Podcasts about Cranach

Art looting is commonly recognized as a central feature of Nazi expropriation, in both the Third Reich and occupied territories. After the war, the famed Monuments Men (and women) recovered several hundred thousand pieces from the Germans' makeshift repositories in churches, castles, and salt mines. Well publicized restitution cases, such as that of Gustav Klimt's luminous painting featured in the film Woman in Gold, illustrate the legacy of Nazi looting in the art world today. But what happened to looted art that was never returned to its rightful owners? In France, Belgium, and the Netherlands, postwar governments appropriated the most coveted unclaimed works for display in museums, embassies, ministries, and other public buildings. Following cultural property norms of the time, the governments created custodianships over the unclaimed pieces, without using archives in their possession to carry out thorough provenance (ownership) research. This policy extended the dispossession of Jewish owners wrought by the Nazis and their collaborators well into the twenty-first century. The custodianships included more than six hundred works in Belgium, five thousand works in the Netherlands, and some two thousand in France. They included paintings by traditional and modern masters, such as Rembrandt, Cranach, Rubens, Van der Weyden, Tiepolo, Picasso, and Matisse. This appropriation of plundered assets endured without controversy until the mid-1990s, when activists and journalists began challenging the governments' right to hold these items, ushering in a period of cultural property litigation that endures to this day. Including interviews that have never before been published, Museum Worthy: Nazi Art Plunder in Postwar Western Europe (Oxford University Press, 2024) by Dr. Elizabeth Campbell deftly examines the appropriation of Nazi art plunder by postwar governments and highlights the increasingly successful postwar art recovery and restitution process. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Art looting is commonly recognized as a central feature of Nazi expropriation, in both the Third Reich and occupied territories. After the war, the famed Monuments Men (and women) recovered several hundred thousand pieces from the Germans' makeshift repositories in churches, castles, and salt mines. Well publicized restitution cases, such as that of Gustav Klimt's luminous painting featured in the film Woman in Gold, illustrate the legacy of Nazi looting in the art world today. But what happened to looted art that was never returned to its rightful owners? In France, Belgium, and the Netherlands, postwar governments appropriated the most coveted unclaimed works for display in museums, embassies, ministries, and other public buildings. Following cultural property norms of the time, the governments created custodianships over the unclaimed pieces, without using archives in their possession to carry out thorough provenance (ownership) research. This policy extended the dispossession of Jewish owners wrought by the Nazis and their collaborators well into the twenty-first century. The custodianships included more than six hundred works in Belgium, five thousand works in the Netherlands, and some two thousand in France. They included paintings by traditional and modern masters, such as Rembrandt, Cranach, Rubens, Van der Weyden, Tiepolo, Picasso, and Matisse. This appropriation of plundered assets endured without controversy until the mid-1990s, when activists and journalists began challenging the governments' right to hold these items, ushering in a period of cultural property litigation that endures to this day. Including interviews that have never before been published, Museum Worthy: Nazi Art Plunder in Postwar Western Europe (Oxford University Press, 2024) by Dr. Elizabeth Campbell deftly examines the appropriation of Nazi art plunder by postwar governments and highlights the increasingly successful postwar art recovery and restitution process. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Art looting is commonly recognized as a central feature of Nazi expropriation, in both the Third Reich and occupied territories. After the war, the famed Monuments Men (and women) recovered several hundred thousand pieces from the Germans' makeshift repositories in churches, castles, and salt mines. Well publicized restitution cases, such as that of Gustav Klimt's luminous painting featured in the film Woman in Gold, illustrate the legacy of Nazi looting in the art world today. But what happened to looted art that was never returned to its rightful owners? In France, Belgium, and the Netherlands, postwar governments appropriated the most coveted unclaimed works for display in museums, embassies, ministries, and other public buildings. Following cultural property norms of the time, the governments created custodianships over the unclaimed pieces, without using archives in their possession to carry out thorough provenance (ownership) research. This policy extended the dispossession of Jewish owners wrought by the Nazis and their collaborators well into the twenty-first century. The custodianships included more than six hundred works in Belgium, five thousand works in the Netherlands, and some two thousand in France. They included paintings by traditional and modern masters, such as Rembrandt, Cranach, Rubens, Van der Weyden, Tiepolo, Picasso, and Matisse. This appropriation of plundered assets endured without controversy until the mid-1990s, when activists and journalists began challenging the governments' right to hold these items, ushering in a period of cultural property litigation that endures to this day. Including interviews that have never before been published, Museum Worthy: Nazi Art Plunder in Postwar Western Europe (Oxford University Press, 2024) by Dr. Elizabeth Campbell deftly examines the appropriation of Nazi art plunder by postwar governments and highlights the increasingly successful postwar art recovery and restitution process. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/german-studies

Art looting is commonly recognized as a central feature of Nazi expropriation, in both the Third Reich and occupied territories. After the war, the famed Monuments Men (and women) recovered several hundred thousand pieces from the Germans' makeshift repositories in churches, castles, and salt mines. Well publicized restitution cases, such as that of Gustav Klimt's luminous painting featured in the film Woman in Gold, illustrate the legacy of Nazi looting in the art world today. But what happened to looted art that was never returned to its rightful owners? In France, Belgium, and the Netherlands, postwar governments appropriated the most coveted unclaimed works for display in museums, embassies, ministries, and other public buildings. Following cultural property norms of the time, the governments created custodianships over the unclaimed pieces, without using archives in their possession to carry out thorough provenance (ownership) research. This policy extended the dispossession of Jewish owners wrought by the Nazis and their collaborators well into the twenty-first century. The custodianships included more than six hundred works in Belgium, five thousand works in the Netherlands, and some two thousand in France. They included paintings by traditional and modern masters, such as Rembrandt, Cranach, Rubens, Van der Weyden, Tiepolo, Picasso, and Matisse. This appropriation of plundered assets endured without controversy until the mid-1990s, when activists and journalists began challenging the governments' right to hold these items, ushering in a period of cultural property litigation that endures to this day. Including interviews that have never before been published, Museum Worthy: Nazi Art Plunder in Postwar Western Europe (Oxford University Press, 2024) by Dr. Elizabeth Campbell deftly examines the appropriation of Nazi art plunder by postwar governments and highlights the increasingly successful postwar art recovery and restitution process. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/jewish-studies

Art looting is commonly recognized as a central feature of Nazi expropriation, in both the Third Reich and occupied territories. After the war, the famed Monuments Men (and women) recovered several hundred thousand pieces from the Germans' makeshift repositories in churches, castles, and salt mines. Well publicized restitution cases, such as that of Gustav Klimt's luminous painting featured in the film Woman in Gold, illustrate the legacy of Nazi looting in the art world today. But what happened to looted art that was never returned to its rightful owners? In France, Belgium, and the Netherlands, postwar governments appropriated the most coveted unclaimed works for display in museums, embassies, ministries, and other public buildings. Following cultural property norms of the time, the governments created custodianships over the unclaimed pieces, without using archives in their possession to carry out thorough provenance (ownership) research. This policy extended the dispossession of Jewish owners wrought by the Nazis and their collaborators well into the twenty-first century. The custodianships included more than six hundred works in Belgium, five thousand works in the Netherlands, and some two thousand in France. They included paintings by traditional and modern masters, such as Rembrandt, Cranach, Rubens, Van der Weyden, Tiepolo, Picasso, and Matisse. This appropriation of plundered assets endured without controversy until the mid-1990s, when activists and journalists began challenging the governments' right to hold these items, ushering in a period of cultural property litigation that endures to this day. Including interviews that have never before been published, Museum Worthy: Nazi Art Plunder in Postwar Western Europe (Oxford University Press, 2024) by Dr. Elizabeth Campbell deftly examines the appropriation of Nazi art plunder by postwar governments and highlights the increasingly successful postwar art recovery and restitution process. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Art looting is commonly recognized as a central feature of Nazi expropriation, in both the Third Reich and occupied territories. After the war, the famed Monuments Men (and women) recovered several hundred thousand pieces from the Germans' makeshift repositories in churches, castles, and salt mines. Well publicized restitution cases, such as that of Gustav Klimt's luminous painting featured in the film Woman in Gold, illustrate the legacy of Nazi looting in the art world today. But what happened to looted art that was never returned to its rightful owners? In France, Belgium, and the Netherlands, postwar governments appropriated the most coveted unclaimed works for display in museums, embassies, ministries, and other public buildings. Following cultural property norms of the time, the governments created custodianships over the unclaimed pieces, without using archives in their possession to carry out thorough provenance (ownership) research. This policy extended the dispossession of Jewish owners wrought by the Nazis and their collaborators well into the twenty-first century. The custodianships included more than six hundred works in Belgium, five thousand works in the Netherlands, and some two thousand in France. They included paintings by traditional and modern masters, such as Rembrandt, Cranach, Rubens, Van der Weyden, Tiepolo, Picasso, and Matisse. This appropriation of plundered assets endured without controversy until the mid-1990s, when activists and journalists began challenging the governments' right to hold these items, ushering in a period of cultural property litigation that endures to this day. Including interviews that have never before been published, Museum Worthy: Nazi Art Plunder in Postwar Western Europe (Oxford University Press, 2024) by Dr. Elizabeth Campbell deftly examines the appropriation of Nazi art plunder by postwar governments and highlights the increasingly successful postwar art recovery and restitution process. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Art looting is commonly recognized as a central feature of Nazi expropriation, in both the Third Reich and occupied territories. After the war, the famed Monuments Men (and women) recovered several hundred thousand pieces from the Germans' makeshift repositories in churches, castles, and salt mines. Well publicized restitution cases, such as that of Gustav Klimt's luminous painting featured in the film Woman in Gold, illustrate the legacy of Nazi looting in the art world today. But what happened to looted art that was never returned to its rightful owners? In France, Belgium, and the Netherlands, postwar governments appropriated the most coveted unclaimed works for display in museums, embassies, ministries, and other public buildings. Following cultural property norms of the time, the governments created custodianships over the unclaimed pieces, without using archives in their possession to carry out thorough provenance (ownership) research. This policy extended the dispossession of Jewish owners wrought by the Nazis and their collaborators well into the twenty-first century. The custodianships included more than six hundred works in Belgium, five thousand works in the Netherlands, and some two thousand in France. They included paintings by traditional and modern masters, such as Rembrandt, Cranach, Rubens, Van der Weyden, Tiepolo, Picasso, and Matisse. This appropriation of plundered assets endured without controversy until the mid-1990s, when activists and journalists began challenging the governments' right to hold these items, ushering in a period of cultural property litigation that endures to this day. Including interviews that have never before been published, Museum Worthy: Nazi Art Plunder in Postwar Western Europe (Oxford University Press, 2024) by Dr. Elizabeth Campbell deftly examines the appropriation of Nazi art plunder by postwar governments and highlights the increasingly successful postwar art recovery and restitution process. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/french-studies

Art looting is commonly recognized as a central feature of Nazi expropriation, in both the Third Reich and occupied territories. After the war, the famed Monuments Men (and women) recovered several hundred thousand pieces from the Germans' makeshift repositories in churches, castles, and salt mines. Well publicized restitution cases, such as that of Gustav Klimt's luminous painting featured in the film Woman in Gold, illustrate the legacy of Nazi looting in the art world today. But what happened to looted art that was never returned to its rightful owners? In France, Belgium, and the Netherlands, postwar governments appropriated the most coveted unclaimed works for display in museums, embassies, ministries, and other public buildings. Following cultural property norms of the time, the governments created custodianships over the unclaimed pieces, without using archives in their possession to carry out thorough provenance (ownership) research. This policy extended the dispossession of Jewish owners wrought by the Nazis and their collaborators well into the twenty-first century. The custodianships included more than six hundred works in Belgium, five thousand works in the Netherlands, and some two thousand in France. They included paintings by traditional and modern masters, such as Rembrandt, Cranach, Rubens, Van der Weyden, Tiepolo, Picasso, and Matisse. This appropriation of plundered assets endured without controversy until the mid-1990s, when activists and journalists began challenging the governments' right to hold these items, ushering in a period of cultural property litigation that endures to this day. Including interviews that have never before been published, Museum Worthy: Nazi Art Plunder in Postwar Western Europe (Oxford University Press, 2024) by Dr. Elizabeth Campbell deftly examines the appropriation of Nazi art plunder by postwar governments and highlights the increasingly successful postwar art recovery and restitution process. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars.

