Teamwork Climbers Framed Art Print $69.99 Title: Teamwork - ClimbersProduct type: framed printSubject: motivational

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Finding The Best Motivational Print

Motivation is the pillar of achieving success. In this highly competitive world, motivation plays a great role in driving us forward. Motivational prints are a medium of instilling hope and courage in us. The purpose of motivational prints is to inspire us to strive hard and achieve what is not yet achieved.

Motivation Prints Are Applicable To All

Motivational prints are responsible for providing encouragement to various people all over the world. There are no barriers of class, skin color, wealth and even age. These motivational prints are an object of universal recognition. They can be used by school children. They can be used by people who are working. These prints are a great source of inspiration to teams.

You need motivation to accomplish anything and everything under the sun. Even cooking a meal requires some amount of motivation. Or even cleaning the cupboard requires motivation. So these motivation prints can be used by anyone, even by those who are home makers. They work very hard to manage the home. They are the pillars on the support of which the entire family stands.

They Are A Necessity To Move Forward

Motivation, inspiration and aspiration are the 3 things which determine a person's success. Motivation posters placed in front of us, flash these things before our eyes all the time. The word motivation originated from the word movement. The purpose of motivation is to show you light so that you can move forward. Inspiration has the power to make a lot of difference to us. It definitely improves the quality of our work in a way, either qualitatively or by means of quantity.

There are several types of motivation: Positive motivation, negative motivation, internal motivation or external motivation. The different types of motivation can either construct you or they can even destroy you. Like positive motivation / inspiration can do wonders to you, in the same way de motivation can be equally harmful to you. These motivation prints are inspirational. They never de motivate us in any way.

Funny Motivation Prints: A Type Of Motivation Prints

In several schools and colleges, funny motivational posters are put up. These motivational posters can be bought from several places. These are present not only in schools, colleges or offices. These motivation posters are found in several bill boards; in many organizations etc. these posters perform the task of inspiring people.

These prints can be given to people as motivational gifts. They form ideal gifts for colleagues, students etc.

There is great impact of advertisements on motivational posters. They are beautifully decorated with several colors, graphics etc. they form great tools for advertisement. They can be used to promote the product with a social message.

About the Author

TLudlow, writer and designer for TL Industries. To know more about motivational print, please visit  www.itsagoodday.org

Poster Printing Ideas for Fitness Gyms

Posters can deliver a variety of information to a target audience quickly, conveniently, and, effectively. Posters as printed marketing materials can serve as a versatile and efficient tool when marketing a fitness gym. The following is list of poster printing ideas for a fitness gym:

•    Motivational Messages – Posters can be hung along exercise areas of the gym and contain motivational images and text. When morale is starting to get low, these posters can help revive gym members’ spirits and motivate them to continue. Posters with customized messages such as these can easily be printed through the services of online printing companies. Online printing reviews can also provide first-time users with more information about online printing services.

•    Safety Tips – Exercising is a task that should be done with extra care and calculated movements. When inside the gym, it’s best to post safety tips on proper exercise positions and safe handling of exercise equipment. This type of poster information shows gym members that their safety and health is a primary concern for gym owners. For safety information, it’s advisable to print visible and readable posters. Online printing companies print full-color, fade-proof posters with glossy, water-based coatings.

•    Physical Fitness Tips – Posters can also carry physical fitness and health tips for gym members. The messages can be custom-made for each exercise area or they can be hung at the gym’s snack bar or concessionaire areas. Here, they do not only serve as informational tools but they can also promote the gym’s health products. Online printing companies also offer downloadable, read-to-use, poster print templates for more customized designs. Finding a printer in your local state can easily be found using the internet. Let’s say you live in Long Beach, California. Simply search using the phrase, “printing in Long Beach, CA”.

Apart from physical fitness, gym owners also want to spread motivational messages, health tips, and safety measures. Posters are effective and convenient tools that can help convey these messages to gym members.

About the Author

Nikki Sabato is a writer with a background in landscape architecture and design. She currently works in the field of marketing and design communication.

Facing the Giants (DVD) $6.43 IN THEATERS SEPTEMBER 29, 2006A high school football coach (played by actor/director Alex Kendrick) uses some unorthodox methods to motivate his team in FACING THE GIANTS. A devoted Christian, the coach turns to God for inspiration, with amazing...

Motivational $7.99 Mike Jones Motivational - Art Print

What golf course is featured on the Challenge: Golf II motivational posters?

The Motivational poster says: We will either find a way or make one. The picture is of a hole with a lot of sand traps.

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Top 10 Poster Tips Of All Time

If you look at most of the tutorials for poster printing and design to date you will see a lot of the same suggestions plus a sprinkling of new and innovative ideas. However, it is really hard to get the whole picture on poster printing in just one location these days. Most tips are spread out and it is hard to remember what is really important and what is okay to ignore.

That is why in this article we will give you the top 10 most useful poster tips of all time for most poster designers. Hopefully this compiled list should give you all the important information that you need from designing your posters to dealing with your poster printer. So put your learning cap on and start absorbing all this poster printing knowledge.

1. Print in color. Here is one of the most important and standard tips that you will here for poster printing. You should now always print in full color. You might think you will be saving money when you print old style black inked posters, but you will be sacrificing a lot in terms of impact and appeal.

Hardly anyone really notices black and white posters these days, and those that are noticed require a really wild content concept.  So you are better off really printing color posters since almost any kind of color poster can get a decent audience to notice it. It has more feeling and impact on people.

2. Print online. While traditional poster printers are still great, the most convenient way to print posters now is through an online printing company. These online printing services not only offer a convenient way of ordering your prints, but they are also open all the time and they print your color posters as quickly as possible. They even deliver your color posters once printed to any place that you want so you do not have to go out and pick up the color posters yourself. It is the most convenient modern way of printing today, and it is highly recommended for anyone.

3. Print in bulk. Of course, a great tip for any kind of printing is to always try to print things in bulk. When it comes to posters, do not be stingy with your numbers. Always try to print as much as you can for your planned deployment with a little extra. The more you print color posters, the cheaper it is for most printing companies to print them. So you always get bulk discounts. That is why it is good to always print in bulk when it comes to poster printing.

4. Use good paper. Your color posters will always be exposed to a myriad of physical assaults from moisture, dirt, scratches etc. So as a general rule, it is always best to use good paper materials to make your color posters durable. The thicker or heavier the paper is, the better your color posters should be. You might also want to invest in special material coatings that make your posters more water and dirt resistant. Ask your poster printer what options you have in this department.

5. Use good inks. There is more than just one type of ink. There are powder inks, water resistant inks, glossy inks and special metallic inks. You should always use the best inks for your color posters. Standard four color inks for full color poster printing is a nice place to start. If you want impressive color posters however, I would suggest you go for the glossy ones. Use metallic inks only if you have special design elements that need such attention grabbing properties.

6. Use poster templates. Poster templates are a designer's friend. It makes the whole design process easier, and it helps make the layout more compatible with most printing companies. So definitely use poster templates when possible.

7. Use simple fonts. In the design side of things, most color posters are better off with simple headline fonts. Nobody likes a custom poster that needs time to be understood. Most readers want text as simple and as understandable as possible. So always try to use simple fonts.

8. Use images that connect. When it comes to images, always get poster images that connect with your readers. Some images might look beautiful, but they hardly communicate anything to people, much less interest all of them. So always try to use images that have an appeal to readers. Discover what most readers want to see or have an issue with. Show them emotion and show them a whole story with your poster images. Your color posters will be a lot more effective in this way.

9. Use large posters. When possible, large posters are always better. They are more visible than other posters and of course they have more impact. So always try to print as large a poster as you possibly can to have an edge over visibility and impact.

10. Know the environment. Finally, in all poster printings, you must always know the target environments you will be deploying in. Consider the traffic of people on those locations, the physical environment, the colors of the environment and the size of the place where you can put the posters. All of this should shape your decisions in poster design so that you can make the most ideal color posters in those environments. A more adapted poster will always have more success in doing its job. So make sure you know the environment your posters will be working in.

For comments and inquiries about the article visit: Poster Printing

About the Author

Lynne Saarte is a writer that hails from Texas. She has been in the Internet business for some years now, specializing in Internet marketing and online strategies.

Don't Get Fooled with All the Hype in Poster Printing

Are you doing a little online poster printing for a certain project? Well before you get fooled with all the hype in certain online poster printing options and costs, you better know a thing or two about all the hype that these printers foster. In this article, I am going to explain to you four common hyped up poster printing slogans that gets you to spend more, buy more poster templates and generally just do things that are not really necessary. Hopefully, you can be a little wiser and better with your choice of poster printing options once you know the whole story about these hypes.

• Hype #1: Bigger is better – We have all heard the phrase and most poster printers hype it up. Bigger is better in poster printing as they say. It has a big impact and it is highly visible from everywhere. Even you yourself would probably think that bigger color posters are way more impressive than puny ones right? Well, there is more to it than that.

Bigger is not necessarily better. It is all about the deployment of the color posters as well as the quality of the design. Smaller color posters can actually outmatch larger posters in terms of deployment/distribution scope and overall exposure. With tons of smaller posters spread in more places, people can actually remember your poster messages more than if they just read the big one. So it pays to print smaller posters as well, don't get to in to the hype.

• Hype #2: Glossy is required – Another hyped up thing in color poster printing is that glossy materials are required for printing. There is nothing like a glossy color poster of course. The way it shines and gleams in the light, plus its clean smooth surface can really be attractive to readers. However, you should know that this is all hype. You do not have to print glossy color posters if you do not want to. Standard rough paper can still have an impact when used for color posters. With the right design concept, cheaper poster printing with rough paper can still beat out expensive poster printing with glossy paper finishes.

• Hype #3: Plastics and Coatings– Many publishers are also touting the use of special plastics and coatings for color poster printing. They add a significant amount of expense for poster printing, but they do make color posters almost impervious to moisture and dirt for a long time. In fact, many people think that it makes their posters almost immortal, giving its marketing messages to readers for a very very long time.

The truth about this though is a little different. Color posters with special plastics and coatings can sometimes not be truly worth it for poster printing. If you think about it, most color poster promotions will only need to last a few weeks and months. This does not justify printing double or triple the cost of color poster printing just because you want your color posters to be made of plastic or have special coated materials. So it is still good to invest in normal color poster printing. Leave those plastic posters to people who really need almost immortal posters.

• Hype #4: Digital or Offset is the best – Now one or another color poster printer would be shouting that offset printing is best, or that digital color poster printing is better. Both of these kinds of posters hype up their printing technologies, making them look the best for your poster printing.

In truth however, it all really depends on you. Digital printing of color posters is usually best if you have small orders of 50 posters and below, while offset printing is ideal if you want more than 100 color posters printed. Offset printing is typically more crisp and beautiful, while digital color printing is always fast and efficient. So there no one printing is superior over the other. It all depends on the color posters that you want produced.

Good! Now you won't be fooled by the most common hypes in poster printing. Just keep an open mind and always ask questions when you explore creating your color posters. Go beyond what is hyped up and get the real story of your poster printing options.

