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In 1981 I was approached by Klaus Peters to assist in publishing a selection of the papers of Kurt Otto Friedrichs. With some reluctance Friedrichs has agreed to help in making the selection although in the initial stages only one paper [47-2] was in his opinion worthy of being included. With some coaxing on my part the selection was made mainly by Friedrichs despite his frequent modest grumble that it did not make sense to include "that" paper as "X" had subsequently improved either the result or the proof. Later P.D. Lax and L. Nirenberg identified appropriate papers and, perhaps not so remarkably, there was almost complete overlap. The vast majority of the papers are in partial differential equations and spectral theory where Friedrichs had the greatest impact. For these Peter Lax and Tosio Kato have written the commentaries. Friedrichs made fundamental contributions in the theory of asymptotics; two papers, including Friedrichs' Gibbs Lecture, have been reviewed by W. Wasow. The very profound contributions Friedrichs made to applied mathematics are represented by some papers in elasticity, mainly written with J.J. Stoker and now reviewed by F. John and in magneto-hydrodynamics where Friedrichs' original notes have been reproduced and his contributions to the subject reviewed by Harold Weitzner. In both these areas Friedrichs recognized and clarified approximations made in engineering and physics.

I'm selling my Otto Link STM ligature in mint condition for alto or tenor saxophone mouthpieces.Very beautiful and good.

Very rare Otto Link Tone Master Alto Sax Mouthpiece. Serial # is A13, made in the early 1940s. I believe it is the 13th Tone Master ever made. The ...

This generously illustrated monograph on Otto Dix presents the work of the controversial German artist renowned for his unflinching portrayal of life during war time and the aftermath of violence. The celebrated German artist Otto Dix, a volunteer for the German army during World War I, went on to create some of the most powerful anti-war images of the modern age. His work also includes unsettling depictions of civilian life in the Weimar Republic following World War I. This book examines every aspect of Dix's career, from his expressionist work to his gradual embrace of classically influenced realism. Though many of Dix's works were destroyed under the Third Reich, a number of his rarely seen landscapes from that era as well as later works of religious allegory are included here.

Pietro è un ragazzino di città, solitario e un po' scontroso. La madre lavora in un consultorio di periferia, e farsi carico degli altri è il suo talento. Il padre è un chimico, un uomo ombroso e affascinante, che torna a casa ogni sera dal lavoro carico di rabbia. I genitori di Pietro sono uniti da una passione comune, fondativa: in montagna si sono conosciuti, innamorati, si sono addirittura sposati ai piedi delle Tre Cime di Lavaredo. La montagna li ha uniti da sempre, anche nella tragedia, e l'orizzonte lineare di Milano li riempie ora di rimpianto e nostalgia. Quando scoprono il paesino di Grana, ai piedi del Monte Rosa, sentono di aver trovato il posto giusto: Pietro trascorrerà tutte le estati in quel luogo "chiuso a monte da creste grigio ferro e a valle da una rupe che ne ostacola l'accesso" ma attraversato da un torrente che lo incanta dal primo momento. E li, ad aspettarlo, c'è Bruno, capelli biondo canapa e collo bruciato dal sole: ha la sua stessa età ma invece di essere in vacanza si occupa del pascolo delle vacche. Iniziano così estati di esplorazioni e scoperte, tra le case abbandonate, il mulino e i sentieri più aspri. Sono anche gli anni in cui Pietro inizia a camminare con suo padre, "la cosa più simile a un'educazione che abbia ricevuto da lui". Perché la montagna è un sapere, un vero e proprio modo di respirare, e sarà il suo lascito più vero: "Eccola li, la mia eredità: una parete di roccia, neve, un mucchio di sassi squadrati, un pino". Un'eredità che dopo tanti anni lo riavvicinerà a Bruno.

This generously illustrated monograph on Otto Dix presents the work of the controversial German artist renowned for his unflinching portrayal of life during war time and the aftermath of violence. The celebrated German artist Otto Dix, a volunteer for the German army during World War I, went on to create some of the most powerful anti-war images of the modern age. His work also includes unsettling depictions of civilian life in the Weimar Republic following World War I. This book examines every aspect of Dix's career, from his expressionist work to his gradual embrace of classically influenced realism. Though many of Dix's works were destroyed under the Third Reich, a number of his rarely seen landscapes from that era as well as later works of religious allegory are included here.