Das Gebäude-Ensemble, das unter Federführung des Malers Lucas Cranach entstand, zerfiel in der DDR. Dank der Initiative Wittenberger Bürgerinnen und Bürger wurden die Cranach-Höfe vor 35 Jahren gerettet.

Katarzyna von Bora i beczka śledzi. A do tego zmiany społeczne, które wstrząsnęły ówczesnym światem, w centrum zawieruchy Katharina von Bora i Marcin Luter. Reformacja, edukacja, dyskusja o stanie kościoła oraz tłumaczenie Biblii na języki narodowe, ale również wojny, powstania, rewolucje i wywroty. Opowiadam o fascynującej postaci – Katarzynie von Bora – zakonnicy, która uciekła z klasztoru i ożeniła się z Lutrem. Szukam odniesień do naszych czasów, ponieważ uważam, że prasa drukarska Johannesa Gutenberga była Internetem tamtych czasów. Oczywiście wszystko jest skomplikowane, jednak w KTIpie staram się, jak mogę, poukładać tę historię i rzucić światło na Katharin Luter, z domu von Bora. Plan KTIpa: • 0:00 – start • 1:19 – Zaczęło się w Wittenberdze • 8:33 – Wchodzi na scenę Katarzyna von Bora • 11:45 – Ucieczka zakonnic w beczce śledzi • 13:59 – Katarzyna von Bora chciała się pobrać z Marcinem Lutrem • 15:01 – Związek Marcina i Katarzyny Luter • 17:00 – Dzieci Marcina i Katarzyny • 19:45 – Luter przetłumaczył Biblię z języków oryginalnych na język niemiecki • 23:00 – Rozpoczęcie procesu rozdzielenia kościoła od państwa • 24:00 – Miłość, która rozkwitła i przyniosła pokój • 29:00 – Co mówi Katharina von Bora po śmierci męża? • 32:15 – Łukasz Cranach – przyjaźń z Lutrem • 34:00 – Warto czytać różne przekłady Biblii w języku polskim • 35:45 – Zmiany to małe rzeczy i nie robią ich kryształowi ludzie Bibliografia zaproponowana przez Natalię Stawarz, jeśli ktoś chce zgłębić temat: • Gąsowska Magdalena, Katarzyna Luter z domu von Bora (1499–1552) – kobieta, która dokonała wyboru. Losy żony Reformatora, [w:] Ruchy kobiece na ziemiach polskich w XIX i XX, stan badań i perspektywy, pod red. M. Dajnowicz i A. Miodowskiego, Wydawnictwo Uniwersytetu w Białymstoku, Białystok 2020, s. 443–454. • Korczak-Siedlecka Jaśmina, Maciej Ptaszyński, Marcin i Katarzyna, Polityka. Pomocnik Historyczny, nr 4, 2017, s. 50–55. • Oberman Heiko A., Marcin Luter. Człowiek między Bogiem a diabłem, Wydawnictwo Marabut, Gdańsk 1996.Schilling Heinz, Marcin Luter. • Buntownik w czasach przełomu, Wydawnictwo Nauki i Innowacji, Poznań 2017. Wittenberga leży nad rzeką Łabą, 60 kilometrów na północ od Lipska i 90 kilometrów od Berlina. Liczy 46 008 mieszkańców (2018). „Czym była więc Reformacja i co ją spowodowało? Zanim przyjrzymy się czynnikom, które doprowadziły do Reformacji, powinniśmy przyjrzeć się sytuacji w jakiej znajdował się Kościół średniowieczny, czego nauczał i co praktykował.” – Jerzy Marcol – https://tiny.pl/4f3-ptqx

Juntos crearon un negocio floreciente en torno al arte, e inmortalizaron a Martín Lutero en sus obras. Un viaje al mundo de Lucas Cranach y de su hijo, del mismo nombre. En su escudo: una serpiente con corona y alas de murciélago que porta un anillo en la boca. Los Cranach trabajaban como pintores de corte; en sus casas recibían con frecuencia la visita de príncipes. Desarrollaron técnicas para pintar rápido e introdujeron procesos de trabajo estandarizados para producir “en cadena” retratos y temas religiosos. Además, gestionaron una imprenta, se dedicaron al comercio, al por mayor de papel y en su posición de alcaldes de Wittenberg dirigieron los designios de Wittenberg ciudad universitaria, famosa en toda Europa. Sin dudas, Lucas Cranach (1472 – 1553) y su hijo homónimo (1515 – 1586) se cuentan entre los artistas más polifacéticos del siglo XVI. Pocos como ellos supieron encarnar tan perfectamente el ideal del Renacimiento. Los Cranach nunca disimularon su simpatía por la Reforma. Y así, deliberadamente cultivaron temas del protestantismo, como, por ejemplo, la salvación tras el pecado original. Sus retratos de Lutero definen hasta hoy en día la imagen que tenemos del famoso Reformador. También la impresión de la traducción de la biblia de Lutero es obra de los Cranach. Con ocasión del 500 aniversario del nacimiento de Lucas Cranach, el Joven, doce ciudades alemanas ofrecen grandes exposiciones. DW también se hace eco del acontecimiento con un reportaje. Su autor, Peter Schlögl visita los lugares en que vivieron y trabajaron los célebres pintores. Nos descubre la belleza de la técnica pictórica de los Cranach y nos muestra, a través del “Cranach Digital Archive”, los avances en la investigación del mundo de los Cranach, sus secretos e incógnitas.

In this episode, Sara Houghteling (special projects coordinator in the Research and Academic Program) speaks with Jennifer Nelson, a poet and scholar of early modern art at the University of Delaware. Through the lens of their first book on Holbein, and a second, forthcoming, on Cranach, Nelson describes how comparative studies of elite cultural production can allow us to the see the category of art as capacious, and capable of dismantling our concept of mastery. They offer concrete advice on writing—from tone, to endings, clarity, and decisive punctuation—and speak about their own writerly process, in which ideas often manifest first in poetry and later in prose.

Pani Jolanta Maria Kaleta napisała powieść sensacyjno-kryminalna z historią w tle. Jest to historia obrazu Lucasa Cranacha starszego "Madonna pod jodłami".Rozmawialiśmy też o innych książkach autorki:Riese: 1. W cieniu Olbrzyma, 2. Tam gdzie śmierć ma sowie oczyWojna i miłość: 1. Katarzyna i Igor, 2. Andrzej i Halina i 3. Wiktor i HankaKolekcja Hankego

Wilhelm, Katharinawww.deutschlandfunk.de, Kultur heute

Egy Madonna-kép után kutatva Németországba utazik Mörk Leonóra főhőse. Ez a kép egykor Kata családjáé volt, most viszont egy weimari ügyvéd birtokában van. A fiatal nő nemcsak munkát kap az ügyvédtől, de élete gyökeresen megváltozik: egyrészt értelmet nyer az, amit korábban egy családállításon megsejtett, másrészt közös nyomozásuk során egy 1500-as években élt fiatal nő sorsát is megismerik, aki egykor Lucas Cranach házában talált menedékre. Aki 2014-ben olvasta a Hellinger-Madonna első kiadását, annak is érdemes újra kézbe venni ezt a könyvet, hiszen csak ebből ismerjük meg részletesen, mit történt a Cranach család védencével. Mörk Leonórával a történetről és regényírói kihívásokról is beszélgetünk.

Odcinek powstał na prośbę mojego Patrona i jako wyraz mojej wdzięczności za Jego wsparcie. W katedrze w Innsbrucku umieszczony jest wizerunek Marii z Dzieciątkiem namalowany przez Lucasa Cranacha starszego. Nie było byłoby w tym nic dziwnego, gdyby nie fakt, że Cranach był artystą działającym dla luterańskich książąt saksońskich, a obraz nie tylko znajduje się w katolickiej katedrze, ale także przypisuje mu się cudowne właściwości. Opowiadam Wam: - dla kogo pracował warsztat Lucasa Cranacha Starszego - dlaczego niezwykle istotne jest ustalenie daty powstania tego dzieła - czym są "święte obrazy". ...

"Nervenaufreibend, extrem lehrreich und hoffentlich mit einem guten Ausgang!" Die vergangenen zwölf Monaten waren für OneFootball anstrengend. "Bis dahin kannten wir nur einen Weg." Doch 2022 ging das Unicorn all-in. Und verlor. Fehlinvestitionen in Web3 und NFTs führten zur Krise. Es folgten eine Fast-Insolvenz, Massenentlassungen und ein Führungswechsel. Wie gelingt es, nach dem Abgang von Gründer Lucas von Cranach, das Management neu zu strukturieren? Und was kommt nach der Vollbremsung? Die Growth Era ist vorbei, der Sanierungsplan läuft. Doch was gerne vergessen wird: Das Kerngeschäfts wächst stetig. Also ist die Zukunft von OneFootball doch von Zuversicht geprägt? Die Positionierung als Plattform ist jedenfalls eindeutig. "Wir werden keine verrückten Dinge machen." Unser Gast Patrick Fischer, Co-CEO von OneFootball Unsere Themen Wie das OneFootball Management agiler geworden ist (02:51) Die letzten 12 Monate in 3 Worten (04:28) Warum alles auf Digital Video Moments gesetzt wurde (04:48) Wie OneFootball auf die Krise reagiert hat (10:35) Nach Massenentlassung & Fast-Insolvenz: Der Weg in die Profitabilität (13:13) So knapp war es wirklich (15:31) Über den Sanierungsplan (17:09) Führungswechsel: Der Abgang von Lucas von Cranach (20:17) Warum Patrick der Richtige für die Rolle des CEOs ist (22:13) Wie transparent mit dem Team kommuniziert wird (24:17) Warum OneFootball nichts an seinem Kerngeschäft verloren hat (28:34) Ausblick: Wie OneFootball profitabel werden will (43:18) Zum Blogartikel: https://sportsmaniac.de/episode428 Unsere Empfehlungen Folge uns bei WhatsApp: https://sportsmaniac.de/whatsapp Abonniere unser Weekly Update: https://sportsmaniac.de/weekly-update Unser Kontakt Folge Sports Maniac auf LinkedIn, Twitter und Facebook Folge Daniel Sprügel auf LinkedIn, Twitter und Instagram E-Mail: daniel@sportsmaniac.de Wenn dir gefällt, was du hörst, abonniere uns gerne und empfehle uns weiter. Der Sports Maniac Podcast ist eine Produktion unserer Podcast-Agentur Maniac Studios.

OneFootball's new CEO Patrick Fischer joins StreamTime Sports co-hosts Nick Meacham and Chris Stone to discuss a challenging 18 months for the digital football platform and how the company is building for the future. Talking points: How is OneFootball building off of the legacy set by founder Lucas von Cranach going forward? – (3:44) Why does OneFootball still believe in Web 3.0 despite early struggles? – (13:23)   Will European soccer fans ever take to PPV?- (21:05) Managing through crisis – (24:11) Can European soccer duplicate the American advertising model? - (29:16) What services can a sports platform offer to monetise fans? - (34:46)