About the Author

Lea Delaney is specializing in writing articles on a printing company. Try to check out this website for more information about poster templates, and check out the best place to make your online poster printing

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Posters: a Mighty Medium of Publicity

Poster is a printed paper of rather large size that could be affixed on a wall or other preferably vertical surface. Posters may have both textual and graphical content together as well as they may have separate textual or graphical content. Posters are nowadays an important means of advertising and publicity. Posters carry the informations about any event, election, health programs, movies, protests and products etc.

There are several other significant uses of posters. Reproduction of famous art works is also carried on in posters. There are educational posters too that convey many important messages to the public. Posters have got huge significance for political groups. They help in projecting the right image of the political leaders and the agendas of various political parties. The catchy lines of the posters attract the viewers and the purpose is solved when people see them. Political posters are said to be originated in the First World War and they were effectively used in Second World War.

People take the help of posters to lodge any kind of protest. These posters support the voices of the protesters in visual way. The general type of posters are also many like comic book posters, event posters, boxing posters, concert posters, educational posters, classroom posters, fan poster, affirmation poster, music posters

For product advertisement, posters have been in vogue since very long time. After the invention of printer and the development of cheap printing technique, poster printing started on a big scale. The term “poster art” was coined in 1880’s when, Europe was stung by the cheap and easy printing technology. Many noted artists inclined towards poster art during that time. The popularity level of posters reached high levels at that time and a grand exhibition was organized at Paris in 1884 to mark the fame of posters.

Some people harbor the hobby of collecting posters. Posters belonging to some historic event or movement attach great worth to them and they are sought after by many admirers. Conventionally, the popular size of the posters is 24 by 36 inches. The posters smaller in sizes are called handbills or flyers.

For more information on posters please visit Ethnic Paintings

About the Author

Rajneesh Dubey is Content Coordinator for http://ethnicpaintings.com . This website gives you comprehensive informations on painting history, development, trends, popular painting styles, great painters, famous paintings, painting galleries and museums, painting tips, painting classes. In other words, this website is a treat to painting freaks.

Posters – Today Tomorrow and Ever

Posters - A larger piece of paper which may be larger and medium size also. Posters can be in the way of graphical and a textual source also. Posters are usually used to advertise and also as a motivational posters. They are usually in the form of cartoon posters, celebrity posters, sports posters, car posters and such many others. Posters are used for home furnishing purpose also.

Posters derived by the term “post” which was usually used to divide roads to redirect the general public and horse carriages. In the earlier the other source of posters was pamphlets which were also used to convey some message to others very publically. But as the trend changed posters were also used to advertise and which give the term poster a great hike in the world of advertisements. It became a greater source for advertisement as it can be placed publically and a greater source of propaganda.

Posters are in various forms: Banners, half sheets, window sheets, screening tickets and so on. Posters are also used for window advertising, press posters, cartoon posters, movie posters, giant posters, personality posters, promotional posters and so on. Today’s youth age people usually used to collect posters of great famous faces, celebrities and such others. Another form of posters which is known as Advance posters which are usually used for promoting the movies, plays and awards functions.

Posters may also in the form of Combo Posters which is probably used for advertising more than one product or movies. Cartoons which are treated as a source of joy and fun are also be seen in the form of cartoon posters. Children like cartoons much more. So, to furnish and make them feel good and happy, people use to stick cartoon posters on the walls of children’s room. Some stick posters in their homes to give their home an attractive look.

Posters are also used to convey some message to others and also to get immediate attention of viewers. Political posters which are used to propagate the political parties by their symbols and punch line pasted on the posters. Political posters originated in the decades, when first and second World War took place. Posters publicity now a day is a very big source of business for people who are in the advertising industry. Movie posters are used to be distributed by studios for publicity and also by construction companies to promote themselves.

Wallplace.com is a best source for poster needs to be fulfilled. Wallplace.com provides a progressive and dedicative work to visitors by providing quality art prints and posters, easy shopping and all the products at lower rates.

Wallplace.com which offers incomparable range of eye-catching posters, images, celebrity photos, movie posters which also suit the visitors needs and demand. Wallplace.com is the only one stop solutions for the need of art and poster loving visitors.

About the Author

Joseph Sicurella is an artist had a deep appreciation for art since childhood. As a big fan of pop-culture and movies he also runs the online art prints and posters websites - http://www.wallplace.com/, an online catalog of artworks, art prints and posters provide visitors and customers an unparalleled shopping experience by providing quality art products, easy shopping and low prices with best customer service.

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I just got this poster and this is said on in it "L'instant Taittinger"..can someone translate this for me?

i will repeat L'instant Taittinger is the phrase

It means The Taittinger Moment. Tattinger is a Champagne.

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A Bankers' Economy

Normal 0

William Cohan claims that "Banking has always been an elaborate confidence game. . . ." And the history of central banking provides ample evidence that his claim is true. Six decades ago, the U.S. Treasury wanted to shut down the Bank for International Settlements (BIS), saying it helped finance the Nazis during World War II. It handled gold looted by the Nazis and transferred Czechoslovakian gold to Germany after the Nazi invasion in 1939 during which Czech officials were held at gunpoint as they placed the order. U.S. Treasury Secretary Henry Morgenthau tried to shut down the bank at the 1944 Bretton Woods conference. Today, Jean-Claude Trichet and Ben S. Bernanke are transforming the organization into one of the world's most powerful networking clubs.

Central banking developed into a far-reaching plan which has been described by Georgetown Professor Carroll Quigley like this: "to create a world system of financial control in private hands able to dominate the political system of each country and the economy of the world as a whole. This system was to be controlled in a feudalist fashion by the central banks of the world acting in concert, by secret agreements arrived at in frequent meetings and conferences. The apex of the system was to be the Bank for International Settlements in Basel, Switzerland, a private bank owned and controlled by the world's central banks which were themselves private corporations. Each central bank . . . sought to dominate its government by its ability to control Treasury loans, to manipulate foreign exchanges, to influence the levels of economic activity in the country, and to influence cooperative politicians by subsequent economic rewards in the business world."

Several short-lived attempts to impose the central banking scheme on the United States were defeated by the patriotic efforts of Presidents Madison, Jefferson, Jackson, Van Buren and Lincoln. But with the passage of the Federal Reserve Act of 1913, America yielded.

Few Americans know that the FED is a privately-held institution owned, operated, and managed by the nation's banks. Its major concern, as is true of all private institutions, is the welfare of its owners. FED publications rarely inform readers of the FED's ownership. To do so would expose its "elaborate confidence game." This confidence game is inherent in remarks made by Richard W. Fisher, President and CEO of the Federal Reserve Bank of Dallas in an interview published in the Dallas Morning News.

Mr. Fisher's biography is revealing. He attended the United States Naval Academy in Annapolis, but apparently didn't graduate, before transferring to Harvard University where he earned a bachelor's degree in economics. He then engaged in Latin American studies at Oxford University, again apparently without acquiring a degree, and then earned an M.B.A. at Stanford University. He joined Brown Brothers, Harriman and Company, a private banking firm, where he was assistant to former Undersecretary of the Treasury Robert V Roosa. He then served as Special Assistant to Secretary W. Michael Blumenthal at the United States Department of the Treasury before returning to Brown Brothers and established and managed the bank's Dallas-based Texas operations. In 1987, Fisher created Fisher Capital Management, and a separate funds-management firm, Fisher Ewing Partners, managing both firms until 1997. In 1993, he was a candidate for the U.S. Senate but took fifth place. The following year, he was a candidate for the same U.S. Senate seat but again lost. From 1997 to 2001, he served as Deputy U.S. Trade Representative, serving under U.S. Trade Representative Charlene Barshefsky, where he was responsible for the implementation of NAFTA, and negotiating a variety of trade agreements, including the bilateral accords admitting both the People's Republic of China and Taiwan to the World Trade Organization. From 2001 to 2005, he served as Vice Chairman of Kissinger McLarty Associates, a strategic advisory firm headed by former U.S. Secretary of State Henry Kissinger and former White House Chief of Staff Mack McLarty. He left the firm in April, 2005, when he was appointed President of the Federal Reserve Bank of Dallas.

Although his political connections are obviously very extensive, he could not get elected and now has the non-responsible power to cast his vote on issues of crucial importance concerning the American economy. Since the FED never has to take responsibility for its actions, being a member of the FED's Board of Directors is a cushy, high-paid job in which he can be an advocate for his favorite special interests—banking, global finance, and "free trade." As such, he fits in perfectly with Professor Quigley's description cited above.

In his interview, Mr. Fisher reveals his lack of critical reasoning ability, inhumanistic biases, and spotty education. He say, for instance, that "Capitalism wasn't designed to be stable, and we forget that too often. . . . That's just the price we pay for a system that works better than anyone else's."

Well, I don't know who he thinks "designed" Capitalism, but if is was Adam Smith, I'd like Mr. Fisher to cite any passage in the Wealth of Nations that states or even implies that view. Given that Mr. Fisher's education in economics was acquired as an undergraduate, I doubt that the Wealth of Nations was even on his reading list. And yes, American Capitalism is "a system that works better than anyone else's" but better at what? It is not better at providing health-care, it is not better at providing security to the elderly, it is not better at providing a modern, efficient infrastructure, it is not better at providing internet service even though the internet was invented in America. It is not better at providing an efficient transportation system; it is not better at eliminating poverty nor even of providing a culture of law-abiding citizens. It is not better at providing a just legal system or an effective educational system. So just what is it better at? Two things: a plethora of products and services most of which do not work as advertised and many of which don't work at all, and a means for a small group of people to amass huge amounts of money, especially bankers.

Mr. Fisher's comments about the Texas economy are curious at best. He says, "We're the one shining star in the United States." And "the benefit of being in Texas is we will have positive employment growth, somewhere between 1 1/2 and 2 percent. We didn't have an over-priced housing stock. We benefit from significant immigration, not just from across the border, but from foreign countries [sic] (perhaps a typesetter's error) like California and Florida."

But Mr. Fisher has his head in the sand. The Texas economy has never been prosperous. In fact, the advantages Mr. Fisher cites are the result of its lack of prosperity. The reason "we didn't have an over-priced housing stock" is that Texans didn't have the money to support a run-up in housing prices. And if Mr. Fisher passed his statistics courses, he surely knows that employment numbers are absolutely meaningless by themselves. The very week Mr. Fisher's interview was published, the Dallas Morning News published two stories about employment that were contradictory. One cited employment growth, the other unemployment growth. The only sane conclusion that can be draws from those pieces is that the numbers used are bogus. Of course, it is well-known that all economic numbers are bogus. The CPI is a cruel joke; so many versions of it exist that it can be cited to support almost any viewpoint. The GNP includes what a Harvard economist has called "phantom" numbers, and the employment numbers have never made any logical sense, since they render a large group of employable aged people neither employed nor unemployed. That employment growth is a meaningless number when cited by itself, consider this simple example. Suppose 12 jobs were gained and 10 lost. That gives an employment growth of two jobs. But now suppose two of the ten jobs lost paid $80,000, three paid $60,000, four paid $50,000, and one paid $40,000. The income lost comes to $580,000. Now consider the twelve jobs gained. Suppose eight paid $40,000 and two paid $50,000. The income gained comes to $420,000. So income would have declined by $160,000. That does not look like an improvement to me; people pay for things with income, not jobs.

