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The image is a page from a book or a magazine featuring an article about the murals in the German Museum, specifically focusing on the murals painted by Lewis W. Rubenstein in the entrance hall. The page is divided into two main sections:

1. Acknowledgment Section (Left Side):

   • This section expresses gratitude to Mrs. Maria H. DeKay for her generous gift that made the murals possible.
   • It also thanks Dr. F. R. Deknatel for writing an article on the frescoes, which is featured in the Germanic Museum Bulletin.
   • There is a photograph of the entrance hall showing the murals. The caption indicates that the murals were painted by Lewis W. Rubenstein using the "true fresco" technique, which involves painting on damp plaster.
   • The text provides background information on Rubenstein, mentioning that he was born in Buffalo, New York, in 1908 and began studying drawing at the age of fourteen at the Albright Art School. He later studied at Harvard University and spent time in Europe, particularly in Paris, Rome, and other cities.

2. The Rubenstein Murals Section (Right Side):

   • This section is written by Frederic R. Deknatel and discusses the murals in detail.
   • It explains that the murals are painted on damp plaster and that the artist must work quickly while the plaster is still wet.
   • The murals depict various scenes and figures, including the "Lament of North Wall before the Joists were Removed" and "Genius Loci."
   • The text describes the artistic techniques and the symbolism behind the murals, highlighting the use of color and the dynamic composition.
   • There is a detailed description of the figures and their interactions, emphasizing the emotional and narrative depth of the artwork.

Overall, the page provides a comprehensive overview of the creation and significance of the Rubenstein murals in the German Museum, along with insights into the artist's background and techniques.

The image appears to be a page from a publication, specifically a section of a museum catalog or an art journal. Here's a detailed summary of the image contents:

1. Acknowledgement Section:

   • The top left section includes a photograph of the entrance hall of the Germanic Museum.
   • It mentions that the murals were made possible by the generous gift of Mrs. Morris Loeb of New York. The acknowledgments also express gratitude to Dr. F. B. Deknatel for writing an article on the frescoes.

2. Description of the Murals:

   • The murals in the entrance hall were painted by Lewis W. Rubenstein. Rubenstein employed the "true fresco" technique, which involves painting on wet plaster.
   • Rubenstein's work is detailed with the mention of the "Nibelungen" legend and other significant figures and themes in the murals.
   • The artist's biography is provided, noting his education at the Albright Art School, his work in Paris, and his experience in painting frescoes in New York and Rome.

3. Artistic Techniques and Themes:

   • The right side of the image includes an article titled "The Rubenstein Murals" by Frederick R. Deknatel.
   • Deknatel describes the murals' themes, including the epic character of the old legend and the contrasting forces of good and evil. The murals illustrate the struggle between the forces of the Nibelung legend and the triumph of heroism and order.
   • The frescoes depict various dramatic and historical scenes, with detailed descriptions of the figures and their roles, such as the figure of Albrechts, representing the cyclical nature of history.

4. Visual Elements:

   • There are images showing the entrance hall with the murals and a specific close-up of the north wall before it was retouched, illustrating the detailed work and craftsmanship involved in creating the frescoes.

Overall, the image captures the artistic and historical significance of the murals, the contributions of the artist, and the technical skill involved in their creation.

The image depicts two pages of a printed document, likely a booklet or a brochure, discussing the murals at the Germanic Museum. The left page contains an acknowledgment section, titled 'Acknowledgement,' which expresses gratitude to Mrs. Morris Loeb of New York for her generous gift that made the murals possible. It also thanks the directors and staff of the Museum and specifically mentions Mr. Frederick B. Deknatel for writing an article on the frescoes for the Germanic Museum Bulletin.

Below the acknowledgment, there is a section titled 'View of Entrance Hall,' describing the murals painted by Lewis W. Rubenstein. It explains that the artist used the 'true fresco' technique, working quickly while the plaster was damp. A short biography of Rubenstein is provided, highlighting his training in New York and Europe, and his focus on painting frescoes in New York and Boston.

The right page features an article titled 'The Rubenstein Murals,' also by Frederick B. Deknatel. The article discusses the significance of the murals, describing them as a significant addition to the museum's interior decoration. It details the subjects of the murals, including scenes from the Nibelung legend and the struggle of the Gods and Giants, which are treated as an allegory of the creative and constructive forces in society. The article praises Rubenstein's ability to endow his figures with vitality and vigor, creating a dynamic and compelling visual narrative. The text also mentions that the murals not only serve as decoration but also provide an introduction to the collections beyond the entrance hall.

The image contains two main sections from what appears to be a museum publication or brochure.

Left Side: Acknowledgment and View of Entrance Hall

Acknowledgment:

• The text expresses gratitude to Dr. E. B. Deknatel for writing an article on the frescoes in the Germanic Museum's Ballerin building.
• The murals were made possible by the generosity of Mrs. Morris Loeb of New York.
• The Loeb family extends their thanks to Dr. F. B. Deknatel for his work on the objective and judicious article about the frescoes.