In today's episode, The Stinas explore the mysterious portraits adorning the walls throughout the Owens residence on Magnolia Street. They discuss Maria's painting as mentioned in the books and take note of a possible plot hole in the portrait's traveling capabilities! They explore more Titanic connections that lead them to believe that Rose was in fact a long lost Owens ancestor. No episode is complete without a deep dive into the movie scenes - The Stinas explore each portrait peppered throughout the film and the artists who painted them. However, most of the paintings in the film remain a mystery and many questions still beg to be answered - What are they called? Who painted them? What are their origins? And WHY were they chosen for the film? Do they hold greater significance to the Owens storyline, than meets the eye? And that's not all! The Stinas explore Princess Sybille of Cleves, the subject of the film's most noteworthy paintings, as well as her entire family of royals during the rule of Henry VIII- not to mention one of history's juiciest catfishing schemes! Artists explored in today's episode are Barthel Bruyn the Elder, Lucas Cranach the Elder, Hans Holbein the Younger, Pietro Antonio Rotari, and Rembrandt Peale! TOPIC MAP 16:31 - Justina & Kristina's Art Background 33:00 - Renaissance Painting Techniques 36:05 - Art that appears in the books 44:16 - Titanic connections 59:31 - Portraits in the movie 1:24:54 - Barthel Bruyn the Elder 1:28:48 - Princess Sybil & Lucas Cranach Portrait 1:32:54 - Comparing Sybil Portraits (Bruyn & Cranach) 1:42:35 - Ann of Cleves Intro 1:47:15 - How Sybil's Portrait end up in the Owens house? (Theories) 1:49:42 - Who was Ann of Cleves? 1:50:23 - William the Rich 1:55:31 - Ann of Cleves Portrait by Hans Holbein the Younger 1:59:10 - The Royal Catfish 2:11:00 - Catherine Howard and a royal beheading 2:19:36 - Ann of Cleve's Death 2:21:31 - Card pull from the Inner Witch Oracle (Grounded by the Moon) 2:23:50 - Other paintings in the movie Introduction 2:24:06 - Girl Asleep in a Chair painting by Pietro Antonio Rotari 2:28:10 - The Sisters Eleanor & Rosaba Peal Painting by Rembrandt Peale 2:37:05 - Renaissance painting fashion during the reign of Henry VIII 2:40:52 - The portraits' connection to the Owens family (Theories) WARNING: SPOILERS ABOUND! SOCIALS: ⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠Kristina's Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠Justina's Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠Voice Message⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠HERO SOURCES⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠WHERE TO FIND THE BOOKS AND MOVIE⁠⁠⁠⁠⁠⁠⁠⁠⁠ DISCLAIMER The Magnolia Street Podcast intends to discuss the movie, “Practical Magic” in its entirety. This will evidently result in spoilers and it is recommended that you watch and or read the following. Alice Hoffman's: Practical Magic, Rules of Magic, Magic Lessons, Book of Magic. The Magnolia Street Podcast is for entertainment and informational purposes and should not be used as a substitute for professional or medical advice. Do not attempt any of the discussed actions, solutions, or remedies without first consulting a qualified professional. It should be noted that we are not medical professionals and therefore we are not responsible or liable for any injuries or illnesses resulting from the use of any information on our website or in our media. The Magnolia Street Podcast presenters, Kristina Babich and Justina Carubia are passionate fans of Alice Hoffman's work and the Practical Magic word she has created. There is no copyright infringement intended, all characters and story lines are that of Alice Hoffman. We do not own any of that material as well as any of the move score music shared within the podcast. All intellectual property rights concerning personally written music and or shared art are vested in Magnolia Street Podcast. Copying, distributing and any other use of these materials is not permitted without the written permission from Kristina Babich and Justina Carubia. --- Send in a voice message: https://podcasters.spotify.com/pod/show/magnoliastreetpodcast/message

Insider #149: Seed-Investments - OneFootball - Cherry Ventures - Sushi Bikes - Holy - Superangels +++ Zur Lage der Startup-Nation #ANALYSE +++ Lucas von Cranach tritt bei OneFootball ab #ANALYSE +++ Cherry Ventures stemmt vier neue Investments #EXKLUSIV +++ Sushi Bikes sammelt Kapital ein #EXKLUSIV +++ Die große Food-Startup-Krise und die Ausnahmen Holy #ANALYSE +++ Adrian Frenzel und Philipp Man gründen wieder #EXKLUSIV +++ Superangels peilt 20 Millionen Fonds an #EXKLUSIV Unser Sponsor Die heutige Ausgabe wird präsentiert von ROQ Technology. Entwickler und Unternehmen kennen das Problem: Die Entwicklung einer Web-Anwendung ist aufwändig und teuer. Wertvolle Zeit und Ressourcen werden häufig für die Entwicklung von Basisfunktionalitäten verschwendet, die schon tausendfach gebaut wurden. Diese Zeit fehlt dann für die wirklich entscheidenden Features, die das Angebot erfolgreich machen. Wie kann man dieses Problem lösen? ROQ ermöglicht Dir, mit wenig Aufwand Deine Applikation mit vollwertigen Funktionsbausteinen zu erweitern und Deinen Kunden mehr Funktionalitäten, Sicherheit und ein besseres Nutzererlebnis zu bieten. ROQ bietet Dir beispielsweise eine sichere Nutzerregistrierung und einen komfortablen Login, z.B. mit Google oder Facebook; Echtzeit-Notifications in der App sowie per Mail oder SMS; ein flexibel verwendbares Chat-System, konfigurierbare Dateiuploads, und viele weitere Funktionalitäten. Diese Features-as-a-Service sind mit geringem Aufwand nahtlos in Deine Applikation integrierbar und umfangreich konfigurierbar. Du erhältst lauffähige UI Komponenten mitsamt Business Logik, die über eine API angesteuert werden können. Du kannst mit ROQ komplett kostenlos starten; das Team steht Dir dabei gerne mit Rat und Tat zur Seite. Gehe auf www.roq.tech und lege noch heute los. Vor dem Mikro Alexander Hüsing, deutsche-startups.de - www.linkedin.com/in/alexander-huesing/ Sven Schmidt, Maschinensucher - www.linkedin.com/in/sven-schmidt-maschinensucher/ Hintergrund Der deutsche-startups.de-Podcast besteht aus den Formaten #Insider, #StartupRadar, #Interview und #Startup101. Mehr unter: www.deutsche-startups.de/tag/Podcast/ Anregungen bitte an podcast@deutsche-startups.de. Unseren anonymen Briefkasten findet ihr hier: www.deutsche-startups.de/stille-post/

70'000 Frauen demonstrierten am 14. Juni 2019 in Bern. Schweizweit waren es sogar eine halbe Million Frauen, die auf die Strasse gingen. Der Frauenstreik 2019 war eine der grössten Demos, die es in der Schweiz je gegeben hat. Seither sind vier Jahre vergangen - und die Frauenstreik-Kollektive rufen erneut zu einer Demo auf. Am liebsten soll sie dieses Jahr noch grösser und noch bunter werden.Was ist eigentlich seit dem letzten Frauenstreik passiert? Warum ist plötzlich von einer wachsenden, gehässige Gegenbewegung die Rede? Und wie lange wollen die Frauen noch weiter streiken?Darüber sprechen wir im Podcast Gesprächsstoff mit Stefanie von Cranach vom feministischen Streikkollektiv Bern und mit der deutschen Journalistin und Autorin Susanne Kaiser, die im Februar das Buch «Backlash – Die neue Gewalt gegen Frauen» veröffentlicht hat.Artikel zum Thema:Interview mit Susanne Kaiser: «So wird Feminismus lächerlich gemacht» (Der Bund / Berner Zeitung)Podcast «Politbüro» zum Frauenstreik (Der Bund / Berner Zeitung)Frauenstreit vor dem Frauenstreik: Die feministische Bewegung ist gespalten (Der Bund / Berner Zeitung)

In vielen Familien wurde darüber jahrzehntelang geschwiegen, nun berichten die Historikerin Sibylle von Tiedemann und der Psychiater Michael von Cranach von ihren Recherchen über die Schicksale von Euthanasie-Opfern. Am Samstag, 28.1.23, findet in der VHS München in der Einsteinstr. 28 eine Veranstaltung für Angehörige statt: "Mein Großvater, mein Cousin, meine Tante, mein Nachbar ..." - Gedenk- und Informationsveranstaltung für die Opfer der NS-"Euthanasie"-Morde.

Die besten Tipps aus Business & Karriere von Lucas von Cranach, CEO und Gründer von OneFootball. Zum Blogbeitrag mit allen Antworten: https://sportsmaniac.de/episode392  Zum Interview mit Lucas: https://sportsmaniac.de/episode391 Unsere Empfehlungen Promote deine Stellenanzeige bei Sports Maniac: https://sportsmaniac.de/stellenanzeige Abonniere das Weekly Update und verpasse keine News aus dem Sportbusiness mehr: https://sportsmaniac.de/weekly-update Unser Kontakt Folge Sports Maniac auf LinkedIn, Twitter und Facebook Folge Daniel Sprügel auf LinkedIn, Twitter und Instagram E-Mail: daniel@sportsmaniac.de Wenn dir gefällt, was du hörst, abonniere uns gerne und empfehle uns weiter. Der Sports Maniac Podcast ist eine Produktion unserer Podcast-Agentur Maniac Studios.

Vom Geigenspieler zum Dirigenten. Lucas von Cranach dirigiert statt zu delegieren. Sein Führungsverständnis ist wertegetrieben und äußerst zuversichtlich. Dabei war der Start in die Selbstständigkeit beschwerlich. Trotz Krisen und drohenden Insolvenzen, war die Vision immer da: Eine globale Fußball-Plattform, um Fans zu begeistern. OneFootball war geboren. Doch wenn man auf einmal ein Unicorn ist, kommen dann Zweifel? Nicht bei Lucas: "Wenn es ums Business geht, bin ich komplett angstbefreit." Unser Gast Lucas von Cranach, CEO & Gründer von OneFootball Unsere Themen Unternehmerfamilie: Ist das Gründen vorbestimmt? (03:53) Was es braucht, um ein Visionär zu sein (05:51) Über die sich verändernden Visionen bei OneFootball (07:45) Warum Umsatz kein Erfolgsindikator ist (09:15) Rat an Gründer: Das erste Jahr wird schwer (12:50) Was Lucas von Cranach antreibt (14:30) Führungsverständnis: Vom Geigenspieler zum Dirigenten (17:00) Ist "Progress Over Perfection" das Erfolgsgeheimnis? (22:02) Komplett angstbefreit: Über den Mut, groß zu denken (28:43) Ausblick: Wann ist Schluss? (33:27) Zum Blogartikel: https://sportsmaniac.de/episode391 Unsere Empfehlungen Bewirb dich jetzt: https://maniacstudios.com/jobs-podcast/junior-social-media-manager/ Abonniere unser Weekly Update: https://sportsmaniac.de/weekly-update Game Changer Folge mit Thomas Riedel: https://sportsmaniac.de/episode175 Unser Partner (Anzeige) campai "Maniac15": https://sportsmaniac.de/campai Unser Kontakt Folge Sports Maniac auf LinkedIn, Twitter und Facebook Folge Daniel Sprügel auf LinkedIn, Twitter und Instagram E-Mail: daniel@sportsmaniac.de Wenn dir gefällt, was du hörst, abonniere uns gerne und empfehle uns weiter. Der Sports Maniac Podcast ist eine Produktion unserer Podcast-Agentur Maniac Studios.

In diesem Podcast haben wir in den vergangenen beinahe drei Jahren von dem heftig diskutierten, aber immer wieder für Schlagzeilen sorgenden, Eugen Steinach und dessen Verjüngungstherapien berichtet, der Traumvorstellungen von ewiger Jugend weckte. Das mittelalterliche Pendant dazu war der mythische Jungbrunnen, den man alt betrat und jung verließ. In der Gemäldegalerie Berlin hängt das einzige große Tafelgemälde dieses Sujets. Ein skurriles und ungewöhnliches Gemälde, ein ebenso sexistisches Gemälde. Gemalt hat es Lucas Cranach der Ältere im Jahre 1546. Seine Geburt wird und wurde auf 1472 datiert, weshalb 1922 sein 450 Geburtstag gefeiert wurde. Für die Berliner Börsen-Zeitung vom 1. November blickte der Dichter Hans Benzmann auf die berühmtesten Gemälde, das Leben und die sich einer klaren Einordnung entziehende Malweise des Künstlers. Frank Riede verjüngt für uns diesen Text.

The Groundsmen dedicate this week to really getting under the hood of OneFootball and its founder Lucas von Cranach. This company is too big to be misunderstood. Hopefully we've shed some light. Brought to you by Sportsdigita.

Diesmal kommt der Podcast vom Park am Gleisdreieck und es geht wieder um die wichtigsten Fragen: Basketball oder Strich? Sexarbeiterin oder RBB-Intendantin? Cranach der Ältere oder der Jüngere?

Nach fast 500 Jahren hat der Leipziger Künstler Michael Triegel Cranachs Marienaltar für den Naumburger Dom wiederhergestellt. Beide Künstler sind eng mit dem Dom verbunden, erzählt Stiftungsdirektor Holger Kunde.

The guest on this week's StreamTime Podcast is Lucas von Cranach, the chief executive and founder of soccer media platform OneFootball. In part one of the show, SportsPro chief executive Nick Meacham and community lead Chris Stone reflect on a landmark ten-year broadcast deal between Major League Soccer (MLS) and Apple, which has made its biggest play in live sports to date by securing global rights to every MLS game for a reported US$250 million a year. Then, after seeing the business he founded in 2008 secure unicorn status back in April, von Cranach joins Meacham to discuss the evolution of Berlin-based OneFootball, which has rights in various territories to show leagues such as Portugal's Primeira Liga, the Belgian Pro League and Liga MX. Plus, having recently secured a deal to become the Bundesliga's non-fungible token (NFT) partner, von Cranach also explains how OneFootball plans to tap into the expertise of new investors such as Animoca Brands and Dapper Labs to maximise the Web 3.0 opportunity.

