大家好，关于德国k展时间很多朋友都还不太明白，不过没关系，因为今天小编就来为大家分享关于德国十大著名展会的知识点，相信应该可以解决大家的一些困惑和问题，如果碰巧可以解决您的问题，还望关注下本站哦，希望对各位有所帮助！
本文目录
一、德国近代美术史时间分列
欧洲近代美术史是从浪漫主义开始的，西班牙画家戈雅（Goya）是历史上公认的现代主义的之一人。所以现在把浪漫主义这一时期定位为现代美术的开端。
随着之一次工业革命的开始（约1760年至1840年）这也引起了画家与哲学家以及文学家反对工业以及回归自然的声音，还有法国大革命以及其他运动的发生，随之浪漫主义运动也开始了。
德国的浪漫主义（18世纪晚期至19世纪早期）也是对于传统的德国绘画的一个重要的革新时期。
卡斯帕·弗里德里希就是其中的一个重要的画家。
作为一个艺术家，他的主要兴趣是寄情自然，他往往通过象征性和反传统的工作来传达对自然世界一种主观情感化的反应。1920年代，他的画作被表现主义者重新发掘。在1930年代和1940年代初超现实主义者和存在主义者经常从他的画中汲取灵感。
接下来是Nazarene运动（19世纪早期）
这是一群名叫Nazarene的非常崇尚基督教的画家们发起的运动，他们的目的是复兴基督教艺术的精神性以及虔诚性。
毕德麦雅时期（德语：Biedermeier）是指德意志邦联诸国在1815年（维也纳公约签订）至1848年（资产阶级革命开始）的历史时期，现则多用指文化史上的中产阶级艺术时期。
在政治背景方面，十八世纪末历经法国大革命、美国革命和拿破仑战争后帝国的瓦解，行保守主义的复辟政权当道[1]。执政者为避免自由思想再度盛行，鼓励人民纵情声乐[1]。然而，同一时期，另一波相对立的政治运动也酝酿已久。这场“革命性变革”以作家格奥尔格·毕希纳、海因里希·海涅等人为代表，史称前三月时期。
在毕德麦雅时期，中产阶级发展出他们的文化和艺术品味，如家庭音乐会、室内设计及时装。在文学方面，以“袭旧”和“保守”为特色；文学家普遍遁入田园诗，或投入私人书写。重要诗人有让·保罗、歌德和约翰·彼得·艾克曼等。
毕德麦雅与19世纪初期德国历史的二个时期有关。首先，随着都市化和工业化的蓬勃发展，新兴中产阶级不断扩大，其生活方式与需求逐渐取代传统贵族品味，成为社会的新主流[2]。舒伯特早期的艺术歌曲便是迎合中产阶级爱好的一例：它不需要艰深的音乐素养，简单地由一架钢琴演奏，呈现此时期艺术逐渐深入普罗大众的生活。
其次，在拿破仑战争落幕后，政治压迫逐渐增强，迫使人民专注于家庭和非政治事务。由于此时期对出版物订有严格的审查制度，毕德麦雅作家主要选取非政治题材，例如历史文学、乡村生活等。受限于 *** 之下，人们仅能在家中和密友谈论政治。这种氛围直到1848年革命才见转变。
在19世纪后半叶。也有更多的艺术形式的发展。这同于其他欧洲国家同时期艺术形式。
额。。。。资料越查越多＝＝。底下是英文的资料先凑合看着。。。等过两天我整理整理再接着发给你吧。。。
Even more than in other countries, German art in the early 20th
century developed through a number of loose groups and movements, many
covering other artistic media as well, and often with a specific
political element, as with the Arbeitsrat für Kunst and November Group,
both formed in 1918. By the 1920s a"Cartel of advanced artistic groups
in Germany"(Kartell fortschrittlicher Künstlergruppen in Deutschland)
was found necessary[by whom?].[citation needed]
Die Brücke("The Bridge") was one of two groups of German painters fundamental to expressioni *** , the other being Der Blaue Reiter group. Die Brücke was a group of German expressionist artists formed in Dresden in 1905 by architecture students who wanted to be painters: Fritz Bleyl(1880–1966), Erich Heckel(1883–1970), Ernst Ludwig Kirchner(1880–1938) and Karl Schmidt-Rottluff(1884–1976), with Max Pechstein and others later joining.[39] The notoriously individualistic Emil Nolde
(1867–1956) was briefly a member of Die Brücke, but was at odds with
the younger members of the group. Die Brücke moved to Berlin in 1911,
where it eventually dissolved in 1913. Perhaps their most important
contribution had been the rediscovery of the woodcut as a valid medium for original artistic expression.[citation needed]
Der Blaue Reiter("The Blue Rider") formed in Munich, Germany in 1911. Wassily Kandinsky, Franz Marc, August Macke, Alexej von Jawlensky, Marianne von Werefkin
and others founded the group in response to the rejection of
Kandinsky's painting Last Judgment from an exhibition by Neue
Künstlervereinigung—another artists' group of which Kandinsky had been a
member. The name Der Blaue Reiter derived from Marc's enthusia *** for
horses, and from Kandinsky's love of the colour blue. For Kandinsky,
blue is the colour of spirituality—the darker the blue, the more it
awakens human desire for the eternal(see his 1911 book On the Spiritual
in Art). Kandinsky had also titled a painting Der Blaue Reiter(see
illustration) in 1903.[40] The intense sculpture and printmaking of Käthe Kollwitz was strongly influenced by Expressioni *** ,