But because Mr. Fisher is a one-consequence thinker, he misses the connection between what he praises about the Texas economy and what he laments about it. The Texas political climate fosters anti-labor and low-wage policies. But the state gets its revenue from a consumption tax, which means that since wages are low, consumption is minimal. This results in under-funded state services, one of which is public education. So when he writes that, "It worries me terribly that there's only one Texas educational institution in the top 25 in America, and that's Rice in Houston. . . . The economy is brain-driven in America. And the way brains develop is through education." Rice University, of course, is a privately funded university; its activities do not depend upon state funding. Secondly, it is not required to enroll a fixed percentage of graduates from the state's public schools. The other best known Texas universities are public institutions, and Mr. Fisher fails to see that a great university cannot be built on the backs of poorly prepared students. Undergraduate and graduate studies cannot be disassociated. It is difficult to lure the most talented graduate students to a university whose student body is poorly prepared, because graduate students shoulder the burden of undergraduate teaching so that their professors can devote their time to research and graduate-level teaching. Highly prestigious professors can't be lured to institutions lacking highly talented graduate students, so what Mr. Fisher laments about Texas is the result of those so-called business friendly policies put in place by the legislature that I suspect Mr. Fisher supports. There problem with single consequence thinkers is that they cannot connect causal chains; they don't understand the distinction between proximate and ultimate causes. The low quality of Texas universities may be a proximate cause of poor economic activity, but the ultimate cause is the practice of fostering ineffective, business-friendly employment policies.

Mr. Fisher also laments the nation's commitment to Medicare. Would he then advocate that we merely allow people to suffer and die prematurely? If the nation merely kills-off the sick among us, Medicare would cost nothing at all. But Mr. Fisher's worry about the nation's long-term Medicare liability is misplaced anyhow. He says, "We have committed ourselves to do something for which there is a lack of $85.6 trillion in funds, which we'll have to find somewhere. To me, that is the greatest threat facing America and our overall stability." But this cited number is based on some projection, and every projection is derived from a set of assumptions. Anyone with even a modicum of mathematical knowledge can show how the number can be changed by changing some or all of them. Mr. Fisher's chicken-little fears are the result of pure speculation. There are numerous ways of making the costs of Medicare manageable; every other developed nation has done it. The only reason it can't be done in America is the hide-bound thinking of people like Mr. Fisher.

But in the end, the problem is really banker-think, which Mr. Fisher describes very nicely but inaccurately: "When the return on money gets low, people take higher risk. We had a period . . . where interest rates were low worldwide. And the yield curve, which is the difference between long-term lending rates and short-term lending rates, was almost nil. So what did humans do? They did what they always do. . . . They went out further and took higher risk. Now they're paying for that." The trouble with this description is that is uses slippery language. "When the return on money gets low, people take higher risk." Well, no. Financiers (bankers) take higher risk. Most people are not in the business of money-lending. Then again, "So what did humans do?" Well, no, not humans, bankers. Then again, "Now they're paying for that." Well, a few bankers may be paying for it, but, unfortunately, so are the rest of us who never intended to take on any risk.

Banker-think is very insidious. Bankers take the risk and then dump the consequences of the public, and Mr. Fisher says, "I don't see anything abnormal about it." Only a person who also engages in banker-think could make that statement.

And then Mr. Fisher fixes the blame: "We go through periods of excess, we overbuild, we correct, we reroute. . . . But you don't correct for the "excess excess" that we have experienced very quickly. We got carried away. I blame the regulators, including the Federal Reserve, for letting things get too far. Given that it went so far, given the natural pattern of the way creditors work, they sort of feel something is wrong, but they let it happen anyway. . . ." Mr. Fisher again confounds proximate and ultimate causes. If one asks why regulators and the FED let things get too far, the answer is banker-think. If one asks why creditors felt something was wrong, but let it happen anyway, the answer is banker-think. If the bankers didn't engage in banker-think, the excess would have been avoided, and the regulators would have had no need to regulate. But because both the bankers and the regulators (more bankers) were of one mind, banker-think drove the bankers to more and more excess, and because the regulators were of one mind with the bankers, the regulators did nothing.

So there you have it, a bankers' constitution for the world which reads, "We the bankers of the world, in order to form a more perfect association, to secure wealth to ourselves and our posterity, caring nothing for the nation nor the welfare, suffering, or even deaths of ordinary people, do ordain and establish the BIS and a world-wide bankers' economy." Confidence game? Confidence game indeed!

Putting bankers in control of the economy is just like putting a wolf-pack in the pantry.
About the Author

Retired professor of philosophy and logic who blogs on social, political, and economic issues at http://johnkozy.mindsay.com and http://www.jkozy.com/. Tries to avoid mere opinion and propaganda and emphasizes logic, facts, and evidence. All or any part of his articles can be cited or distributed when properly attributed.

Museums In Basel

Museum landscape

The main focus of collecting among Basel museums is the fine arts painting, drawing and sculpture. More than a dozen museums cover a spectrum that extends from antiquity up to the present and includes historic and established works of art as well as pioneering creations. In particular, the latter category has been made increasingly accessible to the public over the past two decades in a series of newly opened museums. There are collections with more of a local and regional character, yet a number of area museums, especially the larger institutions, are noted for their international orientation and reach. In addition, Basel benefits from a long tradition of collecting that, in contrast to many other museums in Central Europe, was not disrupted by the wars of the 20th century, as well as from the city well-established connections to the market of art dealers and art collectors such as through Art Basel.

Kunstmuseum Basel; painting and drawing by Upper Rhine artists of the 14th to 16th centuries, art of the 19th and 20th centuries

Basel Museum of Ancient Art and Ludwig Collection; ancient art and culture from the Mediterranean region

Museum of Contemporary Art and Media Art; [plug.in]; contemporary and avant-garde art from the 1960s up to the present

Beyeler Foundation; classical modern art of the 20th century

Numerous museums address various themes of cultural history and ethnology while other institutions feature technical and scientific collections. The museums continue to be oriented to the scholarly tasks of collecting, conserving and exhibiting as well as research and education or at least view these as part of their activities. Consistent with museological trends seen elsewhere, however, the traditional self-image has evolved since the 1960s. Alongside the new forms of public outreach (museum education and didactics), institutional hybrid forms have arisen that actively embrace a sociopolitically relevant role and in which museum operations constitute just one facet, albeit a highly important one, of a more comprehensive cultural institution.

Basel Museum of Cultures; European and non-European ethnology (Tibet, Bali, South Seas, Ancient America)

Swiss Paper Museum Basel Paper Mill; paper production and the culture of writing

Natural History Museum Basel; zoology, entomology, mineralogy, anthropology, osteology and paleontology

S AM Swiss Architecture Museum in Kunsthalle Basel; international architecture and contemporary urban design

With the city position at the junction of the "Dreilndereck" (Three-Countries Corner) and the compact municipal boundaries within the Basel region, most of Basel museums are located in the city of Basel and thus in the canton of Basel-City but quite a few of museums lie in the canton of Basel-Country. The Basel museum landscape can also be said to extend to the museums of the greater metropolitan area, such as those in the neighboring towns of Lrrach, Saint-Louis and Weil am Rhein, with the latter included in the annual Basel Museum Night through the participation of Vitra Design Museum in Weil. In view of the numerous municipal, regional and national administrative units that come together here as well as the broader agglomeration, it is difficult to produce a conclusive figure for the number of Basel museums. Yet even when taking a narrowly drawn perimeter, the total comes to at least three dozen institutions that house collections and make them accessible to the public. The Basel museums are also part of the German-French-Swiss pper Rhine Museum Pass that was introduced in 1999. This covers a much wider area than the Basel region, however, extending via Strasbourg up to Mannheim.

Museum am Burghof in Lrrach; history of the Three-Countries Region up to the present

Toy Museum and Village and Wine Cultivation Museum in Riehen; toys, village life and wine growing

Vitra Design Museum in Weil am Rhein; furniture design and architecture

Roman House in Augusta Raurica; finds from the Roman town and archaeological park

With the increasing aestheticization of everyday life, the architecture of museums has taken on special significance since the 1980s. A striking number of exhibition structures have incorporated a vocabulary of postmodern and deconstructivist forms. In and around Basel, new buildings, additions or renovations have been constructed from designs by nationally and internationally renowned architects (Renzo Piano, Zaha Hadid, Frank O. Gehry, Wilfried and Katharina Steib, Herzog & de Meuron, Mario Botta) and celebrated as examples of avant-garde museum architecture. In other area museums, by contrast, the building fabric is old to very old, consisting of former residential and commercial buildings or monasteries and churches that have been converted for exhibition purposes.

Schaulager (architects: Herzog & de Meuron); Emmanuel Hoffmann Foundation

Tinguely Museum (architect: Mario Botta); Jean Tinguely and contemporaries

Dollhouse Museum at Barfsserplatz; dolls, teddy bears, miniatures

Historical Museum Basel Barfsser Church; cultural history of the city of Basel and the Upper Rhine

The museums are a central aspect of Basel touristic appeal and hence an important economic factor. A number of Basel museums are public institutions but the majority are privately sponsored, backed in most cases by foundations. Helping to generate the high density of museums compared to other cities and metropolitan areas of similar size, these private collections have also made a substantial contribution to the high level of museum quality. The private collections nearly all came into being after the Second World War. Most of the public museums, by contrast, date from before the war. In fact, the collections of the five publicly run museums of the canton of Basel-City have histories that go back several centuries.

Development of the museums

Museums in the city

Early collections

Caricature of the University of Basel professor Johann Jakob dnnone (17281804), who bequeathed his cabinet of natural curiosities and antiquities to the public collection in the Haus zur Mcke.

The origins of the first public collection are closely linked to the University of Basel and the early modern era collections of books, art and natural curiosities, of which there were quite a few in Basel. Prominent among them, the Amerbach printer family had collected a substantial number of books, paintings, goldsmith works, coins and natural objects during the 16th century. In 1661, the Amerbach Cabinet was on the verge of being disbanded following a purchase offer from Amsterdam, then the European center for the trade in collector items. At the urging of the mayor Johann Rudolf Wettstein, the city and university decided to jointly purchase the collection in order to keep it in Basel. Installed in the Haus zur Mcke just off Cathedral Square in 1671, the collection did not operate like a museum. It principally served as a library for university scholars, with only a few parlors on the first floor reserved for works of art and natural objects. Two librarians were in charge of administering the overall collection.

Cathedral Square with Haus zur Mcke (center of drawing, to the left of number 18) and the former monastery on Augustinergasse, the site of the first actual museum building from 1849 (at the bottom, by number 12)

Beginning in the late 18th century, Basel saw an acceleration in the growth of collections of books and objects inspired by Enlightenment-era ideals of education and refinement. Significant holdings of antiquities, coins, fossils and natural curiosities made their way into the Haus zur Mcke through purchases, gifts or bequests by private collectors. An especially important addition came in 1823 with the contents of the Museum Faesch, a Basel collection from the 17th century. The first coherent ethnological collection was formed from the "Mexican cabinet" that had been assembled by the merchant Lukas Vischer from 1828 to 1837 during his travels in Central America. In 1821, the natural objects and artifacts were separated out from the collections in the Haus zur Mcke and an independent museum of natural history was established at the Falkensteiner Hof, likewise located right off Cathedral Square, which also included the instrument cabinets of the physics and chemistry institutes.