A friend of Otto Mears described him this way: "Mr. Mears is a man who always said 'I can;' and he did." His accomplishments are mind boggling. Mears' trading business led directly to his building toll roads. His newspapers touted Saguache, Ouray, and other new towns to bring more business across his toll roads for his hardware stores. His political contacts enhanced his friendship and ability to work with the Utes, but at the same time he was a supporter of the forces that pushed the Utes out of Colorado. His railroads helped move his goods to distribution points, haul out ore from the mines and deliver it to his own and others' mills. He used dirty politics to fight hard and sometimes viciously to prevent unionization of his railroad workers, but he was one of the first businessmen in the West to institute profit sharing with his employees in the mines. A visionary, yes, enigmatic, no doubt, but also a man of his times. Otto Mears was an adventurous, poor, uneducated and underprivileged immigrant from Russia who dreamed big dreams and made many of them come true.

The cycle of 50 etchings that German Expressionist Otto Dix created in 1924 are reproduced in this volume and reflect the antimilitarism and hatred for war that Dix expressed after his service in World War I. Dix's work is distinguished by its treatment of war subject matter, emerging in images of destruction, disfigurement, and maiming of the human body that offer an apocalyptic vision of the world. An introduction to biographical details including Dix's participation in the Great War and the evolution of his artistic vision is provided.

Now recognized as one of Germany's most important 20th-century painters, Dix, along with George Grosz, developed the New Objective style of depicting modern life i.e., stripped of superficial appearances and revealing shocking truths which he applied in particular to subject matter associated with the First World War and Wiemar Germany. This volume, published for a full retrospective exhibition at the Tate Gallery during 1992, includes 130 works (180 illustrations, 134 in color) in addition to essays covering Dix's achievements as well as many aspects of the political and social climate in Germany. Distributed by the U. of Washington Press. Annotation copyright Book News, Inc. Portland, Or.

“The Neue Sachlichkeit: I invented it.” Thus Otto Dix (1891–1969), looking back with characteristic directness, chose to rewrite the development of the art movement that can be considered the “third path”--alongside Abstraction and Expressionism--taken by progressive artists in the modern era. Situated somewhere between the grotesque and the classical, Dix’s harsh, unrelenting realism produced some of the most horrific depictions of the First World War, and some of the most critical portrayals of the Weimar Republic. Published to coincide with an exhibition at the Kunstmuseum in Stuttgart, Otto Dix and New Objectivity is the first publication to fully illuminate the Neue Sachlichkeit against the backdrop of the Weimar Republic and National Socialism. The exhibition brings together around 120 works to investigate what characterizes the New Objectivity and how variously the term has been used and interpreted since the 1920s. Some of Dix’s key works--including the “Metropolis” triptych (1928–29), the great psychological portraits and the landscapes with their hidden symbolism painted during the years Dix spent at Lake Constance--form the departure point for this exploration of his oeuvre. They are placed in context alongside the works of George Grosz, Franz Lenk, Werner Peiner, Franz Radziwill, Christian Schad, Rudolf Schlichter and Georg Scholz, creating a new perspective on this crucial chapter in German art history and illuminating these artists’ various reactions to the National Socialist aesthetic and art policy.

The objectivist: Staging the world as a play   "It is my wish to come very close, strikingly close, to the times in which we live, without submitting to artistic dogma...I need the connection to the world of senses, the courage to portray ugliness, life as it comes." - Otto Dix In the 1920s, Otto Dix was the artist of Neue Sachlichkeit, the New Objectivity, par excellence. Painting in a very realistic, almost photographic style, he chose as subjects the poverty, violence, death, and war that he experienced as a soldier in World War I. After this terrible experience, he painted the famous triptych The War. Dix staged the world as a play, a grotesque farce. But the form he chose to do so was based on the classical canon of beauty. Dix lived his life and served art, for he adhered to the age-old rule that the American painter Ad Reinhardt put in a nutshell: "Life is life, and art is art."

This biography--the first in English--of the prominent pre-World War I German naval officer Otto von Diederichs examines the evolution of the Imperial German Navy and Diederichs's participation in the Navy's strategic and operational development. When he secured his naval appointment in 1867, the Prussian Navy was little more than a coastal-defense force, but during the course of his naval service, the fleet evolved into the Imperial German Navy whose High Seas Fleet played a major role in the world war.Known as an expert troubleshooter, Diederichs served variously as a training officer, commander of a gunboat during the Franco-German War of 1870-1871, first officer aboard a cruiser in East Asian waters, and a naval educator at the Navy's undergraduate and postgraduate academic institutions. His most famous achievement, the 1897 seizure of Kiao-chou Bay as Germany's first overseas naval base, and his most controversial act, an 1898 confrontation with Rear Admiral George Dewey at Manila Bay, are thoroughly explored in the book. German naval historian Terrell Gottschall also takes a careful look at the strategic dispute between Diederichs and Admiral Alfred von Tirpitz that led to Diederichs's early retirement. Intended for both general and scholarly readers, the book fills a gap in German naval history prior to the emergence of Tirpitz and his policies that led Germany into World War I.