View of Entrance Hall:

• This section includes a photograph of the entrance hall murals at the Germanic Museum, painted by Lewis W. Rubenstein.
• The murals depict the triumphs above and the entrance hall's history.
• The murals were executed using the "true fresco" technique, where paint is applied on damp, freshly plastered walls. This method requires working quickly before the plaster dries.
• Lewis W. Rubenstein, the artist, was born in Buffalo, New York, in 1908. He studied at various institutions, including the Art Students League in New York, the Albright Art School, and the Art Institute of Chicago. He also traveled and studied in Europe.
• Rubenstein has been creating frescoes in New York and Boston for the past few years.

Right Side: The Rubenstein Murals by Frederick B. Deknatel

The Rubenstein Murals:

• This section is an excerpt from an article by Frederick B. Deknatel discussing the murals in the Germanic Museum.
• The murals add to the artistic and architectural significance of the museum, representing the spirit of German art.
• Rubenstein's work in the entrance hall is an ambitious decorative scheme with three main fresco areas: the vaulted room, the lunettes above the doors, and the walls of the entrance hall.
• The north wall depicts a scene from the Nibelungenlied, showing Siegfried's death, while the south wall features a scene from the Elder Edda, illustrating the Doom of the Gods.
• The murals are allegorical, representing themes such as the triumph of life over death and the struggle between creative and destructive forces.
• Deknatel praises Rubenstein's ability to integrate the figures into the architecture, giving them a monumental and expressive quality that fits the space.
• The lunettes on the north wall, which had been retouched, are noted for their dynamic and expressive composition.

The image also includes a detailed illustration of one of the lunettes, showing the intricate work of the murals.

The image is a page from a publication, likely a magazine or a journal, featuring an article about the murals in the Germanic Museum. Here's a detailed summary:

Left Side

Acknowledgement

• The murals were made possible through the generosity of Mrs. Morris Loeb of New York.
• The directors and staff of the Germanic Museum extend thanks to Dr. F. B. Deknatel for writing the article on the murals for this issue of the Germanic Museum Bulletin.

View of Entrance Hall

• Murals by Lewis W. Rubenstein
• The murals in the entrance hall were painted by Lewis W. Rubenstein, who worked on the project for almost two years.
• Rubenstein employed the "true fresco" technique, a method used by the great Italian masters of the Renaissance.
• This technique involves applying pigment directly onto freshly plastered walls. The plaster dries quickly, requiring the artist to work efficiently and precisely.
• Rubenstein was born in Buffalo, New York, in 1898, and studied art at the Art Students League in New York.
• He graduated from Harvard and spent time in Europe studying art before returning to the United States.
• The murals depict various themes, including the Nibelungen legend and scenes from the Bible.

Right Side

The Rubenstein Murals

• By Frederick B. Deknatel
• The murals in the Germanic Museum are an important addition to the collection of interior decoration and to its possession of contemporary works of art.
• The murals are located in the entrance hall and depict the Nibelungen legend and scenes from the Bible.
• The murals are executed in a traditional fresco technique, where the artist works quickly on freshly plastered walls.
• The murals depict various scenes, including the gods and giants from Norse mythology and scenes from the Nibelungen legend.
• Rubenstein's success is attributed to his careful planning and understanding of the fresco technique.
• The murals are praised for their epic character, depicting gods and giants with extraordinary strength and vitality.
• The murals are a significant addition to the museum, representing a blend of traditional techniques with contemporary art.

Lunette of North Wall before the Joints were Retouched

• The lunette on the north wall depicts a scene from the Nibelungen legend.
• The scene includes characters such as Alberich, who is depicted with a strong, muscular physique.
• The scene is noted for its dynamic composition, with figures in motion and a sense of energy and movement.

Visuals

• The left side includes a black-and-white photograph of the entrance hall with the murals.
• The right side includes a black-and-white photograph of a section of the north wall mural before retouching.

The article provides a detailed description of the murals, their creation, and their significance within the Germanic Museum.

The image is a page from a publication, likely a museum bulletin or catalog, featuring an article about the murals in the Germanic Museum. Here's a detailed summary of the contents:

Left Side of the Page:

• Acknowledgment Section:

  • The murals were made possible by the generous gift of Mrs. Morris Loeb of New York.
  • The directors and staff of the museum extend their heartfelt thanks.
  • The directors also express their gratitude to Dr. F. B. Deknatel for writing the accompanying article on the frescoes.

• Image:

  • A photograph labeled "View of Entrance Hall" shows the murals by Lewis W. Rubenstein in the entrance hall of the museum.

• Text:

  • Describes the murals, mentioning that they were painted by Lewis W. Rubenstein.
  • Rubenstein worked on the project for almost two years and used the "true fresco" technique, which involves painting directly on damp plaster.
  • The technique requires quick application since the plaster dries in about fourteen hours.
  • Rubenstein's work includes detailed and symbolic representations of various scenes and characters.