The city official repository for art was the Basel Town Hall (Rathaus) whose rich ornamentation and upkeep represented a constant undertaking for the city and a source of commissions for numerous artists from the early 16th century onward. The city armory likely had a "museum corner" starting in the 16th century. Following common practice, weapons that had become unfit for war were decommissioned for disposal. In Basel, however, a substantial number of them were preserved, which means that the armory caretakers wished to store the obsolete medieval or early modern militaria for the sake of memory value. The most prominent examples were the real and supposed trophies of the Burgundian booty from 1476, which had fallen to Basel and remained on display to curious onlookers centuries later. In contrast, the care and storage of the Basel Cathedral Treasury that had lost its liturgical value in the Reformation did not bear the character of a museum. Locked away in the cathedral sacristy for three centuries, the reliquaries and other religious objects remained inaccessible and out of view until 1833 and were merely listed as book value in the state budgets.

First museum building

The Museum on Augustinergasse in Basel, view toward Cathedral Square, 19th century

In 1767, the university professor Johann Jakob dnnone had the paintings and other objects moved to the previously empty ground floor of the Haus zur Mcke to create more space for the books on the first floor, and also provided for a more systematic organization. A few decades later, however, the building and its infrastructure no longer accommodated the increased volume of visitors (with the facility open four days of the week starting in 1829) and the modern culture of knowledge established through the Enlightenment. Moreover, a comprehensive index of the holdings was lacking, having been "altogether impossible heretofore in the inadequate premises where some pieces lay buried in darkened recesses for decades beneath an inch-thick layer of dust."

The need for space was resolved in 1849 with the removal of the collection to the multi-purpose building by Melchior Berri on Augustinergasse simply named the "Museum" on the site of the former Augustinian monastery. It was financed with a one-time contribution from the canton along with citizen donations. The late classicistic monumental edifice with decorative painting and frescoes by Arnold Bcklin is a comparatively early example of a civic museum and the first major museum in Basel. While taking clear inspiration from Karl Friedrich Schinkel and his Academy of Architecture in Berlin, the allocation of spaces and functions here combined university facilities with a library and natural history and art collections. This also served the institutional requirements of the university. Further examples of collections could be found in most of the subsidiary institutes i.e., facilities with demonstration objects for instruction and research purposes. These included the instruments of the chemistry and physics institutes and the utensils of the anatomical institute.

Division of the public collections into state museums

Former Sculpture Hall of the Public Art Collection, today home to the tadtkino Basel cinema

Parallel to the specialization of the educational and research disciplines that took hold at the beginning of the 19th century, Basel wide-ranging holdings of objects evolved into institutional collections divided according to various scientific fields. They were very different from the cabinets of curiosities that, according to the Basel professor Wilhelm Wackernagel, had merely involved "[mindless grabbing] at curiosities with a half-pedantic, half-childish zeal". The Natural History Museum (Naturhistorisches Museum) founded in 1821 was the first step in this new direction. In 1836, the art collection was made legally independent from the university library with a separate publicly funded art commission to oversee it. In 1856, the "medieval collection" took up residence in auxiliary rooms and annexes of the Basel Cathedral (Bishop Court, St. Nicholas Chapel), having been established earlier that year with inventories from the Museum on Augustinergasse based on the model of the German National Museum in Nuremberg. In 1887, castings of ancient sculptures were put on display in the Sculpture Hall of the Basel Art Association (Basler Kunstverein). Meanwhile in 1874, the chemistry and physics institutes had moved into the new Bernoullianum building for the study of the natural sciences, whereupon their holdings of objects shed their collection character in favor of laboratory facilities. The canton had difficulty amassing funding and support for the creation of another museum for its collections. The Museum on Augustinergasse had represented a formidable beginning, yet remained the only one of its kind for nearly fifty years.

University Library of Basel, 1896

In 1892, the "antiquarian collection" (small artifacts of antiquity, excluding ethnological objects) was joined with the medieval collection of the Basel Cathedral and historical weapons from the Basel Armory to form the Historical Museum Basel (Historisches Museum Basel), with exhibition space in the reconverted Barfsser Church from 1894 onwards. Today this museum houses the Upper Rhine most comprehensive collection of cultural history, showing artisanal crafts (Cathedral Treasury, goldsmith works, stained glass) and objects of everyday culture (furnishings, tapestries, coin cabinet). Major emphasis is placed on the Late Middle Ages, Renaissance and Baroque periods. The entire inventory of books was incorporated into the collection of the new University Library in 1896. The "ethnographic collection", which was given the title Collection of Ethnology (Sammlung fr Vlkerkunde) in 1905, moved into new space created by an addition to the Museum on Augustinergasse in 1917, where it became the Museum of Ethnology (Museum fr Vlkerkunde). With holdings of approximately 300,000 objects and a comparable number of historical photographs, it is the largest ethnological museum in Switzerland and one of the largest in Europe. The collection includes objects from Europe, Ancient Egypt, Africa, Asia (Tibet and Bali Collections), Ancient America and Oceania. In 1944, the federal administration distinguished its European holdings as the Swiss Museum of Ethnology (Schweizerisches Museum fr Volkskunde). However, since 1997 this division no longer exists; non-European and European collections are now joined in the Basel Museum of Cultures (Museum der Kulturen Basel), whose name intentionally expresses a change in emphasis from the presentation of oreign cultures to intercultural dialogue. The Natural History Museum Basel (Naturhistorisches Museum Basel), which features most areas of the natural sciences (anthropology, mineralogy, paleontology, vertebrates, insects including the Frey Collection of Beetles and other invertebrates), has not only remained in its original location since 1849 but has also retained its traditional name. Its collections, comprising nearly eight million objects which are also dedicated to scientific research, bear the title "Archives of Life".

Basel Museum of Ancient Art and Ludwig Collection, rear annex with roof lighting

The public art collection was installed in the upper story of the Museum on Augustinergasse in 1849. Its continuing growth led to increasing spatial demands that could not be met at that location. In 1936, after a planning period of roughly three decades, the art collection moved into the Kunstmuseum Basel. Satellite locations had already been established in 1922 at the Augustinerhof on Augustinergasse (collection of prints and drawings) and at the Bachofenhaus on Cathedral Square (Bachofen Collection with additional holdings). The greater part of the art collection was temporarily housed in the Kunsthalle from 1928 until 1936. The Kunstmuseum gallery of paintings and collection of prints and drawings comprise the largest and most significant public art collection in Switzerland. With an emphasis on paintings and drawings by artists of the Upper Rhine from 1400 to 1600 (Holbein family, Witz, Cranach the Elder, Grnewald) and art of the 19th to 21st centuries (Bcklin, van Gogh, Czanne, Gauguin, Cubism with Picasso and Braque, German Expressionism, postwar American art), it also ranks as one of the leading international museums of its kind. Since the removal of the art collection to new quarters, the Museum on Augustinergasse has served as the exclusive domain of the Natural History Museum and the Museum of Cultures/Museum of Ethnology (Vlkerkundemuseum/Museum der Kulturen). A major expansion of the public museum collections occurred in 1961 with the founding of the Basel Museum of Ancient Art and Ludwig Collection (Antikenmuseum Basel und Sammlung Ludwig). This new institution combined previous holdings from the Historical Museum (small artifacts of antiquity) and Kunstmuseum (sculptures) with acquisitions from private collections, which are displayed in two neoclassical villas located opposite the Kunstmuseum. The Museum of Ancient Art opened in the first villa in 1966 and expanded into the adjacent structure, also built by architect Melchior Berri, in 1988. It is the only Swiss museum devoted exclusively to the art of the Mediterranean area (mainly Egyptian, Etruscan, Greek, Italic and Roman cultures, as well as Levante and the Near East) from the 4th millennium B.C. to the 7th century A.D. The collections of Greek vases, Antique sculptures and Ancient Egyptian artifacts occupy a central position within its holdings.

Satellite locations of the state museums

Haus zum Kirschgarten, Museum of Domestic Life, satellite of the Historical Museum Basel

The growing spatial needs of the collections that were housed in the Museum on Augustinergasse led to the incorporation of neighboring buildings. Similarly, the other museums also expanded. The Historical Museum in Barfsser Church acquired the following satellite locations: the Museum of Domestic Life (Wohnmuseum) in the Segerhof (192634) and its successor in the Haus zum Kirschgarten since 1951, the Museum of Domestic Culture in Basel (Museum der Basler Wohnkultur); the Museum of Music (Musikmuseum), featuring five centuries of European musical history based on the musical instrument collection founded in 1943, which has been displayed since 2000 in the former prison Lohnhof; the carriage and sleigh collection in Brglingen, established in 1981. Replica casts of ancient sculptures that were originally on display in the Sculpture Hall (Skulpturenhalle), but moved into storage in 1927 due to a lack of public interest, became part of the Museum of Ancient Art (Antikenmuseum) in 1961 and again received their own exhibition space in 1963 in the new Basel Sculpture Hall (Skulpturhalle Basel). It features the world only complete reconstruction of architectural sculpture from the Parthenon in Athens. The Public Art Collection (ffentliche Kunstsammlung) also expanded into a second building in 1981 with the Museum of Contemporary Art (Museum fr Gegenwartskunst) in St. Alban-Tal. As the first public exhibition building project in Europe, it is devoted exclusively to the presentation of contemporary works and artistic production since 1960. In addition to classic media such as painting and sculpture, its acquisitions also include video art.

Defunct and semi-public museums

Kleines Klingental Museum, former City and Cathedral Museum

The Museum of Applied Arts (Gewerbemuseum) was founded in 1878 by the Society of Trades and Craftsmen as a forum for the presentation of local arts and crafts. It became a semi-public institution in 1886 before coming under full public sponsorship in 1914. Renamed the Museum of Design (Museum fr Gestaltung) in 1989 due to its broadening thematic spectrum, it was closed in 1996. Affected by the same cuts in public funding was the architecturally-oriented City and Cathedral Museum (Stadt- und Mnstermuseum), established in 1939 under the auspices of the public agency for the preservation of historic monuments in the former convent of Kleines Klingental. The holdings of the Museum of Design were distributed among other institutions, with the transferral of its library and poster collection to the School of Design (Schule fr Gestaltung). Thanks to the support of a foundation, the City and Cathedral Museum remains on the same premises under the present name Kleines Klingental Museum.

The Swiss Firefighting Museum (Schweizerisches Feuerwehrmuseum), founded in 1957 as the Basel Firefighting Museum, is housed on the premises of the cantonal Fire Brigade but does not have the status of a public museum and is not administrated by the canton. Its collection, which includes permanent loans from the Historical Museum, features documents that date back to the 13th century. The Hrnli Cemetery Collection (Sammlung Friedhof Hrnli) operates under similar conditions: It has been located on the property of the canton Central Cemetery since 1994 but is funded and run by a private association. On display are burial objects such as urns, documents on the history of cremation, hearses, coffins, cemetery regulations, graveyard crosses, glass pearl chains and memorial keepsakes.