Now recognized as one of Germany's most important 20th-century painters, Dix, along with George Grosz, developed the New Objective style of depicting modern life i.e., stripped of superficial appearances and revealing shocking truths which he applied in particular to subject matter associated with the First World War and Wiemar Germany. This volume, published for a full retrospective exhibition at the Tate Gallery during 1992, includes 130 works (180 illustrations, 134 in color) in addition to essays covering Dix's achievements as well as many aspects of the political and social climate in Germany. Distributed by the U. of Washington Press. Annotation copyright Book News, Inc. Portland, Or.

In 1981 I was approached by Klaus Peters to assist in publishing a selection of the papers of Kurt Otto Friedrichs. With some reluctance Friedrichs has agreed to help in making the selection although in the initial stages only one paper [47-2] was in his opinion worthy of being included. With some coaxing on my part the selection was made mainly by Friedrichs despite his frequent modest grumble that it did not make sense to include "that" paper as "X" had subsequently improved either the result or the proof. Later P.D. Lax and L. Nirenberg identified appropriate papers and, perhaps not so remarkably, there was almost complete overlap. The vast majority of the papers are in partial differential equations and spectral theory where Friedrichs had the greatest impact. For these Peter Lax and Tosio Kato have written the commentaries. Friedrichs made fundamental contributions in the theory of asymptotics; two papers, including Friedrichs' Gibbs Lecture, have been reviewed by W. Wasow. The very profound contributions Friedrichs made to applied mathematics are represented by some papers in elasticity, mainly written with J.J. Stoker and now reviewed by F. John and in magneto-hydrodynamics where Friedrichs' original notes have been reproduced and his contributions to the subject reviewed by Harold Weitzner. In both these areas Friedrichs recognized and clarified approximations made in engineering and physics.

In 1959, a thirteen-year-old girl in California was so impassioned by Anne Frank's diary that she decided to write to her heroine's father Otto, the only surviving member of the Frank family. Mr. Frank's reply to young Cara Weiss was friendly, yet he cautioned, "I receive many letters from young people all over the world, but you will understand that it is not possible for me to carry on correspondence, though, as you see, I am answering everyone."From this tentative start, a heartfelt twenty-two-year correspondence was born. in Cara Weiss Wilson's book we share in the remarkable friendship that grew between a young girl from North Hollywood and a Holocaust survivor living in Switzerland. Otto's letters are filled with sage advice about the crucial issues in Cara's path to maturity: sibling rivalry, conflicts with parents, first love, entering college, choosing a career, marriage, children. At the same time, Otto reveals how he worked to keep the spirit of his daughter alive through the Anne Frank Foundation.The book's conclusion comes twenty years after the correspondence began, as Cara journeys to Amsterdam for an emotional private tour of the Anne Frank house, and then to Switzerland to meet Otto Frank in person for the first time. At the Frank home, Cara learns the stories of the numerous children the world over whom Otto helped usher into adulthood with his warm and wise letters.

The objectivist: Staging the world as a play   "It is my wish to come very close, strikingly close, to the times in which we live, without submitting to artistic dogma...I need the connection to the world of senses, the courage to portray ugliness, life as it comes." - Otto Dix In the 1920s, Otto Dix was the artist of Neue Sachlichkeit, the New Objectivity, par excellence. Painting in a very realistic, almost photographic style, he chose as subjects the poverty, violence, death, and war that he experienced as a soldier in World War I. After this terrible experience, he painted the famous triptych The War. Dix staged the world as a play, a grotesque farce. But the form he chose to do so was based on the classical canon of beauty. Dix lived his life and served art, for he adhered to the age-old rule that the American painter Ad Reinhardt put in a nutshell: "Life is life, and art is art."

I have a Florida link that was originally a 5 star. It has been worked on by Stephan Kammerer at SK mouthpieces in NY. It has been opened to a 10...

Gorgeous piece. Looks brand new. Just took it up to the shop to get them to take a look at it before I list it and they said its in great condition...