196:. Contemporary sources of the Classical Weimar court never referred to a courtyard of the muses and Duchess Anna Amalia is not known to have at any time discontinued standard court ceremony or contested common class regulations. Her role as pioneer of Weimar Classicism has been challenged by author J. Berger, as he points out that the duchess has given the primacy of the arts not to literature but to music. Berger also exhorts, that she does not qualify as a true patroness of the arts because she refused unconditional promotion of free artists, but treated them as civil servants who were obliged to perform certain tasks.
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130:. The painting depicts a rather fictional, ideally arranged scene around 1794/95: An illustrious party, that consists of noble members of the court and commoners alike (scholars, artists and scientists), has gathered, regardless to class etiquette and formalities, in and around the Tiefurt Muse temple (which was only built in 1803), while listening to
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and Anna
Amalias image, role and personal motives have been reviewed and largely "deconstructed" during recent decades. Modern revisions predominantly present sober conclusions and largely disagree with 19th century claims of a society in progress as a result of the utilization of the guiding
348:
Steffan Davies (2008). "Reviews of: Anna Amalia, Herzogin von Weimar by
Annette Seemann; Anna Amalia von Weimar - Eine Biographie by Leonie Berger, Joachim Berger; Anna Amalia, Carl August und das Ereignis Weimar, by Hellmut Th. Seemann".
138:, who had joined the court as the teacher of the two princes in 1772, being in fact the first of the many famous writers moving to Weimar. Oer's famous painting is presently hanging in the ceremonial office of the President of Germany at
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However, according to author J. H. Ulbricht, all these scientific disenchantments have failed to notably penetrate the communicative and cultural memory of the public. The narrative of the
165:, debate and discuss books and literature, the latest musical events and plays that had been staged, and contribute to the production of journals and paperbacks in Weimar, Tiefurt and
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71:(1772-1805), that was made up of nobles and commoners, courtiers, civil servants, writers, artists and scientists, who congregated around the central character,
403:"Missgunst am Musenhof - Wegbereiterin der Weimarer Klassik? - Leonie und Joachim Berger versuchen, den Mythos der Anna Amalia von Weimar zu dekonstruieren"
524:
591:
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Heide Schulz: Weimars schönster Stern. Anna Amalia von
Sachsen-Weimar und Eisenach. Quellentexte zum Entstehen einer Ikone, Heidelberg 2011,
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was used for the first time in a scholarly context, steadily spread for decades and solidified into a formula. Eventually, in a 1993
34:, Among the audience are Herder (2. from left, seated), Wieland (center, seated with cap) and Goethe (in front of the pillar, right).
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of
Classical Weimar begins with Anna Amalias death and continues to be told until 1993. Already in 1807, shortly after her burial,
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134:'s deliberations. In the creation of a cultivated and witty conviviality, the Duchess was assisted by poet and philosopher
211:, that he published in a series of journals. The second volume of a 1908 trilogy on the life of Anna Amalia is titled:
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Not until the late 20th century had this idea of a Weimar courtyard of the muses been contested and dismissed as
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and patroness of the arts. Duchess Anna Amalia was the mother and from 1758 until 1775 regent for the infant
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324:"Der Weimarer Musenhof – vom Fürstenideal zur Finalchiffre - Eine erinnerungskulturelle Spurensuche"
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is a term, that had emerged during the 19th century. It refers to an elite fellowship of people in
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Arte et Marte. Kriegskunst und
Kunstliebe im Herrscherbild des 15. und 16. Jahrhunderts in Italien
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was determined as one of five types of
European courts and Weimar was referred to as the
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86:. Among the poets living in Weimar were the most famous German authors of their time,
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Kulturelle
Konkurrenzen: Studien zu Semiotik und Ă„sthetik adeligen Wetteifers um 1600
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sought the opportunity to advertize Weimar's cultural prowess via the
Duchess'
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Weimar courtyard of the muses. Schiller reading to the court in
Tiefurt
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principles of the
Enlightenment and the cultivation of the genius.
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Weimar courtyard of the Muses. Schiller reading to the court in
274:"Der Weimarer Musenhof. Schiller in Tiefurt dem Hof vorlesend"
357:(1). Zeitschrift für Germanistik, Peter Lang AG: 210–212.
377:"The Art of the Enlightenment - The Revolution of Art"
215:and has been published repeatedly under this name.
525:"Weimar – Weltstadt des Geistes und Musendorf"
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480:"Anna Amalia und das »Ereignis Weimar-Jena«"
576:, London 2016, Laurence King Publishing Ltd
182:Duchess Anna Amalia of Saxe-Weimar-Eisenach
73:Duchess Anna Amalia of Saxe-Weimar-Eisenach
503:"Weimars Musenhof in den Jahren 1772-1807"
56:of tragic poetry and song, built in 1803,
401:Renate Wiggershaus (September 19, 2006).
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567:Anna Amalia von Weimar. Eine Biographie
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84:Karl August von Sachsen-Weimar-Eisenach
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16:19th century ideal of Classical Weimar
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457:. Walter de Gruyter. pp. 147–.
451:Claudius Sittig (29 November 2010).
569:C. H. Beck Publishing, Munich 2006
201:historiographically colorful idyll
192:19th century legend formation and
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424:Michael Knoche (April 20, 2007).
157:, the rural summer residences in
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105:The concept and character of the
482:. Hellmut Th. Seemann - Academia
432:. Frankfurter Allgemeine Zeitung
218:In 1844 the academic historian
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276:. Staatliche Museen zu Berlin
184:with her sons, around 1773-74
65:Weimar courtyard of the muses
565:Leonie und Joachim Berger:
351:Zeitschrift fĂĽr Germanistik
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574:Italian Renaissance Courts
379:. National Museum of China
296:"Tiefurt Mansion and Park"
159:Ettersburg Palace and Park
88:Johann Wolfgang von Goethe
527:. Literaturland ThĂĽringen
298:. Klassik Stiftung Weimar
549:Tiefurt Mansion and Park
153:would meet at the ducal
136:Christoph Martin Wieland
96:Christoph Martin Wieland
426:"Weimars Wegbereiterin"
405:. Frankfurter Rundschau
173:Recent reinterpretation
118:Visual inspiration was
100:Johann Gottfried Herder
583:, Munich, Berlin 2001.
236:courtyard of the muses
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554:Contemporary journal
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128:Weimar's Golden Days
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43:Temple of the Muses
226:in which the term
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132:Friedrich Schiller
122:'s 1860 painting:
92:Friedrich Schiller
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612:Culture in Weimar
607:History of Weimar
592:978-3-8253-5887-7
464:978-3-11-023370-4
234:attempt the term
224:historical sketch
220:Wilhelm Wachsmuth
144:(see image there)
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531:December 25,
529:. Retrieved
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509:December 27,
507:. Retrieved
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484:. Retrieved
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381:. Retrieved
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280:January 31,
194:romanticism
601:Categories
505:. Weltbild
258:References
142:in Berlin
114:Background
81:Grand Duke
30:(1860) by
47:Melpomene
363:23978607
246:See also
232:typology
209:obituary
430:Faz.net
26:Tiefurt
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329:. CORE
205:Goethe
359:JSTOR
327:(PDF)
51:Greek
588:ISBN
533:2019
511:2019
488:2019
459:ISBN
438:2019
411:2019
385:2019
335:2019
304:2019
282:2021
167:Jena
161:and
149:The
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54:muse
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