Additional museums

Kunsthalle Basel, rear faade with interior courtyard

The first museum that was not supported and administered by the canton of Basel-City was established in 1860 in a large room at the Basel Mission. It presented ritual and cultural objects from the countries and ethnic groups among which the Basel Mission was active, as well as a portrait gallery of its missionaries. However, parts of this exhibit were later sold to the canton and the gallery space was closed. The concept of a multi-purpose building, following the example of the Museum on Augustinergasse, was embraced by the Basel Art Society (Basler Kunstverein), which erected the Kunsthalle on Steinenberg between 1869 and 1872. In addition to exhibition space and administrative offices, this building housed a library and studio space for sculptors. A building wing added in 1885 accommodated the Sculpture Hall (Skulpturhalle), where the previously mentioned casts of Antique statues from the Museum on Augustinergasse were displayed from 1886 to 1927. The former Artists House (Knstlerhaus) now defines itself s a hub between artists and art agents and as a place that brings together local and international developments.22] The next privately initiated museum was the above-mentioned Museum of Applied Arts (Gewerbemuseum); founded in 1878, it came under cantonal administration just eight years later. The Anatomical Museum (Anatomisches Museum) of the University of Basel dates back to the acquisitional activities of Carl Gustav Jung in the 1820s. As the Collection of Pathology and Anatomy (Pathologisch-Anatomische Sammlung), it moved into its own building in 1880. Two especially significant objects in this collection are the oldest anatomical specimen in the world (prepared by Andreas Vesalius in Basel in 1543) and a skeleton prepared by Felix Platter in 1573.

The Museum of Pharmacy (Pharmazie-Historisches Museum, originally the Historical Apothecary Collection) followed in 1924 after the donation of a private collection to the University of Basel. It is one of the world largest collections on the history of pharmacy, encompassing old pharmaceuticals and early apothecary objects, laboratory utensils, ceramics, instruments, books, arts and crafts. The Swiss Gymnastics and Sports Museum (Schweizerische Turn- und Sportmuseum), established in 1945, was renamed as the Swiss Sport Museum in 1977. Sponsored by a foundation (Stiftung Sportmuseum Schweiz), its major focus is on ball sports, cycling, gymnastics and winter sports. The shipping museum Transport Hub Switzerland (Verkehrsdrehscheibe Schweiz) emerged from a 1954 exhibition by the Swiss Shipping Company (Schweizerische Reederei) in the Rhine ports of Basel, entitled ur Path to the Sea. It is also supported and run by an association of private citizens. The Swiss Historical Paper Collection (Schweizerische Papierhistorische Sammlung) was an affiliate of the Museum of Ethnology (Museum fr Vlkerkunde) from 19541979 before moving into independent quarters in the Gallician Mill, located in the former industrial district of St. Alban, in 1980. Now known as the Swiss Museum for Paper, Writing and Printing (Schweizerisches Museum fr Papier, Schrift und Druck), it is sponsored by the Basel Paper Mill Foundation (Stiftung Basler Papiermhle). The Jewish Museum of Switzerland (Jdisches Museum Schweiz), which presents the cultural history of Jews in Switzerland and in Basel including documents from the First Zionist Congress held in Basel in 1897, was founded by the Society for the Jewish Museum of Switzerland in 1966.

Klingental Exhibition Gallery on the premises of the Kaserne Basel cultural center

Like the Kleines Klingental Museum, the Klingental Exhibition Gallery (Ausstellungsraum Klingental) is located in the building complex of the former Klingental convent. Opened in 1974, the gallery serves as a presentation platform for the current work of artists living in Basel and aims to support emerging artistic talents. It is sponsored by the Klingental Gallery Society (Verein Ausstellungsraum Klingental). The Caricature and Cartoon Museum Basel (Karikatur & Cartoon Museum Basel), by contrast, was initiated by an individual, the collector and patron Dieter Burckhardt. Founded in 1979, it is devoted to caricatures, cartoons, comics, parodies and pastiches. The eponymous foundation (Stiftung Karikatur & Cartoon Museum Basel) is a dependent affiliate of the Christoph Merian Foundation. The exhibition galleries have been located in a structure from the Late Gothic period since 1996, following the completion of renovations and a new building addition by the architects Herzog & de Meuron. The Swiss Architecture Museum (Schweizerisches Architekturmuseum), founded in 1984, has resided since 2004 in the building complex of the Kunsthalle, which was completely renovated and redesigned by the architectural offices Miller & Maranta and Peter Mrkli. The museum, sponsored by the Architecture Museum Foundation, presents alternating exhibitions on topics of international architecture and urbanism. An advantageous factor is the unusual concentration of internationally renowned architectural firms in Basel; Herzog & de Meuron, in particular, have made significant contributions to regional museum architecture.

Opened in 1996, the Tinguely Museum features a permanent exhibition on the life and work of the artist Jean Tinguely. The museum temporary exhibitions present works by friends and contemporaries of Tinguely, as well as other modern artists. Designed by Mario Botta, the museum is financed entirely by the Basel pharmaceutical company Hoffmann-La Roche. The Dollhouse Museum (Puppenhausmuseum) was founded in 1998 by its patron and owner Gigi Oeri, who built up the collection herself. In addition to dolls, dollhouses and miniature shops from the 19th and 20th century, it displays the world largest collection of teddy bears. The media art space [plug.in] opened its doors in 2000 with the backing of the Forum for New Media Association (Verein Forum fr neue Medien), which had been founded the previous year. It realizes exhibitions and projects, provides artists with international networking opportunities and helps convey works of media art to the general public. With one of the world most extensive collections of photographs (around 300,000 works with an emphasis on industrial society in the 19th century), the Herzog Foundation has exhibited its holdings since 2002 in a aboratory for Photography. Located in the Dreispitz industrial sector, the warehouse converted by Herzog & de Meuron encompasses the collection along with a reference library on the history of photography and two additional rooms for study, teaching and research purposes.

Museums in surrounding communities

Many of the small and mid-sized municipalities around Basel have museums of local history and culture that are not presented in the following. Mention is given to institutions whose scope extends beyond the local level and which are generally open to the public several days a week.

Collections of natural, cultural and technological history

The oldest museum in the Basel region outside the city is the Museum of Canton Basel-Country (Museum des Kantons Basel-Landschaft) in Liestal, nowadays called Museum.BL. It was founded in 1837 as a "Cabinet of Natural Curiosities" (Naturaliencabinett) and up through the 1930s primarily took up objects of natural history into the collections. Since then, the emphasis has shifted toward cultural history. The diversity of the collection allows the museum to address wide-ranging themes related to the environment, history and the present day. The Museum am Burghof in Lrrach traces its origins to the Lrrach Antiquities Association (Lrracher Altertumsverein) founded in 1882, which bequeathed its collection to the town of Lrrach in 1927. Commencing operations in 1932 as the Museum of Local History (Heimatmuseum), the current permanent exhibition xpoTriRhena presents the history, present-day culture and divisions and similarities within the "Dreilndereck" (Three-Countries Corner) border region where Germany, France and Switzerland meet.

The amphitheater of the open-air museum Augusta Raurica

Opened in 1957, the Roman Museum at Augst (Rmermuseum Augst) is an open-air museum on the grounds of the former Roman city of Augusta Raurica, which has been the subject of excavations going back to the Renaissance. The exhibits feature numerous archaeological finds, including the largest silver treasure from Late Antiquity. The adjacent reconstruction of a Roman House (Rmerhaus) was a gift of the Basel patron Ren Clavel while the museum and the entire archaeological park constitute a departmental division of Basel-Country. Located in the Brglinger Plateau, the Mill Museum (Mhlemuseum) of the Christoph Merian Foundation is housed in the water mill of the former Brglingen farming estate. The structure was converted into a museum in 1966 and presents the history of the mill and the work of millers from the Bronze Age up to the 20th century. The mill is still functional, allowing periodic demonstrations of the operational sequence from the water-powered mill wheel to the rotating millstone.

Opened to the public in 1972, the Toy Museum and Village and Wine Cultivation Museum (Spielzeugmuseum, Dorf- und Rebbaumuseum) in Riehen complements its exhibits of village history and wine growing with one of the most significant collections of European toys. The toys are drawn from private collections as well as loans from the Museum of Cultures (Museum der Kulturen). The museum is operated as a division of the municipal administration of Riehen. The Museum of Music Automatons (Museum fr Musikautomaten) in Seewen, located on the outermost periphery of the Basel museum territory, houses one of the world largest and most well known collections of Swiss music boxes, disc music boxes, musical timepieces and jewelry and other mechanical musical automatons. It opened to the public in 1979 as a private museum of the collector Heinrich Weiss and was gifted to the Swiss Confederation in 1990. A newly remodeled and expanded facility for presentation of the exhibits was completed in 2000. Finally, the Museum of Electricity (Elektrizittsmuseum) of the electric utility Elektra Birseck opened its doors in Mnchenstein in 1997. Exhibits explore the history and development of power production and its use. The collection contains rare historic equipment and is complemented by a laboratory in which visitors can experiment with electric power.

Emphasis on art collections

Vitra Design Museum, front view (architect: Frank O. Gehry)

Since the late 1980s, the Basel region has seen a proliferation of new museums addressing themes of art and design, especially concerning works from more recent years. The Vitra Design Museum in Weil am Rhein presents a broad range of design topics, with a special emphasis on furniture and interior design. Though originally based on the private collection of chairs and other furniture assembled by Rolf Fehlbaum, the owner of the Vitra furniture company, the museum was established as an independent institution. The Vitra building complex has made notable contributions to the body of avant-garde architecture in the Basel region. In addition to the 1989 museum by Frank O. Gehry, the grounds feature structures by Zaha Hadid, Nicholas Grimshaw, Tadao Ando and lvaro Siza. In 1982, the Beyeler Foundation assumed ownership of the art collection of Hildy and Ernst Beyeler, which the couple had built up over half a century. Since 1997, the works of classical modern art have been exhibited in a building designed by Renzo Piano in the town of Riehen. Featured artists include Degas, Monet, Czanne, van Gogh, Picasso, Rothko, Warhol, Lichtenstein and Bacon. The trees in the park surrounding the highly acclaimed building were wrapped by Christo and Jeanne-Claude in 1998.

Sculpture by Nigel Hall in Schnthal

With the creation of the Basel-Country Art Museum (Kunsthaus Baselland) in Muttenz, the Basel-Country Art Association (Kunstverein Baselland) was given its own dedicated exhibition building in 1997. The Art Museum is devoted to contemporary art and presents temporary exhibitions of current projects by regional and international artists. Opened in 1998, Riehen Art Space (Kunst Raum Riehen) is another public institution with a similar thematic orientation. It serves the municipality of Riehen and its art commission with exhibitions of contemporary works of art from the region. Established in 2001, the Sculpture at Schoenthal Foundation in the former Schnthal monastery presents over twenty works by international and Swiss artists in a permanently accessible sculpture park under the motto rt and Nature in Dialogue. A Romanesque-era church has been converted into a gallery for temporary exhibitions of contemporary artists. In 2003, the Schaulager (or iewing warehouse) of the Emanuel Hoffmann Foundation was opened in Mnchenstein. Centered around the avant-garde art collection of the foundation, the institute functions as a mix between public museum, art storage facility and art research institute. The polygonal building is a design by the architects Herzog & de Meuron. The Fernet Branca Contemporary Art Space (Espace drt Contemporain Fernet Branca) in Saint-Louis, the Alsatian town just across the border from Basel, is located in the former Fernet-Branca spirits distillery that was decommissioned in 2000. Since 2004, the museum has presented temporary exhibitions on contemporary art themes and artists. The museum operations are supported by the Association for the Fernet Branca Contemporary Art Museum (Association pour le Muse drt Contemporain Fernet Branca).