Zum 550. Geburtstag des Malers Lukas Cranach gibt es heuer im Stift Melk eine Sonderführung „Auf den Spuren von Lukas Cranach“ (jeden Samstag um 15.30). Das Stift beherbergt nämlich ein Madonnenbild von Cranach. Es hängt in der Prälatur, die normalerweise nicht für die Öffentlichkeit zugänglich ist. Wir haben uns in die Prälatur begeben und eine Führung zu dem Madonnenbild mitgemacht.

Face à la crise écologique que nous connaissons, quel a été le rôle des arts dans notre rapport à la nature ? En réalité, l'artiste a presque toujours reflété la conscience de son époque. Et cette conscience a longtemps été celle de l'anthropocentrisme : voir la nature uniquement par le prisme humain, et pour les besoins humains. L'Antiquité en avait posé les bases, le christianisme l'a renforcé, et le progrès des Temps Moderne l'a parachevé. Et cela se voit très clairement dans le regard que les artistes portent sur la nature… A travers la représentation des mythes fondateurs (Prométhée, le jardin d'Eden), à travers les concepts clés de la culture occidentale (mimesis, anthropocentrisme, rationalisme), partons à la découverte des artistes et des œuvres qui ont façonné notre regard sur la nature... Featuring. Les grottes de Lascaux, le Doryphore de Polyclète, Prométhée, la Genèse, Cranach, Rubens, Léonard de Vinci, John Constable, Claude Le Lorrain *** Retrouvez Art Talks Coffret! Dans des coffrets assemblés à la main, numérotés et signés, retrouvez un livre d'art, le podcast, et dix œuvres satyriques, en lien avec les séries d'Art Talks. Ils sont tirés en 100 exemplaires seulement, et c'est un magnifique objet d'art à offrir, ou simplement pour compléter la découverte du podcast. Rendez-vous sur : https://www.art-talks.fr Retrouvez les œuvres du podcast et suivez Art Talks sur Instagram @art.talks.podcast

Eure “Coaches aus der Hosentasche” melden sich zurück. Die beiden sprechen heute über ein wichtiges Thema: Die Öffentlichkeit im Wirtschaftsleben. Was waren Leas erste Schritte zu öffentlicher Präsenz? Und wie begegnet Verena Gegenwind und negativen Kommentaren zu ihrer Öffentlichkeit? Zu diesem Thema, aber besonders auch zum Thema Fußball haben sich die beiden den Gründer & CEO von OneFootball Lucas von Cranach ins Boot geholt. Er erzählt euch, was er an Social Media blöd und an NFT's toll findet. Außerdem gibt es in dieser Folge private Liebestipps von Verena. (00:01:26) Im “Catch Up” sprechen die Beiden über Leas Liebeserklärung an Amsterdam und Verenas Launch der Plattform edu-cloud.org. Außerdem stellen sie die Initiative „Doqtor” vor, die Geflüchteten aus der Ukraine psychologische Unterstützung anbietet: https://www.doqtor.de/ukraine (00:08:43) Im “Deep Dive” geht es heute um Publicity und PR - hot or not? (00:53:44) Bei “Was bewegt dich” spricht Lea über ihre neuste Gründung (00:58:53) Bei “Was nervt” spricht Verena über die nicht vorhandene Work Life Balance in der Politik (01:04:14) Bei “Meine Frage an” gehts mal wieder richtig tief in Themen die uns interessieren. Und das letzte Wort hat heute Verena.

Es ist nicht einfach nur eine Ausstellung. In der Sammlung im Römerholz unternimmt man eine Reise in die Geschichte. Der alte Meister Lukas Cranach wird so in die Gegenwart gebracht. Hülya Emeç teilt mit euch ihren Besuch der Ausstellung.

Cranach-Jubiläumsjahr 2022: Vorschau auf ein vielfältiges Programm Kronach feiert 2022 gleich zwei Jubiläen ihres großen Sohnes, Lucas Cranach d. Ä.: seinen 500. Geburtstag sowie „500 Jahre Septembertestament“. Begleitet wird das Jubiläumsjahr von einem vielfältigen Programm, das von Konzerten über Ausstellungen bis hin zu Lesungen und Perfomances reicht. Alexander Süß und Dr. Kerstin Löw sprechen mit den verschiedenen Programmverantwortlichen vor und geben mit ihren Gästen schon einmal einen Überblick über das, was wir ab März 2022 in Kronach erwarten dürfen. Gesprächspartner sind Sabine Raithel vom Kronacher Kunstverein, Dekanin Dr. Ulrike Schorn und Dekan Dr. Markus Müller, Altbürgermeister Manfred Raum vom Verein 1000 Jahre Kronach, Ingo Cesaro vom Verein für Regionale Kunstförderung Kronach sowie den Lucas-Cranach-Beauftragten der Stadt Kronach, Dietmar Lang. Natürlich kommen auch die Vorhaben der Stadt zur Sprache – auf diese und alles Weitere freut sich Erste Bürgermeisterin Angela Hofmann in ihrem Grußwort. Programm: Alexander Süß Alle Folgen: www.kronach.de/podcast Podcast zum Anhören: iTunes: https://podcasts.apple.com/de/podcast/einfachkunst/id1512795731 Spotify: https://open.spotify.com/show/3CeEDNPWs0heSQDTVPhTkZ Amazon Music: https://music.amazon.de/podcasts/2794f1c1-0ea3-4e99-bfd6-4436980f2676/EinfachKunst RSS-Feed: https://juid1e.podcaster.de/einfachkunst.rss Zu Staffel 1 & 2: Homepage: https://kronach.de/podcast Dies ist ein Podcast von: Tourismus- und Veranstaltungsbetrieb der Stadt Kronach Programm: Alexander Süß Technische Leitung: Philip Kober Technische Ausstattung: Musik Kraus Musik: Friedrich Meyer Homepage: www.kronach.de Instagram: https://www.instagram.com/stadtkronach/ Facebook: https://www.facebook.com/stadtkronach/ #museum #podcast

Einmal die Woche spielen Hamburgs Kunsthallen-Direktor Alexander Klar und Abendblatt-Chefredakteur Lars Haider „Ich sehe was, was du nicht siehst“ – und zwar mit einem Kunstwerk. Heute geht es um ein Bild von Lucas Cranach dem Älteren, auf dem Friedrich der Weise, Johann der Beständige und Johann Friedrich der Großmütige, Kurfürsten von Sachsen zu sehen sind. Und natürlich geht es um die Frage, wie die Malfabrik von Cranach funktionierte…

Gruselig stellten sich alte Meister wie Cranach der Ältere, die Fabelwesen vor. Einen winzigen Ausschnitt dieser Arbeiten stellt das Kupferstichkabinett bis Juni vor. Nicht ganz so alt ist der Roman Ulysses von James Joyce, der vor 100 Jahren erschien. Ein sperriges Werk, das inzwischen Kultstatus hat. Aber warum?

- Te dwa obrazy powstały około 1510 roku i powszechnie uważa się, że to okres największego mistrzostwa Cranacha. To wtedy tworzył obrazy szczególnie piękne, z jednej strony ze względu na kolory i ikonografie, zaś z drugiej, kiedy przyjrzymy się im z bliska, zobaczymy jak są niezwykle precyzyjne, wymuskane, namalowane z wielkim namysłem - mówił o obrazach "Madonna pod jodłami" oraz "Adam i Ewa" Piotr Borusowski, kurator wystawy "Cranach. Natura i sacrum".

Pastor Mike discusses quotes from Martin Luther. To learn more about Luther's life, a good book is Here I Stand by Roland Baintan.

Pastor Mike discusses quotes from Martin Luther. To learn more about Luther's life, a good book is Here I Stand by Roland Baintan.

how Notes: You can read more from Dr. Veith at his blog: Cranach - http://www.patheos.com/blogs/geneveith/Or read God at Work: Your Christian Vocation in All of Life - http://amzn.to/2F2ohixCheck out this recent episode of the Thinking Fellows podcast: Vocation Revisited -https://www.thinkingfellows.com/blog/2017/12/15/episode-99-vocation-revisitedCopyright Higher Things®, Higher Things - Dare to be Lutheran.Support the work of Higher Things. http://higherthings.org

Stefano Baia Curioni"Kum! Festival"https://www.kumfestival.it/Kum! Festival, AnconaDomenica 17 ottobre 2021, ore 10:00Cantiere: il vaccino della culturaI numeri e le personeStefano Baia CurioniProfessore Associato, Dipartimento Scienze Sociali e Politiche Università Bocconi e direttore Centro di ricerca ASK Università Bocconi, ha svolto la sua attività di ricerca studiando i processi di trasformazione dei sistemi di produzione e scambio culturale. Ha pubblicato Mercanti dell'Opera per il Saggiatore e Cosmopolitan Canvases (con O. Velthuis ) per Oxford University Press. E' stato consigliere del Ministro dei Beni Culturali per la riforma dei Musei Nazionali Italiani, membro del Consiglio Superiore dei Beni Culturali, Presidente della commissione per la nomina di Capitale Italiana della Cultura (edizioni del 2018, 2020, 2022), consigliere di amministrazione della Fondazione Piccolo Teatro di Milano e del museo Nazionale Pinacoteca di Brera e altre istituzioni. E' direttore della Fondazione Palazzo Te a MantovaPalazzo Te a MantovaO genitrice degli Eneadi, godimento degli uomini e degli dei,divina Venere, che sotto i segni mutevoli del cieloil mare che sostiene le navi e le terre che producono i raccoltivivifichi, perché grazie a te ogni genere di viventiviene concepito e giunge a visitare, una volta nato, i lumi del sole.Lucrezio, De rerum naturaDa dove nasce la forza di Venere? Da dove vengono i suoi poteri capaci, grazie ad Amore e Bellezza, di condizionare i desideri e le azioni degli uomini, di proteggere o tormentare innamorati umani e divini?Venere Divina. Armonia sulla terra – prodotto e organizzato da Fondazione Palazzo Te e Museo Civico di Palazzo Te, e promosso dal Comune di Mantova con il patrocinio del MiBACT e con il contributo di Fondazione Banca Agricola Mantovana – tre mostre e un programma di eventi cercano di trovare una risposta, esplorando il mito di Venere come rappresentazione del senso di rinascita dall'antichità fino ai tempi moderni.Venere divina. Armonia sulla terra si avvale di un comitato scientifico composto da Stefano Baia Curioni, Francesca Cappelletti, Claudia Cieri Via e Stefano L'Occaso, ed è stato ideato da Fondazione Palazzo Te per completare una riflessione sul femminile avviata nel 2018 con la mostra Tiziano/Gerhard Richter. Il Cielo sulla Terra e proseguita nel 2019 con Giulio Romano: Arte e Desiderio. Il progetto si sviluppa in tre momenti espositivi, da una ricognizione sul patrimonio iconografico di Palazzo Te per arrivare a un'ampia riflessione sulla potenza attuale del mito della dea.Un programma ricco e affascinante che crea incontri con alcuni dei grandi capolavori dell'arte occidentale provenienti da importanti musei europei, dai dipinti di Cranach, Guido Reni, Tiziano e Dosso Dossi a sculture, arazzi e libri.La prima tappa si apre con Il mito di Venere a Palazzo Te, che fino al 12 dicembre 2021 consente al pubblico di scoprire le oltre 25 rappresentazioni di Venere, tra stucchi e affreschi, presenti nel Palazzo. Un percorso tra miti e favole antiche, raccolto anche in una guida cartacea e multimediale, che si arricchisce con l'esposizione della scultura Venere velata della collezione del Comune di Mantova, appartenuta a Giulio Romano e conservata presso la Galleria dei Mesi a Palazzo Ducale, e dell'arazzo Venere nel giardino con putti, realizzato da tessitori fiamminghi su disegno dello stesso Giulio Romano, di recente ritornato a Mantova grazie a una complessa operazione d'acquisto condotta dalla reggia gonzaghesca, dalla Direzione Generale Musei del MiBACT e con il sostegno di Fondazione Palazzo Te.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Today's class will continue to study the "Sacrifice of Isaac" (Genesis 22:1-19). Handout 1:  Text-for-Genesis-22.pdf Handout 2: Suffering-Temptation-in-the-Lutheran-Confessions.pdf --Michael D. Henson, Pastor of Trinity Lutheran Church (Herrin, IL). https://vimeo.com/609035013 Picture:  Luther's “December Testament” appeared with the same set of woodcuts used in the first edition. The illustration of the Harlot of Babylon (Revelation 17-18), however, is an altered version of the woodblock that Cranach originally used to illustrate the September edition. In the earlier printing, the woodcut had a clear Protestant agenda, as Cranach emphasized the harlot's identification with the Catholic Church by placing the triple tiara of the papacy upon her head. However, after warnings that this symbolism was too offensive, the book was reprinted with the papal tiara removed from this image. Southern Methodist University, Bridwell Library, Perkins School of Theology, Dallas Texas https://www.smu.edu/Bridwell/Special Collections andArchives/Exhibitions/Luther/Bibles/BRA0930  

Einmal die Woche spielen Hamburgs Kunsthallen-Direktor Alexander Klar und Abendblatt-Chefredakteur Lars Haider „Ich sehe was, was du nicht siehst“ – und zwar mit einem Kunstwerk. Heute geht es um „Caritas“ von Lucas Cranach dem Jüngeren und die Frage, warum Bilder von den Cranachs eigentlich immer sofort erkennt. Liegt es an den Farben? An den hohen Stirnen der gemalten Menschen? Und wieso sind auf dem Bild, das unter anderem einmal mehr eine stillende Mutter zeigt, eigentlich alle nackt?