which also formed the starting point for the young artists who went on
to join other tendencies within the movements of the early 20th century.[41]
Die Brücke and Der Blaue Reiter were both examples of tendency of early 20th-century German art to be"honest, direct, and spiritually engaged"[42]
The difference in how the two groups attempted this were telling,
however. The artists of Der Blaue Reiter were less oriented towards
intense expression of emotion and more towards theory- a tendency which
would lead Kandinsky to pure abstraction. Still, it was the spiritual
and symbolic properties of abstract form that were important. There were
therefore Utopian tones to Kandinsky's abstractions:"We have before us
an age of conscious creation, and this new spirit in painting is going
hand in hand with thoughts toward an epoch of greater spirituality."[43] Die Brücke
also had Utopian tendencies, but took the medieval craft guild as a
model of cooperative work that could better society-"Everyone who with
directness and authenticity conveys that which drives him to creation
belongs to us".[44] The Bauhaus also shared these Utopian leanings, seeking to combine fine and applied arts(Gesamtkunstwerk) with a view towards creating a better society.[citation needed]
Otto Dix, Portrait of the Journalist Sylvia von Harden, 1926
A major feature of German art in the early 20th century until 1933 was a boom in the production of works of art of a grotesque style.[45][46] Artists using the Satirical-Grotesque genre included George Grosz, Otto Dix and Max Beckmann, at least in their works of the 1920s. Dada in Germany, the leading practitioners of which were Kurt Schwitters and Hannah Höch, was centered in Berlin, where it tended to be more politically oriented than Dada groups elsewhere.[47]
They made important contributions to the development of collage as a
medium for political commentary- Schwitters later developed his Merzbau, a forerunner of installation art.[47] Dix and Grosz were also associated with the Berlin Dada group. Max Ernst led a Dada
group in Cologne, where he also practiced collage, but with a greater
interest in Gothic fantasy than in overt political content—this hastened
his transition into surreali *** , of which he became the leading German practitioner.[48] The Swiss-born Paul Klee, Lyonel Feininger and others experimented with cubi *** .[citation needed]
or Neue Sachlichkeit(new matter-of-factness), was an art movement
which arose in Germany during the 1920s as an outgrowth of, and in
opposition to, expressioni *** . It is thus post-expressionist and applied
to works of visual art as well as literature, music, and architecture.
It describes the stripped-down, simplified building style of the Bauhaus and the Weissenhof Settlement, the urban planning and public housing projects of Bruno Taut and Ernst May, and the industrialization of the household typified by the Frankfurt kitchen. Grosz and Dix were leading figures, forming the"Verist" side of the movement with Beckmann and Christian Schad, Rudolf Schlichter, Georg Scholz(in his early work), Elfriede Lohse-Wächtler, and Karl Hubbuch. The other tendency is sometimes called Magic Reali *** , and included Anton Räderscheidt, Georg Schrimpf, Alexander Kanoldt, and Carl Gros *** erg.