Museum promotion and museum policy

Primacy of the library

Visitors to the art collection in the Haus zur Mcke, 1837. The guided tours were given by the caretaker.

Many museums can be traced back to courtly collections at least in terms of the original set of holdings. Since the 19th century, in contrast, Basel has embraced a culture of remembrance of having created the oldest existing civic museum collection through its purchase of the Amerbach Cabinet in the year 1661. The acquisition of a collection from the 16th century fits with the historical and documentary interest in art that was prevalent at the time. In actual fact, however, the purchase was chiefly prompted by a desire to enhance the university inventory of books with the extensive book holdings of the Amerbach Cabinet. The Haus zur Mcke community hall that housed the university-administered collection was called the ibrary in recognition of its primary function. The role as the city art repository did not shift from the Basel Town Hall (Rathaus) to the Haus zur Mcke until the latter half of the 18th century. The Passion Altarpiece by Holbein that had been one of the main visitor attractions since the Reformation was moved over in 1770, followed by several additional paintings from the town council inventories in 1771 and Holbein organ doors from the Cathedral in 1786. Despite this weighting of the collections, the official legal status remained unchanged for quite some time. The natural history holdings and art collection were not split off from the library until 1821 and 1836, respectively.

At the end of the 18th century, civic museum culture was still in the early stages of its development, as illustrated by the very limited opening hours of the Haus zur Mcke (Thursday afternoon from two to four in the afternoon, otherwise on request). The first records of regular gallery visits by city residents and outside visitors date to this period. In the three centuries before and after 1800, most of the collection activities involved objects of natural history, with a substantial number of acquisitions and gifts in this area. The numerous top-level art objects that made their way to Basel in the 1790s from Revolutionary France, on the other hand, did not find a wide audience of buyers and in most cases were resold.

Transfer to the state and popular education

For the republican and monarchical civic states of the 19th century, collections in the form of public museums became emblems of self-determination. The carting off of large numbers of artworks to Paris during the Napoleonic Wars had created an awareness of the identity-shaping power of art. Institutional role models were the use franais in the Louvre and the use des monuments franais in a former Augustinian convent, which closed in 1816. The maintenance of programmatic museum collections and the construction of museum buildings became one of the most prominent and defining national functions.

In the case of Basel, however, it was the increasing need for space in the Haus zur Mcke that prompted deliberations regarding construction of a new building. The discussion concerning the right location for the public collection took on a political dimension following the division of the canton into city and regional sections. The University Act (Universittsgesetz) of 1818 had made the corporatively autonomous university a cantonal educational establishment, with the university holdings thus owned indirectly by the state. According to the arbitral decision governing the cantonal split, two-thirds of the university collection belonged to the regional canton and had to be purchased by the city canton. The ensuing consternation in the city led to the Administration and Use of University Holdings Act (Gesetz ber Verwaltung und Verwendung des Universittsgutes) of 1836 that such goods were indissolubly tied to the locality of the city of Basel for the purposes of education. This provision has remained in effect to the present day.

The middle section of the frieze on the Museum on Augustinergasse. The city goddess Basilea and the river god Rhenus are not adjoined by figures from the academic arts or sciences, but by emblems of modern civic life: Libertas as an allegory of political freedom and Mercury as the god of commerce and trade. A functioning smokestack can be seen in the background to the right of Basilea.

These occurrences led to the founding of the Voluntary Academic Society of Basel (Freiwillige Akademische Gesellschaft) in 1835, which began supporting the collections in financial terms and through purchases and gifts as part of its general promotion of the university. Yet the greatest momentum for the museum building came from natural science circles centered around the physics and chemistry professor Peter Merian, who was likely responsible for securing a dedicated annual budget for the Natural History Museum the only state collection with this distinction. A combination of academic institution, library and laboratories, the establishment of the Natural History Museum at the Falkensteiner Hof also provided a model for the museum building. The fact that a primary museum building was ultimately created instead of a university-affiliated building was due to the university poor standing among wide sections of the merchant and industrialist classes. In these sectors, the university was considered a backward-looking institution. The museum, by contrast, was seen as a driving force for practical popular education and the community was willing to support its construction with private contributions as part of a wider process of renewal in the city.ref>Meier, Nikolaus (1999). Identitt und Differenz. Zum 150. Jahrestag der Erffnung des Museums an der Augustinergasse in Basel. Offprint from volume 100 of the Basler Zeitschrift fr Geschichte und Altertumskunde, pp. 130131.

Museum on Augustinergasse, gallery of the Old Masters, 1907

At the instigation of Christian Friedrich Schnbein, the Voluntary Museum Association of Basel (Freiwilliger Museumsverein) was initiated in 1850 as the successor to an earlier association founded in 1841 for the construction of the museum. Modelled after the Royal Institution in London, it was established to timulate the appreciation of science and art. Open to all residents of Basel, the association promoted the collections with financial means and sought to generate interest in the museum through public lectures to which women were also admitted. It was unable to sustain the initial enthusiasm, however, and experienced losses in membership despite Basel rapid population growth in the latter half of the century. The museum did not embrace the function of popular education that had been promoted by its founders and supporters. The ideational socialization role of the museum was very slow to proceed, with the museum long holding onto former organizational structures. The art collection furthermore did not get an academically trained conservator until 1887. In addition, the renewed University Act of 1866 discontinued regular state appropriations for the antiquarian, medieval and art collections and left them dependent on proceeds from entry fees and the support of associations and private individuals, the most significant of these being the Birrmann Foundation and the Emilie Linder Foundation on behalf of the art collection. It was this support that enabled an active collection policy that went beyond the receipt of inherited cultural assets.

Civic culture of remembrance and modernism

Poster for the opening of the Historical Museum Basel in 1894. The advertising targeted a sophisticated bourgeois public.

From the outset, the museum authorities charged the collections with a federal mission, wanting them to exert a eneficial and salutary influence on the entire Fatherland. The nofficial national gallery49] grew over time, primarily through acquisitions of Swiss works of art. When negotiations got underway in 1883 regarding the establishment of a federal museum, the canton of Basel-City sought to be chosen as the location for the new institution and proposed its collections of cultural history as the nucleus of the museum, systematically expanding them in light of its candidacy. While the Swiss National Museum (Schweizerisches Landesmuseum) ended up in Zurich, plans were nevertheless realized for a history museum that was no longer generally Swiss but specifically related to Basel, located in the historic former Barfsser Church from the High Gothic period. The establishment of the Historical Museum as a self-assured display of Basel art-mindedness and craftsmanship, a mix of educational corridor and enfilade of stalls.The transfer of the Museum of Applied Arts (Gewerbemuseum) to the state a few years earlier as an arena of contemporary achievements can likewise be seen under the aspect of civic pride and reinvented sense of commonality in which the citizenry understood its ideals and capabilities as a foundation of state and society.

Postcard with interior view of the Barfsser Church, 1894. The permanent exhibition of the Historical Museum is designed as an overflowing medieval guild and weaponry exhibition.

While the collections had clearly established their international standing, this appreciation did not become rooted in the cultural awareness of a broader range of social classes until the end of the 19th century. The historic culture of remembrance that was growing in importance and impact at the time was strongly linked with the medieval collection and the many Late Medieval and Renaissance works of the Upper Rhine in the Kunstmuseum. In the years since, Basel has also cultivated its claim of possessing the oldest municipal art collection in continuous existence through its acquisition of the Amerbach Cabinet. On the occasion of two major public celebrations in 1892 (500th anniversary of Greater Basel acquisition of Lesser Basel) and 1901 (Basel 400th anniversary as part of the Swiss Confederation), Basel presented the civically minded portion of the population (and hence the base of support for the museums) with a series of identity-shaping historical and patriotic gestures that borrowed from the store of images from the past available in the museums.

Franz Marc: Animal Destinies, 1913. The painting was offered by the German Reich in 1939 as egenerate art and purchased by the city of Basel.

With the epochal break of the First World War and in light of societal and cultural developments, the Basel museums became concerned with the citizenry assertions of legitimacy and quest for recognition and their representation within these very same institutions. The discussions regarding the relationship of the museums to modernism took on particular relevance in the area of the fine arts. The construction of a dedicated museum for Basel art collection ignited a onumentality debate in the late 1920s, in which the proponents of functionally oriented New Building (Neues Bauen) rejected the timelessly classic palatial form that was ultimately chosen as a demonstration of power by a conservative and ntellectually spent notion of culture. In contrast to the form of architectural expression and the general anti-modernistic spirit of the 1930s, the acquisitions from the 1920s up to the outbreak of the Second World War took a decisively modern tack. In 1934, the public art collection added its first painting by Vincent van Gogh along with an ensemble of 134 drawings by Paul Czanne. Founded in 1933, the Emanuel Hoffmann Foundation supported the Kunstmuseum in these efforts and took up residence in the facility with its works of contemporary art in 1940. The breakthrough in altering the overall profile came with the special funding credit provided by the Basel-City parliament in 1939 at the instigation of museum director Georg Schmidt for the purchase of German museum holdings that the National Socialists had vilified as egenerate art.

Homme aux bras carts on Picasso Square behind the Kunstmuseum, 2008

The establishment of classical modernism at the Kunstmuseum continued with ongoing acquisitions of postwar-era art, in particular with works by American artists. In Basel claim to being a useum City, the highly controversial and unsuccessful referendum against the purchase of two Picasso paintings in 1967 holds considerable importance and constitutes a key moment in Basel culture of remembrance in regard to the fusing of society and museum.

Democratization, popularization

Despite the affirmation by voters, traditional museums found themselves in a prolonged crisis beginning in the late 1960s. Not limited to Basel, this crisis originated in the profound sociopolitical reevaluation of culture of the era. The acquisitions of the State Art Credit and the 1967 Christmas exhibition at Kunsthalle Basel set off fierce protests among the loosely organized association of rejected artists, which became known as the Farnsburg Group (Farnsburgergruppe). Even the cantonal parliament got involved in addressing the concerns. The events raised the question of whether Basel was ust a museum city here meant in a derogatory sense and prompted a broadly cast debate over the fostering of young artists and the functioning of the museums. The establishment of the Klingental Exhibition Gallery (Ausstellungsraum Klingental) several years later was a direct consequence of the shortcomings that had been identified.

Historical Museum: The hall of the Barfsser Church open to passers-by, 2008

The democratization that took hold in the 1960s meant doing away with the elite in favor of the egalitarian, dispelling fears of the new and unknown. With a focus on the constructivist works of the 1960s associated with the ew Tendencies (Nouvelles Tendances) movement, the short-lived Progressive Museum (19681974) set out to stablish a modern collection that would be accessible to the public from the very beginning and wanted to avoid any sort of ecularized ceremony. The expansion of education and communication, likewise a mandate stemming from this era, could only be achieved through an increase in funding. Since the mid-1970s, however, increasingly tight budgets and persistent financial difficulties in the public sector have exerted a palpable impact on museums. The museum studies program at the University of Basel could only be offered from 19921994 due to funding shortages. In the mid-1990s, a government resolution cut the budget of the state museums by ten percent, leading to the 1996 closure of two museums, the Museum of Design (Museum fr Gestaltung) and the City and Cathedral Museum (Stadt- und Mnstermuseum). The ensuing debate and the pressure from a public referendum in support of the city museums led to the adoption of the Basel-City Museums Act (Museumsgesetz) of 1999, which placed the holdings of the remaining five state museums (Museum of Ancient Art, Historical Museum, Kunstmuseum, Museum of Cultures, Natural History Museum) in the hands of the parliament. As a central component of cultural expenditures, the museums have also been included in the intensified negotiations over the past several years between the two Basel cantons regarding payment for the city-provided services within the framework of a fiscal equalization scheme.