This is a conversation about how the digital economy is changing how football clubs define themselves, either as digital platforms or ecommerce vehicles. And we look at how the financial markets encourage this trend, and whether or not its feasible or desirable for big clubs like Manchester United, with huge global followings, to seek to be seen in the same company as the stars of Silicon Valley such as Pinterest or TikTok. Our guest is Lucas von Cranach is well placed to help us answer these questions. He founded OneFootball, the digital platform which boasts 85 million active users across the world, many of whom are under 30. The company is a veteran of digital, having begun life in 2008 and was among the first 1,000 apps in the Apple App Store. Recently, OneFootball acquired Dugout, the digital football network co-owned by ten of the biggest clubs in world football, including Bayern Munich, Real Madrid, Chelsea and Milan. This places OneFootball and Lucas von Cranach at the centre of football’s digital economy. It’s a conversation I know you’ll enjoy. And if you like the Unofficial Partner podcasts, you’ll really like our weekly newsletter, which is read by thousands of people across the global sports business, and is where we talk about the topics and themes that arise from our podcast conversations. We can send it direct to your inbox every Thursday, all you have to do is sign up via unofficialpartner.com, where you’ll also find our back catalogue of podcasts.

Drei Jahre sind seit dem letzten SPONSORs-Podcast mit Onefootball-Gründer Lucas von Cranach vergangen. In der Zwischenzeit hat das Fußball-Medienunternehmen eine beachtliche Entwicklung hingelegt. Heute erreicht Onefootball mehr als 85 Millionen User pro Monat – 2018 waren es noch 35 Millionen – und zählt einige der größten Fußballclubs der Welt zu seinen Gesellschaftern. Im Podcast spricht von Cranach über Wachstumsraten von über 50 Prozent und den neuesten Gesellschafter-Einstieg dreier Big Player des europäischen Fußballs.  Danke für deine Podcast Bewertung unter: getpodcast.reviews/id/1236559169 Wir freuen uns über Feedback zum neuen Podcast-Format! Darüber hinaus hast du Fragen oder Themenvorschläge? Dann schreib uns an podcast@sponsors.de  Mehr Infos unter: sponsors.de/sponsors/podcast  Jetzt abonnieren: Spotify | iTunes | Android | Soundcloud

Wer ist dieses Mal zu Gast bei Dimitri Koutousakis? Jede Woche neu, jede Woche anders! In der ersten Folge des Podcasts Die Bio... steht Dimitri Koutousakis im Interview mit OneFootball-Gründer Lucas von Cranach. Lucas spricht über die eigene Wahrnehmung seines persönlichen Werdegangs, Themen wie die Power der Plattformen, was Erfolg für ihn bedeutet und warum man sich immer trauen sollte, mehr zu geben. **Instagram:** https://instagram.com/die.bio?igshid=1lnyzdqokpx3v **Email:** Info@die-bio.de

durée : 00:14:40 - Superfail - par : Guillaume Erner - En 2016, une Vénus attribuée au peintre de la Renaissance Cranach est saisie. Acquise par le prince de Liechtenstein pour 7 millions d’euros, cette Vénus proviendrait de la collection d'un certain Giuliano Ruffini, soupçonné d'avoir vendu des dizaines de faux tableaux au plus grands musées du monde. - réalisation : Vivien Demeyère, Louise Loubrieu - invités : Vincent Noce Journaliste

This week: the Frick Collection in New York has moved temporarily from its Gilded Age Mansion on Central Park to Marcel Breuer’s 1960s building created for the Whitney Museum. So what happens when the Old Masters meet Brutalism? We talk to Xavier Salomon, deputy director and chief curator of the Frick about this remarkable change of setting for one of the world’s great collections. We talk to Vincent Noce about his new book L'Affaire Ruffini, following an Old Master forgery scandal, involving works by artists including Cranach, Hals and Orazio Gentileschi and some of the world's most august institutions. And for this episode’s Work of the Week the artist Collier Schorr talks about the photographer August Sander's Young Soldier, Westerwald, in the Metropolitan Museum of Art in New York (and various other museum collections). See acast.com/privacy for privacy and opt-out information.

Unser heutiger Gast ist Lucas von Cranach! Lucas ist Gründer und Geschäftsführer der Fußball-App OneFootball. Wir haben mit dem glühenden FC-Fan natürlich über den vergangenen Spieltag gesprochen, aber vor allem auf das Geschäftsmodell von OneFootball geblickt und aus über die mediale Darstellung des Fußballs ausgetauscht. Dabei haben wir das aktuelle Geschehen unter die Lupe genommen und einen Blick in die Zukunft gewagt. Viel Spaß beim Hören!

Er war der "Cranach von Münster" und schuf bedeutende religiöse Kunstwerke für seine Heimatstadt, deren Kirchen durch die Herrschaft der Wiedertäufer verwüstet und beraubt worden waren. Außerdem entwickelte Hermann tom Ring, der aus einer Malerdynastie stammte, eine besonders kunstvolle Form von Porträts, wie sein berühmtestes Bild beweist, das Familienporträt des Grafen Johann von Rietberg. Autorin: Maren Gottschalk

Venku, za zdmi Schwarzenbergského paláce v Praze, se o Staré mistry vedou nové boje. O to, jak se mistrovská díla ze sbírky starého umění Národní galerie mají vystavovat. Jenomže to není nic proti zápasu, který vidím uvnitř galerie. Z haly plné světla a středomořské renesance odbočím k zasmušilejším zaalpským mistrům. Soustřeď se, jde o život, vzkazuje mi jeden z nich. Dokonce o život věčný. 

“Albrecht Altdorfer” Maître de la Renaissance allemandeau Louvre – Rotonde Sully, Parisdu 1er octobre 2020 au 4 janvier 2021Extrait du communiqué de presse :Commissaires de l'exposition :Hélène Grollemund, chargée de collections au département des Arts graphiques, musée du Louvre Séverine Lepape, directrice du musée de Cluny-musée national du Moyen ÂgeOlivia Savatier Sjöholm, conservatrice au département des Arts graphiques, musée du LouvreArtiste majeur du XVIe siècle allemand, Albrecht Altdorfer (vers 1480-1538), peintre, dessinateur et graveur actif à Ratisbonne, reste cependant moins connu que d'autres maîtres de sa génération, tels Albrecht Dürer, Lucas Cranach ou Hans Baldung Grien. Cette exposition monographique, organisée en étroite collaboration avec l'Albertina à Vienne, ambitionne de présenter pour la première fois au public français toute la richesse et la diversité de l'oeuvre d'Altdorfer en le replaçant dans le contexte de la Renaissance allemande. Proche des cercles humanistes, Albrecht Altdorfer est à la fois très original, doté d'une grande capacité d'invention formelle et iconographique, et parfaitement au fait de la création artistique de ses contemporains allemands et italiens. Rassemblant plus de 200 oeuvres (peintures, dessins, gravures, sculptures et objets d'art), le parcours de l'exposition, avant tout chronologique, réserve des sections thématiques aux grandes commandes de l'empereur Maximilien ainsi qu'à l'orfèvrerie, au paysage et à l'architecture, genres dans lesquels Altdorfer fit oeuvre de pionnier.La première section permet de caractériser le style de ses années de jeunesse (entre 1506 et 1512 environ). On ignore tout de la formation d'Altdorfer mais on sait l'importance des estampes qui lui font connaître les réalisations de ses contemporains allemands, Dürer et Cranach, avec lesquels il entend rivaliser, mais aussi celles des artistes italiens du Quattrocento qui nourrissent son inspiration, au premier plan desquels Andrea Mantegna. Les dessins en clair-obscur, véritable spécialité d'Altdorfer, montrent sa grande capacité d'expressivité, comme dans le Départ pour le sabbat.La maturité artistique d'Altdorfer se situe entre 1512 et 1520. La notoriété de l'artiste est bien établie dès 1512, en témoigne l'inventive série de la Chute et Rédemption de l'Humanité, 40 bois gravés de 7 x 5 cm seulement, dont la fortune artistique est immédiate et considérable. Cette suite d'estampes lui sert de laboratoire d'expérimentation pour faire évoluer son style, qui devient plus dynamique, notamment dans son traitement du paysage et de la perspective. Au même moment, Altdorfer est consacré au rang des grands artistes officiels de l'empereur Maximilien Ier. Il participe aux commandes impériales, qui font l'objet d'une section à part entière, avec le livre de prières de Maximilien, les bois gravés pour l'Arc de Triomphe ou encore les miniatures et les gravures du Cortège triomphal.Parallèlement à l'achèvement de ces prestigieuses commandes, Altdorfer travaille à de grands cycles narratifs, consacrés à la vie et à la Passion du Christ et à la légende de saint Florian, qui marquent un premier apogée dans sa carrière de peintre. Ils dénotent une puissance dramatique nouvelle que l'on retrouve au même moment dans son oeuvre dessiné et gravé.Dans la dernière section, consacrée à la fin de sa carrière (vers 1522-1538), on voit comment Altdorfer, fort de sa renommée, reçoit des commandes de la cour de Bavière, tout en continuant à travailler pour le patriciat de Ratisbonne. Se consacrant essentiellement à la peinture, il explore de nouveaux genres (portraits, allégories, grands décors) et continue de se nourrir des nouveautés de son temps. C'est une période marquée par un enrichissement significatif de son répertoire pictural.Au sein de ce parcours chronologique, plusieurs sections thématiques viennent mettre en valeur des spécificités de son art. La première est dédiée à l'ornement et l'orfèvrerie, auxquels il consacre de nombreuses estampes (23 eaux-fortes), présentées en regard avec des coupes de la même époque. Les suivantes s'attachent au paysage et à l'architecture, genres dans lesquels Altdorfer innove en les explorant pour eux-mêmes. Il est en effet l'un des premiers à exécuter des paysages et des intérieurs d'églises sans personnages, dans une recherche parallèle à celle menée non loin de là, à Passau, par son contemporain Wolf Huber. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Over the time of Kairos we've done many short conversations with Pastor Thomas Pietsch on the YouTube channel on various figures from Church history. For the Podcast episode today we're releasing a collation of the audio of 4 'classics'. They are:  1. Esther 2. Monica 3. Cranach and Durer  4. Lydia, Phoebe, Dorcas Enjoy! 

Venku, za zdmi Schwarzenbergského paláce v Praze, se o Staré mistry vedou nové boje. O to, jak se mistrovská díla ze sbírky starého umění Národní galerie mají vystavovat. Jenomže to není nic proti zápasu, který vidím uvnitř galerie. Z haly plné světla a středomořské renesance odbočím k zasmušilejším zaalpským mistrům. Soustřeď se, jde o život, vzkazuje mi jeden z nich. Dokonce o život věčný. 

