipes writes that the brothers were happy in Steinau, the children were educated at home by private tutors, receiving strict instruction as Lutherans that instilled in both a lifelong religious faith. In 1796, Philipp Grimm died of pneumonia, plunging his family into poverty, Dorothea depended on financial support from her father and sister, first lady-in-waiting at the court of William I, Elector of Hesse. Jacob was the eldest living son, and he was forced at age 11 to assume adult responsibilities for the two years. The two boys adhered to the advice of their grandfather, who continually exhorted them to be industrious, the brothers left Steinau and their family in 1798 to attend the Friedrichsgymnasium in Kassel, which had been arranged and paid for by their aunt. By then, they were without a provider, forcing them to rely entirely on each other. The two brothers differed in temperament, Jacob was introspective and Wilhelm was outgoing, sharing a strong work ethic, they excelled in their studies. In Kassel, they became aware of their inferior social status relative to high-born students who received more attention. Still, each brother graduated at the head of his class, Jacob in 1803, after graduation from the Friedrichsgymnasium, the brothers attended the University of Marburg. The university was small with about 200 students and there they became aware that students of lower social status were not treated equally. They were disqualified from admission because of their standing and had to request dispensation to study law
6.
Petronius
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Gaius Petronius Arbiter was a Roman courtier during the reign of Nero. He is generally believed to be the author of the Satyricon, tacitus, Plutarch and Pliny the Elder describe Petronius as the elegantiae arbiter, judge of elegance in the court of the emperor Nero. He served as consul in 62. Later, he became a member of the class who devoted themselves to a life of pleasure. His relationship to Nero was apparently akin to that of a fashion advisor and his reckless freedom of speech, being regarded as frankness, procured him popularity. Yet during his government, and later when he held the office of consul, he had shown vigor. None of the ancient sources give any detail about his life. However, a manuscript written around 1450 of the Satyricon credited a Titus Petronius as the author of the original work. Traditionally, this reference is linked with Petronius Arbiter, since the novel appears to have written or at least set during his lifetime. The link, however, remains speculative and disputed, Petronius development of his characters in the Satyricon, namely Trimalchio, transcends the traditional style of writing of ancient literature. In the literature written during Petronius lifetime the emphasis was always on the considerations of plot. The character, which was known in ancient literature, was secondary. Petronius goes beyond these literary limitations in his portrayals of detailed speech, behavior, surroundings. Another literary device Petronius employs in his novel is a collection of specific allusions, the allusions to certain people and events are evidence that the Satyricon was written during Neros time. These also suggest that it was aimed at an audience which consisted in part of Neros courtiers. One such allusion, found in chapter 9, refers to the story of the good wife Lucretia which was well-known at the time, If youre a Lucretia, he said, Youve found a Tarquin. The message Petronius tries to convey in his work is far from moral and does not intend to produce reform, as the title implies, the Satyricon is a satire, specifically a Menippean satire, in which Petronius satirizes nearly anything, using his taste as the only standard. It is speculated that Petronius depiction of Trimalchio mirrors that of Nero, although the authors own opinion is never alluded to, the opinions of the characters involved in the story are evident, as is how Encolpius criticizes Trimalchio
7.
Satyricon
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The Satyricon, or Satyricon liber, is a Latin work of fiction believed to have been written by Gaius Petronius, though the manuscript tradition identifies the author as a certain Titus Petronius. The Satyricon is an example of Menippean satire, which is different from the formal verse satire of Juvenal or Horace. The work contains a mixture of prose and verse, serious and comic elements, as with the Metamorphoses of Apuleius, classical scholars often describe it as a Roman novel, without necessarily implying continuity with the modern literary form. The surviving portions of the text detail the misadventures of the narrator, Encolpius, and his lover, throughout the novel, Encolpius has a difficult time keeping his lover faithful to him as he is constantly being enticed away by others. Encolpiuss friend Ascyltus is another major character and it is one of the two most extensive witnesses to the Roman novel. Satyricon is also regarded as evidence for the reconstruction of how lower classes lived during the early Roman Empire. A handsome sixteen-year-old boy, pretending to be a servant to Encolpius, an ex-gladiator and friend of Encolpius, rival for the ownership of Giton. An extremely vulgar and wealthy freedman, an aged, impoverished and lecherous poet of the sort rich men are said to hate. A barber, the servant of Eumolpus. Circes servant, also in love with Encolpius, the work is narrated by its central figure, Encolpius, a teacher of rhetoric to wealthy Roman boys. The surviving sections of the novel begin with Encolpius traveling with a companion and former lover named Asciltos, Encolpiuss slave boy, Giton, is at his owners lodging when the story begins. His adversary in this debate is Agamemnon, a sophist, who shifts the blame from the teachers to the parents, Encolpius discovers that his companion Asciltos has left and breaks away from Agamemnon when a group of students arrive. Encolpius locates Asciltos and then Giton, who claims that Asciltos made an attempt on him. After some conflict, the three go to the market, where they are involved in a dispute over stolen property, returning to their lodgings, they are confronted by Quartilla, a devotee of Priapus, who condemns their attempts to pry into the cults secrets. The companions are overpowered by Quartilla and her maids, who overpower and sexually torture them, then provide them with dinner and engage them in further sexual activity. An orgy ensues and the ends with Encolpius and Quartilla exchanging kisses while they spy through a keyhole at Giton having sex with a virgin girl. This section of the Satyricon, regarded by such as Conte and Rankin as emblematic of Menippean satire. After preliminaries in the baths and halls, the guests join their host, extravagant courses are served while Trimalchio flaunts his wealth and his pretence of learning
Works related to The Frog Prince at Wikisource