Vitra Design Museum Fire Station (architect: Zaha Hadid)

Since the 1980s, the museums have experienced simultaneous trends toward popularization and aestheticization. The ensuing decades have been marked by a wave of new museum buildings whose avant-garde architecture has achieved international prominence. Contributing considerably to popularization was the exhibition concept of the Muse Sentimental, which focuses on the world of un-prosaic everyday culture and experience and led to a 1989 exhibition of the same name at the Museum of Design (Museum fr Gestaltung). The annual Basel Museum Night tallies around a hundred thousand museum visits while the museums attract a total of approximately 1.4 million visitors throughout the year (as of 2006). The general population credits the museums with leading role in providing leisure-time opportunities for education and learning. Museums operate in an environment that is increasingly subject to the conditions of both the leisure market and the free market, and are recognized as an important economic and locational factor. In contrast to the state, the use of private funds in the museum field has grown considerably. Funding from patrons or sponsors plays an increasingly significant role in the financing of exhibitions, parts of collections or entire museums and is thus highly sought after. This competitive situation is further reflected in the considerable institutional autonomy of the Basel-City museums, which are the only governmental enterprises in the canton operating under the private-sector influenced method of New Public Management.

Literature

Birkner, Othmar; Rebsamen, Hanspeter (1986). INSA Inventar der neueren Schweizer Architektur 18501920, Separatdruck Basel.

Blome, Peter (1995). "Die Basler Museen und ihr Publikum." Basler Jahrbuch 1994, pp. 106109.

Bonjour, Edgar (1960). Die Universitt Basel von den Anfngen bis zur Gegenwart. 14601960. Helbing & Lichtenhahn, Basel.

Bruckner, A., ed. (1937). Basel. Stadt und Land. Ein aktueller Querschnitt. Benno Schwabe & Co Publishing, Basel, pp. 155197.

Historisches Museum Basel, pub. (1994). Historisches Museum Basel. Fhrer durch die Sammlungen. ISBN 1-85894-004-4.

Huber, Dorothea (1993). Architekturfhrer Basel. Die Baugeschichte der Stadt und ihrer Umgebung. Architekturmuseum Basel, Basel. ISBN 3-905065-22-3.

Kreis, Georg (1990). Entartete Kunst fr Basel. Die Herausforderung von 1939. Wiese Publishing, Basel. ISBN 3-909158-31-5.

Kreis, Georg; von Wartburg, Beat (2000). Basel. Geschichte einer stdtischen Gesellschaft. Christoph Merian Publishing, Basel. ISBN 3-85616-127-9.

Mathys, F. K. (1980). "Basels Schatzkammern. Zur Entstehung und Entwicklung unserer Museen." Basler Stadtbuch 1979, pp. 151164.

Meier, Nikolaus (1999). Identitt und Differenz. Zum 150. Jahrestag der Erffnung des Museums an der Augustinergasse in Basel. Offprint from volume 100 of the Basler Zeitschrift fr Geschichte und Altertumskunde.

Monteil, Annemarie (1977). Basler Museen. Birkhuser Publishing, Basel. ISBN 3-7643-0945-8.

Nagel, Anne; Mhle, Martin; Meles, Brigitte (2006). Die Kunstdenkmler des Kantons Basel-Stadt, Bd. VII Die Altstadt von Grossbasel I Profanbauten. Berne.

ffentliche Kunstsammlung Basel (1936). Festschrift zur Erffnung des Kunstmuseums. Birkhuser Publishing, Basel.

Schneider-Sliwa, R.; Erismann, C.; Klpper, C. (2005). "Museumsbesuche Impulsgeber fr die Wirtschaft in Basel." Basler Stadt- und Regionalforschung, Volume 28. Basel.

Settelen-Trees, Daniela (1994). Historisches Museum Basel in der Barfsserkirche 18941994. Basel. ISBN 3-9520458-2-9.

Suter, Raphael (1996). "Die Schliessung zweier Museen stsst auf Widerstand." Basler Stadtbuch 1995, pp. 158161.

Teuteberg, Ren (1986). Basler Geschichte. Christoph Merian Publishing, Basel. ISBN 3-85616-034-5.

von Roda, Burkard (1995). "Was Basel reich macht." Basler Jahrbuch 1994, pp. 112115.

Wirtz, Rainer (1995). "Die neuen Museen zwischen Konkurrenz und Kompensation." Basler Jahrbuch 1994, pp. 100105.

References

^ Especially in the case of the major cantonal museums in Basel-City: "The museums have the task of collecting, preserving, documenting, researching and communicating cultural assets." Museums Act (Museumsgesetz) from 16 June 1999, 3.

^ See the overview of different territorial definitions and perimeters on the website of Eurodistrict Basel.

^ Map showing the area covered by the Upper Rhine Museum Pass.

^ "Up until now, the label 'Museum City of Basel' was primarily associated with the valuable collections and numerous special exhibitions of the public and private museums that are present here in a unique density." (Suter, Raphael (1995): "Ist das erste Museologie-Studium der Schweiz bereits am Ende?" Basler Jahrbuch 1994, p. 109.) "Cities with a comparable number of inhabitants typically possess an art gallery of regional significance at best. As a location for art museums, measured in terms of its size, Basel is unmatched." (Becker, Maria (2 June 2008): "Die kleine Stadt der grossen Kunstschiffe". Neue Zrcher Zeitung.)

^ Bonjour, Edgar (1960). Die Universitt Basel 14601960. Helbing & Lichtenhahn, Basel, pp. 320322.

^ Mathys, F. K. (1980). "Basels Schatzkammern. Zur Entstehung und Entwicklung unserer Museen." Basler Stadtbuch 1979, pp. 151164.

^ Kreis, Georg; von Wartburg, Beat (2000). Basel. Geschichte einer stdtischen Gesellschaft. Christoph Merian Publishing, Basel, pp. 395396.

^ Historisches Museum Basel (1994): Historisches Museum Basel. Fhrer durch die Sammlungen. Merrell Holberton, London, p. 87.

^ Publication commemorating the dedication of the museum in Basel on 26 November 1849. Basel 1849, p. 3.

^ Huber, Dorothea (1993). Architekturfhrer Basel. Die Baugeschichte der Stadt und ihrer Umgebung. Architekturmuseum Basel, Basel, pp. 112114.

^ Wackernagel, Wilhelm (1857): ber die mittelalterliche Sammlung zu Basel. Basel, p. 3.

^ The Voluntary Museum Association of Basel (Freiwilliger Museumsverein) ended its support of the Bernoullianum in the 1870s, in contrast to the University Library, which remains a beneficiary of gifts and donations.

^ Bonjour, Edgar (1960). Die Universitt Basel 14601960. Helbing & Lichtenhahn, Basel, pp. 461472.

^ History of the Basel Museum of Cultures.

^ History of the Kunstmuseum Basel.

^ Departements of the Antikenmuseum Basel und Sammlung Ludwig.

^ Historisches Museum Basel (1994): Historisches Museum Basel. Fhrer durch die Sammlungen. Merrell Holberton, London, pp. 1016.

^ History of the Basel Sculpture Hall.

^ History of the Museum of Design (Museum fr Gestaltung) The museum was initially continued on a private basis in Weil am Rhein and then in Basel as an exhibition firm. The School of Design (Schule fr Gestaltung) still mounts exhibitions with holdings from the poster collection.

^ Mathys, F. K. (1980). "Basels Schatzkammern. Zur Entstehung und Entwicklung unserer Museen." Basler Stadtbuch 1979, p. 162.

^ Mathys, F. K. (1980). "Basels Schatzkammern. Zur Entstehung und Entwicklung unserer Museen." Basler Stadtbuch 1979, p. 159.

^ History of the Kunsthalle

^ Mathys, F. K. (1980). "Basels Schatzkammern. Zur Entstehung und Entwicklung unserer Museen." Basler Stadtbuch 1979, pp. 159160.

^ Bonjour, Edgar (1960). Die Universitt Basel 14601960. Helbing & Lichtenhahn, Basel, pp. 465466.

^ Mathys, F. K. (1980). "Basels Schatzkammern. Zur Entstehung und Entwicklung unserer Museen." Basler Stadtbuch 1979, pp. 160163.

^ Swiss Architecture Museum (Schweizerisches Architekturmuseum) The Architecture Museum opens its new premises in the Kunsthalle.

^ Website of the Herzog Foundation.

^ See the corresponding entries on the Basel-Country website: "Museums in the Municipalities" (in German)

^ History of the Museum.BL and its collections.

^ History of the Museum am Burghof.

^ Monteil, Annemarie (1977). Basler Museen. Birkhuser Publishing, Basel, p. 300.

^ History of the Museum of Music Automatons.

^ Informations about the Museum and the Art Association.

^ Informations about the Riehen Art Space.

^ Website of the Sculpture at Schoenthal Foundation

^ Museum history (French)

^ There are older though no longer existent municipal collections. For instance, the Zurich Citizens Library (Zrcher Burgerbibliothek) was founded back in 1629 with an affiliated coin cabinet and art collection but closed its doors in 1780.

^ Meier, Nikolaus (1999). Identitt und Differenz. Zum 150. Jahrestag der Erffnung des Museums an der Augustinergasse in Basel. Offprint from volume 100 of the Basler Zeitschrift fr Geschichte und Altertumskunde, p. 133.

^ Kreis, Georg; von Wartburg, Beat (2000). Basel. Geschichte einer stdtischen Gesellschaft. Christoph Merian Publishing, Basel, p. 397.

^ Meier, Nikolaus (1999). Identitt und Differenz. Zum 150. Jahrestag der Erffnung des Museums an der Augustinergasse in Basel. Offprint from volume 100 of the Basler Zeitschrift fr Geschichte und Altertumskunde, p. 136.

^ Kreis, Georg; von Wartburg, Beat (2000). Basel. Geschichte einer stdtischen Gesellschaft. Christoph Merian Publishing, Basel, p. 398.

^ Meier, Nikolaus (1999). Identitt und Differenz. Zum 150. Jahrestag der Erffnung des Museums an der Augustinergasse in Basel. Offprint from volume 100 of the Basler Zeitschrift fr Geschichte und Altertumskunde, pp. 121122.

^ The university holdings constitute he indivisible property of the canton of Basel-City, indissolubly tied to the locality of the city of Basel and never to be alienated from the stipulations of the foundations and the function of the institutions of higher education. University Holdings Act (Gesetz ber das Universittsgut) from 16 June 1999, 2.

^ Meier, Nikolaus (1999). Identitt und Differenz. Zum 150. Jahrestag der Erffnung des Museums an der Augustinergasse in Basel. Offprint from volume 100 of the Basler Zeitschrift fr Geschichte und Altertumskunde, pp. 124125.

^ Bonjour, Edgar (1960). Die Universitt Basel von den Anfngen bis zur Gegenwart. 14601960. Helbing & Lichtenhahn, Basel, pp. 402404.