It's up for debate // Definition: not agreed upon by everybodyTranscript:https://www.youtube.com/watch?time_continue=378&v=kOZOXL1Cnzo&feature=emb_logoThe journey matters more than the final answer,because in history, answers are always up for debate.https://www.youtube.com/watch?time_continue=864&v=XaqowGjdDhY&feature=emb_logoYou make a really good case for the education of womenand girls around the world.As a father of two little girls, I don't eventhink it's up for debate.https://www.youtube.com/watch?time_continue=2900&v=xHHuFx2Rta4&feature=emb_logoAnd one of the kind of questions that we leave a bit up for debate in that room is the extent to which we see each of those three major artists; Holbein, Dürer and Cranach; are they kindof equally German? https://www.youtube.com/watch?time_continue=326&v=nlsnnhn3VWE&feature=emb_logoSo whether George Bush's domestic policywould have worked is up for debate, but the events of September 11, 2001 ensured thatforeign policy would dominate any discussion of the opening decade of the 21st century.Music:Sunday Funday by Scott Holmes is licensed under a Attribution-NonCommercial License.https://freemusicarchive.org/music/Scott_Holmes/Music_for_TV__Film/Sunday_Funday

Die Bundesliga geht weiter - aber in vielen Ländern ruht der Ball noch. Der Stillstand hat auch ein Startup getroffen, das in den vergangenen Jahren stark gewachsen ist: Onefootball. Das Unternehmen bezeichnet sich als „ultimative Medienplattform für Fußballfans auf der ganzen Welt“, hat eine Reichweite von über 55 Millionen Fans jeden Monat. Normalerweise berichtet und aggregiert eine Redaktion rund um die Uhr in mehreren Sprachen – aus Berlin, New York und Sao Paolo. Der Gründer Lucas von Cranach erzählt in dieser Folge, was der Start der Bundesliga für ihn bedeutet – und warum er trotz des Stillstands die größte Plattform für Fußball werden will.

In seinem Unternehmer-Podcast Deep Dive diskutiert digital kompakt in dieser Woche mit Lucas von Cranach über der Deutschen liebsten Sport: Fußball. Mit seiner App Onefootball hat Cranach eine der relevantesten Medienplattformen zum Thema geschaffen und erklärt, mit welchem Geschäftsmodell er so einen 40-Milliarden-Markt erschließen will. Du erfährst... 1) …wie das Geschäftsmodell von Onefootball funktioniert 2) …mit welchen Maßnahmen das Unternehmen seine Nutzergewinnung und das Marketing befeuert 3) …wie die Inhalte kuratiert werden

Colnaghi Foundation's latest podcast is a conversation about making art under lockdown, nudity and censorship in the 16th century and today, and more. With Amy Orrocks, curator of the new CRANACH: ARTIST AND INNOVATOR exhibition at Compton Verney, and Ishbel Myerscough, Claire Partington and Wolfe von Lenkiewicz, three of the contemporary artists whose work features alongside Cranach's.

The Nest is the new Sunday night drama on BBC1 that raises questions around the ethics of surrogacy as a wealthy couple invite a young woman whose past is not known to them into their lives. The Truth is a French/Japanese production directed by Hirokazu Kore-eda who won the Palme d'Or at Cannes in 2018 for his film Shoplifters. It stars Catherine Deneuve and Juliette Binoche in the story of an ageing actress who publishes her memoirs and is confronted by her daughter. Evie Wyld was named as one of Granta's Best of Young British Novelists in 2013. Her new novel, The Bass Rock, tells the story of three generations of women whose fates are linked. Two exhibitions at Compton Verney that have sadly had to close because of coronavirus are kept alive by our critics: Cranach: Artist and Innovator and Fabric: Touch and Identity. And we suggest some culture that might already be on your shelves or on a screen near you to enjoy if you're stuck indoors. Tom Sutcliffe's guests this week are Charlotte Mullins, Bob and Roberta Smith and Laurence Scott. Podcast Extra recommendations Bob: Paul Klee, On Modern Art Certain Blacks, album by The Art Ensemble of Chicago The Letters of Van Gogh Charlotte: The Gallery of Lost Art - as she explains, what's left of it can be found at galleryoflostart.com and via Tate website The West Wing Laurence: Star Trek: the Next Generation, all 7 seasons Tom: Contagion and, as always, Call My Agent Presenter: Tom Sutcliffe Producer: Sarah Johnson Image: Emily (SOPHIE RUNDLE) in The Nest Credit: Mark Mainz / Studio Lambert / BBC

Schulen sind geschlossen. Beschäftigte arbeiten im Homeoffice. Was wird passieren, wenn der Höhepunkt der Covid-19 Krankheitswelle erreicht ist? Fragen, auf die zur Zeit niemand eine Antwort hat. Schwer auszuhalten, dieser Schwebezustand. Aber wir könnten diese Zwangsentschleunigung auch für Gutes nutzen. Susanne Breit-Kessler, die ehemalige Regionalbischöfin für München und Oberbayern und Dr. Michael von Cranach, Psychiater und Psychotherapeut im Gespräch.

In the THIRTY-FIFTH episode of our Wingin' It series on the Life of Luther, Mike and Wade continue their walk through the life of Martin Luther. While there are many important and intriguing characters they have encountered along the journey, the most fascinating might be Lucas Cranach. In Part 35 of the series the guys discuss this unsung partner of Luther’s. We recommend The Serpent and the Lamb: Cranach, Luther, and the Making of the Reformation as a great primer on Cranach and his role in the Reformation. Another great resource is the Cranach Digital Archive where you can explore not only Cranach’s art but scholarship on the great artist, mayor, pharmacist, business man, promoter, and all around talented guy. We hope you will enjoy our latest episode on the Life and Thought of Martin Luther. Let the Bird Fly! is supported by the 1517 Podcast Network, which is part of 1517.org. If you haven't done so yet, stop over there and check out the other great podcasts in the network, as well as all of the other excellent content they offer. If you're interested in the Apologetics course Mike and friend of the show Dr. Kerry Kuehn will be holding once again this summer, you can find all the information at www.BlackEarthApologitics.com. And if you know of anyone else who might be interested, make sure to share the site with them as well! And as always, please subscribe, rate, and review us on the following sites and apps: iTunes Stitcher Google Play TuneIn Radio iHeartRadio You can also like us on Facebook and follow us on Twitter. You can also follow our Telegram Channel, where we post our new episodes as well as other content that we think you might enjoy. And, of course, share us with a friend or two! If you’d like to contact us we can be reached at podcast@LetTheBirdFly.com, or visit our website at www.LetTheBirdFly.com. Thanks for listening! Attributions for Music and Image used in this Episode: "Slow Burn" by Kevin MacLeod is licensed under a Creative Commons Attribution License. “Not Drunk” by The Joy Drops is licensed under an Attribution 4.0 International License. Image: "Portrait of Luther" by Lucas Cranach the Elder is in the Public Domain.

Lucas Cranach d. Ä. prägte als Freund Martin Luthers mit seinen Kunstwerken die Reformationszeit. Dass der Mann Maler war, das weiß heute fast jedes Kind. Aber Cranach war mehr, nämlich ein wahres Multitalent.

SportsPro editorial director Michael Long and editor at large Eoin Connolly speak to Lucas von Cranach, founder and chief executive of digital soccer media company OneFootball. They discuss OneFootball's journey since 2008, which has seen it serve as an aggregator of club-focused content and more recently move into live coverage of pay-per-view games. There's also time to take in the state of the OTT sector, the company's understanding of its audience and approach to pricing, and why when it comes to digital media, it's better to be "a big boat on a small river than a small boat on a big river".

On this day, we remember Cranach the Younger, artist, and neighbor of Martin Luther. We also recognize the publishing of the Coverdale Bible in 1535. The reading is "Jesus Praying" by Hartley Coleridge. We’re a part of 1517 Podcasts, a network of shows dedicated to delivering Christ-centered content. Our podcasts cover a multitude of content, from Christian doctrine, apologetics, cultural engagement, and powerful preaching. Support the work of 1517 today.

Episode 2: Part 1.In our two part series about the Greco-Roman goddess of sex and love, we explore how the image of Venus, the icon of female beauty has been interpreted, lusted after and hijacked by different eras in history. In Part 2, we focus on the Diego Velázquez’s The Rokeby Venus and Pablo Picasso's Lithograph Venus and Cupid, after Cranach (Vénus et l'amour d'après Cranach).

On this day, we remember the northern renaissance 16th-century artists Dürer, Cranach, and Grunewald. Today is also the 85th birthday of poet Wendell Berry, born in 1934. Our reading is his poem, "Enemies." We’re proud to be part of 1517 Podcasts, a network of shows dedicated to delivering Christ-centered content. Our podcasts cover a multitude of content, from Christian doctrine, apologetics, cultural engagement, and powerful preaching. Support the work of 1517 today.

Adam and Eve, Noah’s Ark, Moses and the Ten Commandments, the parting of the Red Sea. These are a few of the stories from the Old Testament. And then there’s the New Testament, with its account of the life of Jesus, the Good Samaritan, the raising of Lazarus and the feeding of the five thousand. Whatever our creed or background, these stories are embedded in our consciousness. They inform our everyday speech and much of our art, music and literature – from Cranach’s depiction of Adam and Eve to C.S. Lewis’s Narnia stories and Stormzy’s ‘Blinded By Your Grace’.Together the Old Testament and the New Testament make up the Holy Bible. The Old Testament contains the sacred scriptures of the Jewish faith, while Christianity draws on both Old and New Testaments, interpreting the New Testament as the fulfilment of the prophecies of the Old. But which of these books is the greater?Arguing in favour of the Old Testament were novelist Howard Jacobson and writer Anne Atkins.Opposing them, arguing in favour of the New Testament, were the Rev. Richard Coles, the Radio 4 presenter who went from pop star to priest; and theologian Robert Beckford.The debate was chaired by the award-winning comedian, author, screenwriter and director David Baddiel. See acast.com/privacy for privacy and opt-out information.

Patrick Fischer, Chief Business Officer bei Onefootball und seit kurzem dafür verantwortlich, die Millionenreichweite der Berliner Fußballplattform zu monetisieren. Im Gespräch mit Patrick erfährst du wie Onefootball zu einer der erfolgreichsten digitalen Unternehmen im Sport in Deutschland wurde, über welche Kanäle am effizientesten neue User gewonnen werden und mit welchen Inhalten diese in der App langfristig gehalten werden. Zudem sprechen wir darüber, mit welcher Strategie Onefootball seine User monetarisiert, welche innovativen Werbemöglichkeiten angeboten werden und inwieweit Onefootball Interesse daran hat, Bundesliga Rechte zu erwerben. Shownotes unter: sportsmaniac.de/episode125 Um was geht’s und was lernst du: Wie sind die Eindrücke von Patrick nach 3 Monaten Onefootball (8:22) Wie ist Onefootball rund um Gründer Lucas von Cranach im Management aufgestellt (9:32) Für welche Themen ist Patrick verantwortlich (12:50) Wie macht sich das Mantra "Data Driven" bemerkbar (15:59) Inwieweit musste Patrick sich in dem dynamischen Umfeld verändern (19:02) Was sind die wichtigsten KPIs auf die Patrick schaut (20:26) Welche sind die wichtigsten Kanäle zur User Acquisition (21:35) Wie setzt Onefootball monatlich 4.000 - 6.000 Kampagnen mit Influencern um (22:30) Wie ist der Stellenwert von klassischen Marketingkanälen (24:33) Wie konvertiert Onefootball Social Media Follower zu App Usern (25:38) Welche Maßnahme hat überdurchschnittlich viele User generiert (27:00) Wie sieht die Monetarisierungsstrategie von Onefootball aus (29:12) Wie arbeitet Onefootball mit Sky, DAZN und anderen OTT Anbietern zusammen (31:33) Welche Werbeformate werden Werbepartnern angeboten (33:31) In welchem Markt werden neue Werbemodelle getestet (36:10) Welche Produktinnovationen wird es 2019 noch geben (37:14) Wie geht Onefootball mit der Gefahr der Plattformabhängigkeit um (39:58) Wohin geht die Reise für Onefootball in den nächsten 2 Jahren (42:11) Wird es bald die Bundesliga auf Onefootball zu sehen geben (43:32) Du benötigst Unterstützung bei deinem digitalen Marketing, willst einen Podcast starten oder mit mir zusammenarbeiten? ➡️ danielspruegel.com   Abonniere den Sports Maniac Podcast auf Apple Podcasts, Google Podcasts, Spotify, Deezer, Soundcloud oder TuneIn Shownotes unter: sportsmaniac.de/episode125 Abonniere das Weekly Update: sportsmaniac.de/weekly-update  Bewerte den Sports Maniac Podcast: sportsmaniac.de/bewertung Komm in die kostenfreie Facebook-Gruppe und tausche dich mit anderen Zuhörern aus: sportsmaniac.de/community Folge Podcast-Host Daniel Sprügel & Sports Maniac in den sozialen Medien: Facebook, Instagram, Twitter Meine Buchempfehlungen: sportsmaniac.de/books Du möchtest Partner von Sports Maniac werden oder im Podcast werben? Schreib mir: kontakt@sportsmaniac.de Kontakt zu Patrick Fischer: Twitter, LinkedIn