Unlike some of the other groupings, the Neue Sachlichkeit was never a
formal group, and its artists were associated with other groups; the
term was invented by a sympathetic curator, and"Magic Reali *** " by an
Plakatstil,"poster style" in German, was an early style of poster design that began in the early 20th century, using bold, straight fonts with very simple designs, in contrast to Art Nouveau posters. Lucian Bernhard was a leading figure.[citation needed]
Made in Germany(German: Den macht uns keiner nach), by George Grosz, drawn in pen 1919, photo-lithograph 1920.
The Nazi regime banned modern art, which they condemned as degenerate art(from the German: entartete Kunst). According to Nazi ideology, modern art deviated from the prescribed norm of classical beauty.
While the 1920s to 1940s are considered the heyday of modern art
movements, there were conflicting nationalistic movements that resented
abstract art, and Germany was no exception. Avant-garde German artists
were now branded both enemies of the state and a threat to the German
nation. Many went into exile, with relatively few returning after World
War II. Dix was one who remained, being conscripted into the Volkssturm Home Guard militia; Pechstein kept his head down in rural Pomerania.
Nolde also stayed, creating his"unpainted pictures" in secret after
being forbidden to paint. Beckmann, Ernst, Grosz, Feininger and others
went to America, Klee to Switzerland, where he died. Kirchner committed
In July, 1937, the Nazis mounted a polemical exhibition entitled Entartete Kunst(Degenerate art),
in Munich; it subsequently travelled to eleven other cities in Germany
and Austria. The show was intended as an official condemnation of modern
art, and included over 650 paintings, sculptures, prints, and books
from the collections of thirty two German museums. Expressioni *** , which
had its origins in Germany, had the largest proportion of paintings
represented. Simultaneously, and with much pageantry, the Nazis
presented the Grosse deutsche Kunstausstellung(Great German art exhibition) at the palatial Haus der deutschen Kunst(House of German Art). This exhibition displayed the work of officially approved artists such as Arno Breker and Adolf Wissel. At the end of four months Entartete Kunst had attracted over two million visitors, nearly three and a half times the number that visited the nearby Grosse deutsche Kunstausstellung.[51]
Joseph Beuys, wearing his ubiquitous fedora, delivers a lecture on his theory of social sculpture, 1978
二、留学德国大学申请时间表
去德国留学没有规划是不行的，为了让留学生们对自己的留学生涯有明确的计划，我特意整理了德国大学申请时间安排表，以供参考。
2.大三下学期参加IELTS,gmat,gre相关语言老师或准备德语学习， *** PS和推荐信。