Right Side of the Page:

• Article by Frederick R. Deknatel:

  • Title: "The Rubenstein Murals"
  • Content:
    • The murals are an important addition to the museum's interior decoration.
    • Rubenstein’s work is described as being on the same level as the great Italian masters of the Renaissance.
    • The murals depict various scenes, including the tympanum above the entrance, the north wall, and the east wall.
    • The north wall mural shows the epic character of the old legend, with figures such as Odin and Thor, illustrating themes of heroism and conflict.
    • The east wall features a scene from the Nibelungen legend, with a focus on the conflict between gods and giants.
    • The murals are praised for their powerful depiction of human conflict and the heroic spirit, using vivid and dynamic figures.

• Image:

  • A detailed view of the "lanette of North Wall before the joints were retouched," showing the fresco's intricate details and the artist's skill.

Bottom of the Page:

• Biographical Information on Lewis W. Rubenstein:
  • Born in Buffalo, New York, in 1908.
  • Studied at the Albright Art School and graduated from Harvard in 1930.
  • Spent two years in Europe, including time in Paris and Rome.
  • Has been painting frescoes in New York and Boston for the past few years.

Overall:

The page provides a detailed description of the murals in the Germanic Museum, highlighting the contributions of Lewis W. Rubenstein and the critical analysis by Frederick R. Deknatel. It also includes images and acknowledgments to those who made the project possible.

The image displays two pages from a book or journal. The left page is headlined "Acknowledgment" with text giving thanks for support and contributions related to the murals at the Germanic Museum. There's a picture captioned "Views of Entrance Hall Murals by Lewis W. Rubenstein" showing an interior space with large murals on the walls.

On the right page, titled "The Rubenstein Murals" by Frederick Deknatel, the text appears to describe murals in a museum setting, including their creation, thematic content, and the artist's background. There is a smaller image on the bottom right, with its own caption, "Lament of North Wall before the Joints were Retouched," which seems to be a closer view of one of the murals with figures in dramatic poses. The text across both pages discusses artistic technique, historical context, and the significance of the murals.

The image displays two pages from a publication describing murals in the Germanic Museum painted by Lewis W. Rubenstein. The left page, titled "Acknowledgment," includes a photograph of the entrance hall where the murals are located and provides information about Rubenstein's background and the fresco technique he used. The right page, titled "The Rubenstein Murals" by Frederick B. Deknatel, discusses the significance and artistic merit of Rubenstein's work, including details about the themes and figures depicted in the murals. The mural on the left side of the image shows intricate artwork within the arched spaces of the entrance hall, highlighting the artist's ability to work on damp plaster using the true fresco technique. The right page includes another photograph of the mural artwork, giving a closer view of the detailed figures and scenes.

The image shows an open book or magazine spread with text and black-and-white photographs. The left page is titled "Acknowledgment" and discusses the murals in the Germanic Museum, specifically mentioning Lewis W. Rubenstein, who painted the murals in the entrance hall. There is a photograph of the entrance hall featuring large mural paintings on curved walls and above doorways.

The right page is titled "The Rubenstein Murals" by Frederick B. Deknatel. It describes the murals, their themes from ancient Germanic mythology, and the "true fresco" technique used by Rubenstein. There is also a photograph labeled "Lunette of North Wall before the Joints were Retouched," showing a section of a mural with several muscular, mythological figures engaged in action within an arched space.

The text and images emphasize the artistic and historic significance of Rubenstein's murals in the museum's entrance hall.

The image appears to be a page from a book or magazine, containing both text and illustrations. The text describes the murals in the Germanic Museum, their creation, and the artist behind them. The illustrations show views of the entrance hall and the murals themselves.

Here is a detailed description of the image:

The page is divided into two main sections. The left side contains the text, while the right side has illustrations.

The text section begins with an acknowledgment of the murals' creation, stating that they were made possible through the generous gift of Mrs. Morris Loth of New York. The directors and staff of the museum express their gratitude to Dr. F. B. Deknatel for writing the article on the frescoes.

The text then provides details about the murals, including the artist, Lewis W. Rubenstein, who employed the "true fresco" technique. It describes the method of painting directly on damp plaster, which requires careful planning and quick work.

The right side of the page contains two illustrations. The first is a view of the entrance hall, showing the murals on the walls. The second illustration depicts a close-up of one of the murals, highlighting the details and techniques used by the artist.

The text continues to discuss the themes and subjects of the murals, which are based on ancient Germanic mythology and the Battle of the Gods and Giants. It also mentions the allegorical representation of the Rhine River and the "Curse of the God" on the north wall.

The page also includes a brief description of the artist, Lewis W. Rubenstein, his education, and his previous work. It notes that he has been painting frescoes in New York and Boston for the past few years.

Overall, the image provides an overview of the murals in the Germanic Museum, their creation, and the artist behind them, accompanied by relevant illustrations.