Alle Themen des Podcasts mit Onefootball-Gründer Lucas von Cranach im Überblick: Was genau ist Onefootball? (ab 01:25) Warum hat Lucas von Cranach in Bochum gegründet? (ab 03:00) So entstand die Idee, eine reine Fußball-App zu entwickeln (ab 04:00) Warum App statt Social Media? (ab 06:00) Wie viele Nutzer hat Onefootball pro Monat? (ab 07:30) Das ist laut von Cranach der Mehrwert von Onefootball für einen Fußball-Fan (ab 08:00) Was unterscheidet Onefootball von Plattformen wie Twitter? (ab 09:50) Das waren die wichtigsten Wachstumsfaktoren nach der Gründung von Onefootball (ab 12:00) Was hat sich in der App-Ökonomie in den vergangenen Jahren geändert? (ab 13:00) Wie verdient Onefootball Geld? (ab 15:30) Welche neuen Erlösströme kann es für das Unternehmen in Zukunft geben? (ab 17:00) Der Aufgabenbereich des Neuzugangs Patrick Fischer, vormals CEO Sport 1 Media (ab 19:45) So funktioniert die Zusammenarbeit mit „OTT’s“, also Rechteinhabern wie Sky, Dazn oder Eurosport (ab 21:30) Das sind Wettbewerber von Onefootball (ab 23:40) So funktioniert die Zusammenarbeit mit Advertisern außerhalb der Fußball-Branche (ab 25:40) Wie viel Umsatz macht Onefootball? (ab 27:00) Diese namhaften Unternehmen und Personen sind bei Onefootball investiert (ab 30:15) Ein weiterer prominenter Neuzugang in den vergangenen Wochen war Franz Koch, ehemaliger Puma-CEO (ab 37:00) Wie hat Lucas von Cranach Daniel Hopp, Sohn von SAP-Gründer Dietmar Hopp, davon überzeugen können, in Onefootball zu investieren? (ab 41:00) Deshalb ist Youtube im Vergleich die wichtigste soziale Plattform für Onefootball (ab 43:00) So generiert Onefootball über Youtube-Influencer App-Installs (ab 48:00) Welches Ziel hat Lucas von Cranach langfristig für Onefootball? (ab 52:50) Wie bewertet von Cranach neue Sport-Publishing-Modelle wie das des US-Startups The Athletic? (ab 56:30) Könnte Onefootball in Zukunft auch selber mal zum Inhaber von Übertragunsrechten werden? (ab 01:01:45)

Lucas von Cranach gründete im Jahr 2008 das Start-up Onefootball und setzte von Beginn an auf eine App als wichtigste Content-Plattform. Mittlerweile erreicht die Medienplattform pro Monat bis zu 35 Millionen Menschen weltweit. Im SPONSORs-Podcast gibt von Cranach Einblicke in die Wachstumsstrategie von Onefootball, erklärt, warum Millennials faul sind und wieso er künftig verstärkt eigene Inhalte produzieren will. Alle Themen im Podcast mit Lucas von Cranach im Überblick: Die Sportbusiness-Woche im Überblick (1:15) Facts & Figures zu Onefootball (10:40) Zehn Millionen monatliche User über die App (13:15) Wie würdest du Onefootball definieren? (14:10) Wo findet die Content-Kreation statt? (16:00) „Wenn du global sein willst, musst du lokal verstehen“ (18:50) Die Investoren von Onefootball (20:00) „Unser Gesamtgebilde ist extrem gesund“ (22:30) „Die Bewertung von Unternehmen ist eine falsche Kennzahl“ (24:30) Was kostet Onefootball Geld? (26:10) Kostenbeitragsrechnung mit von Cranach (28:00) Die drei digitalen Kundenkategorien (30:20) Warum die App am wertvollsten ist (34:45) Millennials werden immer fauler (38:00) Wer sind für Onefootball Influencer? (40:30) „Der größte Kostentreiber ist der Mensch“ (42:30) „Wir kaufen keine Subscriber“ (44:50) Die vier Marktsegmente von Onefootball (45:45) „Deutschland ist ein Revenue-Markt“ (49:30) „Wir rechnen nicht mit Brutto-Umsätzen“ (52:10) Warum Brands ihre Kunden verstehen wollen (55:00) „Wir machen nur native Werbung“ (56:45) „Wir haben mit allen Kunden TKP-Modelle“ (59:45) Warum hast du vor zehn Jahren in eine App investiert? (1:04:00) „Ich habe mich dagegen entschieden, als Angestellter zu arbeiten“ (1:07:00) Danke für deine Podcast Bewertung unter: getpodcast.reviews/id/1236559169 Du hast Fragen zum Podcast oder Themenvorschläge? Dann schreib uns an podcast@sponsors.de Mehr Infos unter: sponsors.de/sponsors/podcast

Our Text: Glory Versus the Cross by Gene Edward Veith Show Notes:  Dr. Gene Keith is not Dr. John Kleinig. Pr. Riley flubbed it. By way of apology, we introduce you, faithful listener, to Dr. Veith himself. You can read more from Dr. Veith at his blog: Cranach. Or read God at Work: Your Christian Vocation in All […] Copyright Higher Things®, Higher Things - Dare to be Lutheran. Support the work of Higher Things.

Lucas Cranach d.Ä. lieferte die Bilder zu Luthers Ideen. Seine Werkstatt druckte die reformatorischen Gedanken und verbreitete sie. Welche Folgen hatte ihre Freundschaft für die Kunst?   

In seinem Unternehmer-Podcast Deep Dive diskutiert digital kompakt in dieser Woche mit Lucas von Cranach über der Deutschen liebsten Sport: Fußball. Mit seiner App Onefootball hat Cranach eine der relevantesten Medienplattformen zum Thema geschaffen und erklärt, mit welchem Geschäftsmodell er so einen 40-Milliarden-Markt erschließen will. Du erfährst... 1) …wie das Geschäftsmodell von Onefootball funktioniert 2) …mit welchen Maßnahmen das Unternehmen seine Nutzergewinnung und das Marketing befeuert 3) …wie die Inhalte kuratiert werden

It doesn't take long at Mockingbird before one hears about… yes, here it comes… Law and Gospel. It is the name of the book after all. And while most of the fun is to be had in observing this versatile skeleton key to the human condition illustrated in everything from Finding Dory to David Bowie, or from Black Mirror to Axl Rose, the original Law/Gospel illustration, of course, came from Martin Luther's BFF, Lucas Cranach the Elder, as evidenced below. On the left, expectation and obligation – with help from sin and death – send a helpless streaker toward an unwelcome barbeque (that's Law). On the right, expectation is met by fulfillment. As the good news sinks in, a super-soaker of imputing blood jet streams from a side-wound, while sin and death get busted by a deputized sheep (that's Gospel). It would be perfectly serviceable to offer an extended talk on such wonderful illustrations, one of which bedazzles the front of Paul Zahl's Short Systematic Theology. Cranach, after all, painted several variations, each of which convey different nuances to Law/Gospel dynamic. Nevertheless, addled as I am by the oppressive law of academia, with its merciless demand for originality, I am incapable of delivering something so straightforward, which, at any rate, has been done well in several top-notch publications. Instead, I thought I'd look to artists from whom one would not expect such a message. Indeed, at the tenth anniversary conference I shall contend the Law/Gospel message can be found concealed in artists a long way from Wittenberg. The thrilling truth of grace emerges in art history just where you'd expect to hear something different (hence my title, “Hearing Law, Seeing Gospel”). What if the dynamic famously painted by Cranach could be found incognito in Orthodox icons, peeking from the unsurpassable achievements of Michelangelo and Pontormo, concealed in Catholic kitsch, even shining through the cult of creativity in contemporary art? It's all succinctly conveyed in the witty title, “camouflage Cranach,” really, but my wife said that sounded terrible.

Explore the art of Martin Luther Preaching (1547) by Cranach the Elder. For Oswald Bayer, the challenge of preaching is to always preach the gospel anew without saying anything new. Where does the sermon come from? What do we say? Recall that what the heart desires, the will chooses, and the mind justifies. Love is the fulfillment of the Law. Where does love come from? Consider that the Law cannot produce what it demands. In Romans 14:23 we read, “For whatever does not proceed from faith is sin.” In Galatians 5:6 we read, “For in Christ Jesus neither circumcision nor uncircumcision counts for anything, but only faith working through love.” Love comes from faith. Where does faith come from? Romans 10:17 tells us, “So faith comes from hearing, and hearing through the word of Christ.” What do we preach? We preach the Word. How is the one Word ministered so that it brings an end to the old and gives life to the new? According to the Reformers, the way the Word is ministered is in the form of God's two words, Law and Gospel. Where does the ministry of the Law and Gospel need to be aimed? It needs to be aimed at the heart. How do we speak to the human heart? Jack Kerouac’s writing is mentioned as an example. For Gerhard Forde, too much preaching is talking about God and preaching needs to be doing the living and active Word of God. Forde also noted that we should think about the sermon the way we think about the Sacraments. We can also think of the Sacraments as an event of the Word.

Explore the pastoral application. Only iustus answers the fundamental question of "Who am I?" What does God say when He looks at you? Luther stated, "Sin and death persist and the saints feel it." Consider pastorally knowing the true heart. The words of gospel assurance are for those in Christ. If we speak the promise of God and someone believes it applies to them - it applies to them - that is precisely what faith and assurance are. Consider a person's need for the Law. Does assurance ever become tangible? Consider John 1:17-18. 1 John 4:12 states, “No one has ever seen God; if we love one another, God abides in us and his love is perfected in us.” For Luther, the ears are the only essential organ of the Christian. In Ephesians 6:16 we read, “In all circumstances take up the shield of faith, with which you can extinguish all the flaming darts of the evil one . . .” Consider Ephesians 6:13-15. Explore the promises God makes in Scripture. In Psalm 103:12 we read, “. . . as far as the east is from the west, so far does he remove our transgressions from us.” Also in Romans 10:17 we read, “So faith comes from hearing, and hearing through the word of Christ.” Recall the Law and Gospel diptych by Cranach the Elder. Discuss the borders between the Old Age and the New Creation. Does it make sense to talk of maturity, growth, or holiness in the Christian life? Do we obey our way across to the New Creation? Consider that the only way we get out of the Old Age is by death. Can we disobey our way out of Christ? We read in Romans 8:38-39, “For I am sure that neither death nor life, nor angels nor rulers, nor things present nor things to come, nor powers, nor height nor depth, nor anything else in all creation, will be able to separate us from the love of God in Christ Jesus our Lord.”

Explore the Law and Gospel diptych by Cranach the Elder. Consider that God communicates through Word and Spirit. For Luther, God does not give His Spirit apart from the external Word. In Romans 7:11 we read, “For sin, seizing an opportunity through the commandment, deceived me and through it killed me.” God does His work through His Word and is only interested in putting the Old Adam in the grave.