3. 6月-7月办理在读证明和成绩单等官方手续，递交德国留德人员审核部预约审核面试。
4.大学四年级9-10月参加德国审核部面试，并在2周后拿到APS审核证书(个别学校需参加大学面试)
5.次年1月起递交大学申请材料(根据大学审理材料的开始和截止日期递交材料)
6. 3月-8月等待0FFER，选择录取院校并确认
7. 8月-9月办理签证相关准备材料，并递交签证
8. 9月-10月安排住宿，准备行李，订购机票
德累斯顿工业大学位于德国萨克森州州府，著名的历史名城德累斯顿市，该市位于萨克森州易北河畔，是著名的“奥迪”轿车和德国第三大银行德累斯顿银行的创始地。近年来，西门子、IBM、ABB、AEG等大公司也纷纷在德累斯顿市设立了新厂和研究中心。
德累斯顿工业大学是德国最著名的理工科大学之一，成立于1828年，目前已有173年的'历史。大学在德国大学中名列前茅，是德国著名的国立综合性大学，也是萨克森州更大的国际化高等院校。两德统一后，学校除了开设传统的工程科学以及自然科学的各项专业以外，还开设有经济学、人文科学、医学等领域的专业。今天的德累斯顿工业大学拥有十分庞大的教学与科研规模，教学领域广泛，涵盖了工商管理、工程、科学、医学、人文社会学等14个学院，100多个专业，在校人数26000多人，共分7个学科14个系，其中微电子专业在德国最有名。德累斯顿工业其创新的教育模式和广泛覆盖各个经济领域的学术实力已经在欧洲和亚洲得到广泛认可。毕业于德累斯顿工业大学的学生被各大跨国公司、银行和 *** 部门争相聘用，成为德国发展的中坚力量。西门子、IBM、ABB、AEG等大公司在德累斯顿都有工厂和研究中心。
1828年，随着工业化的出现，“萨克森技术学院”成立，旨在培养在机械学，机械工程学以及造船等技术领域的熟练工人。1871年，德意志帝国成立，该学院改名为萨克森皇家理工学院(Königlich-Sächsisches Polytechnikum)。当时引入了诸如历史，语言等与技术没有直接联系的学科。19世纪末，该学院发展为一个覆盖所有学科门类的大学。1961年该大学才获得其现在的名字，德累斯顿工业大学(Technische Universität Dresden)。1990年德国统一时，这所大学已经合并了附近的Tharandt小镇的林业大学(Forstliche Hochschule)。之后又合并了德累斯顿工程学院(Ingenieurshochschule Dresden)，弗里德里希·李斯特交通学院(Hochschule für Verkehrswesen)成为其交通科学学院，“Carl-Gustav Carus”医学院(Medizinische Akademie)成为其医学院。新成立了信息技术学院(1991)，法学院(1991)，教育学院(1993)与经济学院(1993)。
德累斯顿工业大学建筑学院由6个系构成，目前有1，410个注册学生。土木工程学院由11个系构成。这是所有学院中最古老，最小的一个。该学院目前有757个注册学生。计算机科学学院由7个系构成，计算工程，计算逻辑，理论计算机科学，媒体信息与应用计算机科学。该学院目前有2，703个学生。电子工程与信息技术学院由13个系构成，有2，288个注册学生。这个学院是德累斯顿“欧洲硅谷”的中心。林学，地球科学与水文学学院有2，914个学生。这个学院位于主校区，除了位于Tharandt的林学系。该林学系是德国同类院系中最古老的，其历史可以追溯到1816年萨克森皇家林学院建立之时。机械工程学院由19个系构成，有4，140个学生。“弗里德里希·李斯特”运输与交通科学学院涵盖从经济与系统理论到电子工程，土木工程与机械工程的运输与交通科学，这在德国同类院系中是独一无二的。该学院目前有1，536个注册学生。
三、2013德国K展
1、2013年德国杜塞尔多夫国际塑料及橡胶展览会 K SHOW
2、展会时间：2013年10月16日至23日（Oct. 16- 23, 2013）
3、主办单位:杜塞尔多夫国际展览集团
4、中国组展：北京沃德博森国际商务展览有限公司孔鑫 134 3655 2027
5、德国杜塞尔多夫国际塑料及橡胶展（简称K展），是全球更大的塑料橡胶产业展览会。每三年一届的展会，至今已经成功举办了十八届，2013年将迎来她的第十九次盛会。K的闻名于世，不光在于她的超大规模，更在于她的召开催生了新的激励因素，也为该行业所有领域带来新的业务机遇。
四、2024德国塑料模具展Fakuma
1、展会时间</: 2024年10月15日至19日，一场不容错过的行业盛典即将拉开序幕。
2、展会地点</:德国菲德烈港展览中心</，这里是创新与技术的交汇点，邻近欧洲三国边境，繁华与活力并存。
3、主办单位</: P.E. Schall GmbH& Co. KG</，以其丰富的经验和专业实力，为全球塑料加工行业提供展示平台。
4、展会周期</:每三年一次，Fakuma已成为塑料领域每届必看的年度盛事。
5、展会简介</:自1981年诞生以来，Fakuma已发展成为全球塑料工业的翘楚，汇集原材料、机械设备、新技术于一堂，为参展商和观众打造了交流与学习的绝佳场所。
6、2021年的展会，吸引了来自德国、意大利、法国等38个国家的1900家企业，参展面积达到85,000平方米，吸引了全球120个国家的5万名专业观众共襄盛举，洽谈合作。
7、行业新机遇</:对于中国企业而言，Fakuma不仅是拓宽欧洲市场的窗口，更是打破K展名额限制，寻求新突破的绝佳选择。别再错过，另辟蹊径，探索新可能。
8、展品范围</:展会涵盖丰富内容，从汽车、电子到家电，塑料模具、标准件，到模具加工设备、CAD/CAM软件，无所不包。原材料从橡塑到添加剂，加工设备从挤压机到激光处理，应有尽有。
9、此外，还有橡胶制品、塑料包装、印刷技术，以及各类中空成型和挤出吹塑设备，全面展示了塑料和橡胶制品的生产前沿。参展企业不仅可以展示技术，更能借此结识行业同仁，共创未来。
10、商务合作</:中展远洋商务咨询（北京）有限公司作为专业国际展览服务提供商，将为您的参展之路提供全方位支持与保障。
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