^ Bonjour, Edgar (1960). Die Universitt Basel von den Anfngen bis zur Gegenwart. 14601960. Helbing & Lichtenhahn, Basel, p. 409.

^ Bonjour, Edgar (1960). Die Universitt Basel von den Anfngen bis zur Gegenwart. 14601960. Helbing & Lichtenhahn, Basel, pp. 467470.

^ Meier, Nikolaus (1999). Identitt und Differenz. Zum 150. Jahrestag der Erffnung des Museums an der Augustinergasse i

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Fantasy Posters: A Path To The World Of Fantasies

"Fantasy is the literature for teenagers" - Brian Aldiss

Every teenager lives in a fantasy land that is closest to their dreams and aspirations. They dream of their secret desires and wish to fulfill them in their fantasies. However, a fantasy is far away from the reality. The real world has some rules and boundaries that restrict us from realizing our heartfelt desires; hence people fulfill them in their fantasy.

Therefore, many people buy fantasy posters to relish their heartfelt desires. They paste these attractive posters on their wall and gaze at them all day and night. Many teenagers escape into the world of fantasies and make plans to convert them into reality because they believe that most of the fantasies have their roots in the reality.

These posters are also famous among small kids, who have deep fascination towards fantasy characters like Spiderman, Superman, Barbie, Cinderella etc. You can always find them getting deep into the skin of the fantasy characters and imitating them while executing a fight with a deadly monster or a witch. These fantasy posters are closest to their heart; therefore you can see a huge smile on their face as soon as you mention the name of dynamic fantasy poster.

Hence, these posters are the ultimate gifts items for the kids and teenagers. However, the choice of the poster depends on their gender like boys are fond of posters of popular fantasy heroes, while girls like posters that depict famous fairy tales. Moreover, these posters are very colorful and vibrant; hence they can add extra glamour to the rooms of your kids.

You can buy these attractive posters through various online portals. You just need to log on to an online portal that sells posters and click on the list of fantasy posters. This will produce a pictorial view of the latest and most popular posters within few seconds. These portals also have enlarged view of all the posters, hence you can go through their minute detailing and purchase the most attractive fantasy poster, for your kids.

About the Author

Patrick Arden is a professional writer, presently he is writing articles on one sheet posters, map posters, fantasy poster, pop art posters, skateboarding Posters, Motor bikes posters, icons posters, 2009 Calendars and many more.

The Four Poster Bed-The Ultimate Dream !

Life would be very boring if everybody wanted the same thing, so it is just as well we all have different tastes. The function of a bed could be solved with a mattress on the floor, and in many countries in the world this would be regarded as a luxury. Any culture capable of reading this has progressed from this stage in evolution, although it would be wonderful to eradicate poverty. People want more than a plain bed frame; they want a centrepiece of the room, probably the room in the house where they spend most time, albeit asleep. For many generations, the four-poster bed has been revered as the elite bed, many believing it to be the ultimate possession. Four-poster beds with or without canopies made in wood or metal are still extremely popular, with history playing an important part in how we feel about it.

There are two fields of thought relating to the four-poster bed, that of the British, and the Americans. In the U.K. (and Europe) we consider a four-poster bed to be a bed with four posts, cornice, high headboard and roof, but in the States, I understand this would be called a four-poster canopy bed. In the U.S. a four-poster bed is exactly that, a bed with four posts, no cornice, no roof, just four posts. The tall, elongated posts stand like spires above the rest of the bed, often ending in finials. For obvious reasons, this style is frequently called a pencil bed. We have seen and made a variety of posts for these beds, either slender to give it a Shaker feel, or chunky for a country flavour. The posts can be turned round, left square, but tapering with some shaped features, or octagonal. They can have twists, flutes (dished hollows), or reeds (raised beads), or even inlayed wood down the length of the post. The list for the traditional looking posts is long enough, but if you start to get away from the past, and what’s been done before, then a whole new world can open up, it’s just a question of what the public will tolerate.

Traditional British four-poster or canopy beds had turned, reeded, fluted or twisted posts, indeed, many were made more ornate with extensive carving added to them. In years gone by, only wealthy noblemen would own such a bed and when he died one of the treasures was the four-poster bed.
It’s amazing just how many people love or always wanted a four-poster bed with a full canopy, many feeling it an ambition or dream fulfilled when they finally own one. You will hear comments like, ‘I saw one once,’ or ‘I slept in one, and I’ve always wanted one ever since.’ Many consider the four-poster to be extremely romantic, but it may all come back to fairy tails, and the days of fair maidens, white horses and shiny knights, or were they white knights. Tradition has instilled into many of us to aspire to own a four-poster bed, antique if possible. Failing that, then reproduction is a good alternative, as it is often not as costly, and when you commission a piece of furniture, you get what you want. People at furniture auctions either seem to compromise their wish or wait till next time, whereas asking a furniture maker for something you can have any size, style, wood, colour or carving that you wish.

The more bed you have, the more you can personalise it, and by the time it is complete, you would rarely find two the same. So the four-poster bed is ideal, with a choice of several wood, post and panel designs, carving, finished colour (including paint), and the variety in size and height, four posters are very individual. If you add to that the variety of fabrics, patterns and colours available from which drapes can be made, there is no end to the possibilities. It is not just the look of the bed that is important, but also the feel. The sheets are a critical factor in feeling the quality of your bed, and as you spend a third if your life there, you may as well make it comfortable, so buy good quality linen.

From heavy tapestries draped over deeply carved posts, with linenfold panels and a fully enclosed oak roof, to light silks and lacy dressing an American style pencil bed with no footboard, fine rope twists ending in a finial rather like that of a pawn or bishop in a chess set, the four-poster bed will survive for many more centuries. It is up to us to start looking into the future, moving with the times, developing new styles, dragging the bed by its’ posts into the 21st Century, to be held in esteem as the ultimate dream for another 600 years.

About the Author

Stephen Edwards has been making furniture for 25 years, and has settled into making four-poster beds and oak country furniture. For more information and other articles, please visit www.fourposterbed.co.uk, www.fourposterbeds.com or Stephen Edwards Country Furniture

The author is happy for you to use these articles, if they are kept complete with working links, and the author is recognised.

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7 Great Things To Try Out In Printing Posters Design

There are lots of things to try out with your designs and online poster printing. Beyond using poster templates, you should always try to expand your horizons and see what new and exciting things you can do with online poster printing and design. If you think you are running out of great ideas or you do not know where to start, here are 7 things that should get your imagination geared up and working with your color posters.

1. Typographic art. One of the easiest types of poster styles you can try out to turn up great looking posters is the typographical art style. This special style involves you using different artistic text styles to make your color poster. Today, this is very easy to do, simply because there are thousands and thousands of free font styles that you can use for poster printing. From nice simple headlines fonts, to movie or TV based fonts, to really creative type of script and logo fonts, the sky is the limit when it comes to your choices. Just mix and match the fonts and the colors and you should have a really modern looking color poster that people will like.

2. Era posters. If you are a bit nostalgic about a few things and your color poster theme can incorporate it, one great design theme to try out for your own posters are basic ERA or Classic posters. These are basically posters with design themes that are from certain past eras. For example, the 80's and the 70's have their own distinct art style for posters that is different from the 50's and 30's. People recognize those art styles immediately, especially the ones who lived on those eras. By using these styles, you can effectively attract precise readers to your color posters.

3. Grunge. A new wave of color poster design is the grunge look. This is basically the artistic manifestation of the phrase "artfully disheveled". Which means of course that is a kind of dirty, messy abstract art that actually looks detailed, textured and beautiful. There are plenty of grunge type fonts, images and filters that should help you create that grunge type style. You can use this to make your color posters look a bit more powerful, rebellious and creative.

4. Minimalist. On the other side of grunge is the minimalist style. This involves using very simple backgrounds and fonts. The stark bareness and simplicity of this design can actually have a direct and powerful impact to many people. It is also very easy to do, as long as you have the right concept in mind. Bare backgrounds and bare text are the characteristics of these posters, but they usually have a very coherent and artistic color scheme that makes them look great.

5. "Web 2.0". There is also the new style that is going around in color posters. This is called the Web 2.0 art style. This is the new style of the web, where designs are more sleek, colorful, glossy and cute. This type of style can easily be adapted to color posters, easily making them look popular and hip. Just look at sites like Facebook and Twitter to see how the 2.0 artistic style works.

6. Interactive. You might also be interested to try out using interactive posters. These are posters that people can actually touch or play with. You can basically create a type of poster that has different moveable elements that people take notice at and interact with. Or you can also just print color posters with great panoramas or backgrounds and people can pose to. With that interactive element, people will be more engaged with your color poster, making it really memorable for them.

7. Patchwork. Finally, we have the patchwork style. This is basically a collection of different images and text that can tell a story to people. This can also be called the collage style, or the gallery style. Any combination of elements that makes up a whole new and big design will work for this kind of style. This is a great type of color poster that you can use for special designs for shows, products and location services like tourist spots.

So those are some of the simple but effective color poster styles that most people use and succeed at. If you have not tried some of these yet, you should try to definitely go for them in your next poster printing.

For comments and inquiries about the article visit: Online Poster Printing

About the Author

Janice Jenkins is a writer for a marketing company in Chicago, IL. Mostly into marketing research, Janice started writing articles early 2007 to impart her knowledge to individuals new to the marketing industry.

Poster Prints as Art Pieces

Looking back, households were constantly renovated and their decorations were changed, replaced from time to time. Yet as people became more practical, interior decorating became a leisurely expense - space for creativity lessened - innovative fun died. But with today’s advancements in printing, home décor and art junkies can still stretch their imagination. Infinite possibilities are laid out to you through the use of poster prints as eye-catching art pieces.

Who said that oil paintings were only meant for museums and mansions? With your internet as your reference ally, you can easily scan through your most-favored paintings and artists, download, and have online printers do the rest of the job for you. Easily, a Van Gogh ‘Almond Blossom’ or ‘Starry Night’ or ‘Café Terrace…’ could be right there in your own living room. That alone could wipe off the gloominess of your wallpaper or empty walls.

We all wanted to be Van Gogh at some point in our lives. Now is the time to get those well-kept art shots or get your camera clicking and start exercising your creativity once again. And the best way to immortalize your personal art photos would be by printing them on posters. You could easily match an art shot with your upholstery or furniture – a perfect accent created by you not only gives you pride, but a homey atmosphere too.

If being classic-artsy isn’t your cup of tea, maybe abstract design could sound more appealing. Having spherical or linear graphics could modernize a room in an instant. And immediately, brownish wallpaper can be transformed and highlighted by a single glossy, abstract poster.

Family pictures don’t have to be standardized anymore. With poster prints, you can easily enlarge your photo; make them accents in your own homes by dividing them into individual pieces. It can easily make a great art piece; it can easily brighten up the mood of your room as well.

Creating art pieces can be so much fun. The possibilities are limitless and time and money spent is kept at minimum. Today, art is formed best if it defines who you are. And what better way is there to capture your thoughts and emotions by a single click – framed and immortalized by a fully colored attractive poster prints right in your home.

About the Author

Kristine is a content writer, with experience in the marketing and public relations industry. Currently, she resides in the Los Angeles, California working in the field of marketing.