Consider the topic of death and resurrection. Justification is how a sinner becomes righteous. Augustine held that we cannot initiate our own salvation. Who is righteous at the end of this process? Inherent righteousness is righteousness in the human being. The Catholic theology holds that God saves the old Adam and Eve from having to die. The Protestant Reformers reacted to this theology because of Scriptural, pastoral, and personal reasons. If it is ultimately the transformed sinner that God will say righteous to then it makes sense to be looking at ourselves to make the journey to the judgment seat. The Law and Gospel diptych by Cranach the Elder is referenced. Justification is what happens in God's work of salvation. It is not that He makes us better, but that He puts the old Adam to death and raises a new creature to life in Christ. Explore Galatians 2:16, 19-21. Paul describes it as a gift of Jesus. At judgment, God will be looking at the righteousness of Christ. For the Reformers, Jesus Christ as the Savior for sinners was lost in the Roman Catholic theology. In Galatians 2:17 we read, “But if, in our endeavor to be justified in Christ, we too were found to be sinners . . .” Paul shows us that God declares us righteous not on the basis of us but on the work done for us by Jesus Christ. Consider the ordo salutis or “order of salvation”. It is the logical way God accomplishes and applies His work of salvation to sinners. We read in Romans 8:30, “And those whom he predestined he also called, and those whom he called he also justified, and those whom he justified he also glorified.”

Continue to explore the distinction between two verbal actions of God. Explore 1 Samuel 2 and Hannah's Song. We read in Romans 11:32, “For God has consigned all to disobedience, that he may have mercy on all.” For the Reformers, the Word of God which does these two works needs to be described as words distinguished as Law and Gospel. Recall the diptych “Law and Gospel” by Cranach the Elder. Consider Galatians 2:16, 19-21 and 2 Corinthians 3:6-7. Explore the giving of the Law. The whole generation who received and lived under the Law, die under the Law. Paul calls the Law a ministry of death. We read in Galatians 2:19, “For through the law I died to the law, so that I might live to God.” Explore what Romans 3:19-20 tells us. Consider that the Law does not remove sin, it reveals sin. Romans 4:15 states, “For the law brings wrath, but where there is no law there is no transgression.” A transgression is an actual braking of an explicit commandment. Romans 5:20 tells us, "Now the law came in to increase the trespass . . ." Consider Romans 7:10-13.

Explore the Law and Gospel diptych by Cranach the Elder. Consider that our encounters with the living God are not all the same. Old Adam's experience of God's Word is an encounter with something that God has said. We have a pastoral necessity in preaching to discern which Adam we are talking to. Do they need to hear the Word of God that takes sinners to their grave or the Word of God that raises the dead to new life? For Luther, to the hard-hearted you minister God's Law; to the brokenhearted you minister God's gospel. What does it mean to minister the Law? The truth that the Law of God ministers is who we are in ourselves apart from Christ and in our sin.

Dr. Anthony Briggman, Assistant Professor of the History of Early Christianity, delivers his sermon in Cannon Chapel on Reformation Day 2016. Title: Grace Then, Grace Today, Great Always. Scripture reading: verses depicted by Cranach the Younger.

Avec Pierre Vilar maître de conférences à l’université de Paris VII.

Avec Yves Hersant, directeur d’études à l’Ecole desHautes Etudes en sciences sociales.

Für diese Folge der Wasserdrachen war ich in der „Caritas“-Ausstellung im Paderborner Diözesanmuseum. Dort geht es auch um den deutschen Caritas Verband, aber in erster Linie um das Konzept der Nächstenliebe beginnend bei den frühen Christen bis in die Gegenwart. Die Ausstellung ist bestückt mit hochkarätigen Exponaten aus allen Epochen der Kunst- und Kulturgeschichte, beginnend mit einem Original des 1. Korintherbriefs über Gemälde von Cranach und Raffael bis hin zu modernen Foto- und Videoinstallationen. Außerdem hatte ich das Vergnügen eine kurzes Interview mit Christiane Ruhmann, der Kuratorin des Museums zuführen, in dem sie erzählt, wie man so eine Ausstellung überhaupt ins Werk setzt.

Steven Ozment

Podcast Transcript... The post Luther, Cranach, and The Making of the Reformation: A Conversation with Steven Ozment appeared first on AlbertMohler.com.

Sat, 1 Jan 2011 12:00:00 +0100 http://epub.ub.uni-muenchen.de/12159/ http://epub.ub.uni-muenchen.de/12159/1/Kuhn_Kompositionsfragen.pdf Kuhn, Rudolf; Kuhn-Wengenmayr, Annemarie Kuhn, Rudolf und Kuhn-Wengenmayr, Annemarie (2011): Kompositionsfragen. Beispiele aus fünf Jahrhunderten. Cranach, Dürer, Rubens, Ignaz Günther und Bernini, Schnorr von Carolsfeld, Manet, Marées, Liebermann, Pic

His family name was “Black Earth,” as in the rich, fertile soil around his hometown. In German, Schwartzerdt. His first name was Philipp. He was born in Feb of 1497 at Bretten in SW Germany. His father was an armorer for an important German Count.Though tiny for his age, Philipp was brilliant. It seemed his body put all its energy into the development of his mind rather than his increasingly misshapen body. So at the age of only 10 he joined the scholars at the school of Pforzheim where he learned Latin, Greek and was introduced to Classical philosophy. When it became clear Philipp was something of a prodigy, his well-known humanist uncle Johann Reuchlin took a hand in his education as well. It was he who suggested the burgeoning young scholar follow the humanist fashion of the time and translate his German last name of Schwartzerdt into the Greek Melanchthon.When at the age of 11, both his father and grandfather died within a few days of each other, Philipp moved in with his grandmother. The next year, at aged 12, He entered the University of Heidelberg where he studied philosophy, rhetoric & astronomy. He quickly made his mark as a scholar of Greek, but was denied his master's degree for being too young. Shifting to the school in Tübingen, he continued his studies in law, mathematics and medicine.He was finally granted his Master's when he turned 19 and began studying theology. Under the influence of humanists like his uncle and Erasmus, Melanchthon became convinced true Christianity was something very different from the dry scholasticism of the Academics.When his attempts at reform were opposed in Tübingen, he accepted a call from Martin Luther to teach in the University at Wittenberg. At the ripe old age of 21, he took on the role of Professor of Greek. As he studied Scripture he became increasingly convinced Luther's ideas were theologically sound. There's a good chance the young Melanchthon helped clarify some of Luther's early ideas. He went with Luther to Leipzig for a debate with the Catholic Apologist Johann Eck in 1519. Though he only attended as a spectator, he inserted some of his own comments into the debate. Those comments were so telling, Eck felt the need to respond. After returning to Wittenberg, Melanchthon published an effective reply, basing his retorts in Scripture.When it became clear Philipp was a settled fixture at the University in Wittenberg and was proving himself an able assistant to Luther, the town's mayor gave consent for his daughter to marry him.In 1521, Melanchthon's lectures on Romans in the University became the basis of the Reformation's first volume on dogmatics, titled Theological Common Places. Seeing several revisions over the following years, the work dealt with themes like the relationship of the law and gospel, the bondage of the will, and justification by faith.From the outset of his tenure as Luther's theological side-kick, Melanchthon set a priority on educational reform. He advocated a need for fluency in Greek in theological training and a restructuring of universities along humanist lines. His plans were implemented in the reordering of the schools at Heidelberg & Tübingen, as well as new school at Marburg and Königsberg. Along with Luther, he called for each town to have a public school for the education of its young.In the last episode, we noted Luther's increasing cantankerousness as he aged. Some historians attribute this onerousness to his failing health and the constant pain his last few years saw him in. But even as a younger man, Luther was given to bouts of moodiness that swung between mania and depression, sometimes wildly! Philipp's even-keeled and exceedingly moderate nature seemed the perfect foil to Luther.Three famous painters gave their skills to capturing Melanchthon. Holbein, Cranach, and Albrecht Dürer, whose image seems more an attempt to capture Philipp's spiritual essence than his actual appearance. Contemporaries remarked Dürer capably achieved his goal. These images and the descriptions we have of him present a man who was likely not taller than 4'9” and somewhat misshapen. He was rarely in good health but was able to accomplish as much work as he did  because of his well-honed work habits and the extraordinary discipline he exercised. Though Melanchthon could have used his position to great personal advantage, he never accumulated wealth or possessions, but was known for his generosity and hospitality.His marriage was happy. He called his home "a little church," & peace was always found there by visitors. There was genuine affection between Philipp and his wife and 4 children. One visitor remarked on his stay with the Melanchthons that he happened by one of the rooms to see Philipp rocking a cradle with one hand while reading a book in the other.Master Melanchthon had many friends with whom he conversed often, frequently via correspondence, in which he reveals far more of himself and his ideas than he ever did publicly. In fact, he was so generous with his thoughts he frequently wrote speeches & treatises for others, granting them permission to claim them as their own.Melanchthon eschewed all jealousy, envy, slander, & sarcasm, though being the keen intellect he was, and dealing with oft times obstinate theological opponents he did we can be sure his witty repartee would have been entertaining. To put it succinctly, Melanchthon was The scholar's Scholar. We've probably all heard of, maybe even known, those people who have to be, or think they are, the smartest person in the room. With Melanchthon, he aspired to be, not the smartest, though there's little doubt he was, but his goal was to be the  noblest, the most honest & decent soul in the room. To that end he was brutal in his self-assessment, even to the point of acknowledging his faults to his opponents and critics.After the Diet of Worms and the obvious break with Rome it clearly meant, Luther seemed content to go his way and take the Church in Germany with him. Then, when other Reformers differed from Luther's positions on various issues, he seemed willing to split from them as well. Melanchthon worked hard at affecting a reconciliation with both papists and other Reformers, if only they would be willing to negotiate on the basis of Scripture. He & Luther took part in an meeting at Marburg in 1529 with the Zwingli and the Swiss Reformers in an attempt to find a common ground. The Colloquy blew up over their different understandings of the nature of the Eucharist. Melanchthon was able to hammer out agreement with Martin Bucer and Southern Germans on the same issue in the Wittenberg Concord in 1536. He contributed to the 13 Articles Lutherans and Anglicans agreed on 2 yrs later. Having achieved unity with Bucer, the 2 participated in discussions at Hagenau & Worms that eventually led to a monumental Colloquy at Regensburg of 1541.  It was there that Cardinal Contarini made a serious bid for reconciliation with the Reformers, When it became clear there were issues both sides could NOT compromise on, the split between Rome and Protestants was final.While Melanchthon seems a committed Ecumenist in these efforts, a decade later when Thomas Cranmer called for a Reformation-wide ecumenical conference in London, he was less enthusiastic. But there's good reason for that. He was being accused by hardcore supports of Luther of betraying the cause in weakening Lutheran teaching.And Philipp's desire for harmony ought not be understood as his being soft on error. As early as 1522, he argued with Luther's other assistant at Wittenberg, Andreas Carlstadt who, while Luther was in hiding at Wartburg, assumed control of the Reformation movement in Luther's absence. Carlstadt's attitude was that the reforms ought to go forward as swiftly as possible. The problem was, the nobles and rulers who were generally in favor of a break with Rome, found the pace of reform Carlstadt urged too much too soon. Even Luther advocated a slower pace. So he left the Wartburg to return to Wittenberg and dress Carlstadt down. Andreas stayed for a time but, frustrated that the Reforms he knew were needed weren't being enacted swiftly enough, he left to spread his ideas of Radical Reformation across German & Switzerland. He eventually landed in in the University of Basel.Along with Luther, Melanchthon was instrumental in formulating the 1530 Augsburg Confession defining the tenants of Lutheranism. In 1540, Melanchthon issued a revised edition of the Confession with edits many Lutherans found objectionable. He was accused by Matthias Flacius of selling Luther out after the great Reformer's death. Melanchthon adopted a more moderate view than Luther on predestination and the nature of the Lord's Presence in Communion. His supporters were scornfully called Philippists. These attacks caused the gentle and uncontentious soul considerable distress in his last years. But after his death in 1560, Melanchthon's essential unity within Lutheranism was vindicated and he was buried beside his friend.Between Luther & Melanchthon, the later was more the scholar while the former was more the man of action. The steady Melanchthon was the perfect foil to   the mercurial Luther. Their friendship owed much to that fact as each recognized the value the other very different style provided for the massive undertaking they'd assumed. While this may be over-simplifying it, we might say Luther was the face and voice of the Early Reformation while Melanchthon was its brains and heart. Melanchthon's role was best served when he was the quiet one behind the scenes. When Luther was gone and he was called on to step up and take the lead, he proved unequal to the task. Make no mistake, no one doubted his piety & integrity. It's just that he did not possess the force of character Luther had.Still, there's a case to be made that had it not been for Philipp Melanchthon, there wouldn't have been a Martin Luther and the Reformation as we've come to know it.So – the world would be a very different place.