917 resultados para Nassar, Raduan 1935


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Handwritten thank you note under photograph signed by Lotte Lewin dated February 6, 1935

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Handwritten by artist bottom right: Prof. Einstein from life Carola Spaett-Hauschka Cold Lyme 1935

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List of Jewish residents between 1933 and 1945. Photocopy from "The Jewish Chronicle" (1935) on persecution of Jews in Wittenberg.

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The memoir was written in New York between 1981 and 1983. Recollections of the Nazi take-over in Germany and their growing awareness of the upcoming danger. Closure of the cabaret of Friedrich Hollaender, where Lotte and her husband were working, due to its "subversive" political views. After the burning of the "Reichstag" (parliament) Lotte and Victor emigrated to France. Life of emigres in Paris. Lotte found work as a foreign language secretary. Victor worked with a film editor. Extradition from France due to their expired carte d'identite. Move to Amsterdam. In 1935 they went to friends in Spain, where Victor had a position as a film editor. They lived in Barcelona until outbreak of civil war. Escape to London via Prague. Exit visas for the United States. Arrival in New York in 1937. Victor was invited by Friedrich Hollaender to Hollywood, where Lotte joined him a few months later. Work as butler and cook in a family. Lotte found only a few engagements in theater and film. Divorce from her husband and remarriage with actor Wolfgang Zilzer (Paul Andor).

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Transcript of an oral history interview with Susanne Harris Flodstrom, née Neuwalder, conducted by Deborah Dwork in New Haven, CT in nine sessions 1993-1994.

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The painting represents a figure bending over to attend the plants in a cabbage field, probably the artist's summer house in Wannsee outside Berlin, where he did most of his work after 1922.

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This large ambitious painting is one of Liebermann's earliest. His uncle, the Geheime Kommerzienrat (Privy Councillor) Benjamin Liebermann (1847-1935), is elderly and slim, but erect and proudly wearing his honorary business medals, has his left hand on his hip, while his right hand rests on the back of a red velvet chair. He is wearing long sideburns and whiskers. The background is plain. The style is tight and painstaking, but already exhibits Liebermann's preference for visible, impasto brushstrokes. The emphasis is on the face, with no attempt at idealization of the akward, but strong features. The colors are mainly black and brown.