Kurt und Ursula Schubert Archiv
Objects found (161)
The Continuation of Ancient Jewish Art in the Middle Ages
Outline of Jewish Art in Late Antiquity, prohibition of images, Jewish figurative art until the 6th century:
Christian-Jewish encounters in art (Eisenstadt) http://phaidra.univie.ac.at/detail_object/o:472218
Influence of Jewish painting on early... show more
Outline of Jewish Art in Late Antiquity, prohibition of images, Jewish figurative art until the 6th century:
Christian-Jewish encounters in art (Eisenstadt) http://phaidra.univie.ac.at/detail_object/o:472218
Influence of Jewish painting on early Christian art http://phaidra.univie.ac.at/detail_object/o:472308
The Contribution of Jewish Studies to the Research of Early Christian Art (the significance of Jewish Sources for Early Christian Iconography) http://phaidra.univie.ac.at/detail_object/o:472342
Jewish Art in Antiquity (Basel 1983) http://phaidra.univie.ac.at/detail_object/o:472616
Schubert did not exclude the possibility of Jewish figurative art in the Latin West of the early Middle Ages, and assumed that Hebrew manuscripts, which have not been preserved, may have existed (book burnings in Paris in the 1240s)
Yet there were also numerous Jewish voices against Jewish figurative art (Joseph Hameqanne)
The methods used in support of the assumed continuity from late antiquity to the Middle Ages deal with Christian works of art displaying elements borrowed from late antique Jewish art, which then recur in the Jewish art of the Middle Ages. These Christian works can therefore be seen as a bridge between the Jewish art of Late Antiquity and that of the Middle Ages.
There are Christian works of art containing Midrash elements in their iconography. When these elements are unknown in Christian exegesis, one can assume that the Christian works of art refer to earlier Jewish models.
The lecture therefore tries to establish a chain of tradition between the murals of the Dura Europos Synagogue and other Late Antiquity pictorial evidence using specific Christian medieval depictions and medieval Hebrew manuscripts.
Example 1: Childhood story of Moses – Dura Europos, Ashburnham Pentateuch, Byzantine Octateuchs, Pierpont Morgen Picture Bible, Golden Haggadah (for instance: Pharaoh’s daughter discovers the infant instead of one of the maids)
Example 2: Exodus from Egypt – Dura Europos, Ashburnham Pentateuch, Sarajevo Haggadah, Golden Haggadah, British Library, Or. 2884, Or. 2737 (for instance city architecture for Egypt, arming of the Israelites)
Story of Joseph: Joseph being sold to the Ishmaelite traders and depiction of his brothers having a meal, when the tradesmen arrive (Midrash) – San Marco in Venice, Paris, BnF gr. 510, Homilies of Gregory of Nazianzus, Haggadah, British Library, Or. 2884
Story of Joseph: Potiphar’s wife seduces Joseph while seated in her bed, pretending to be ill: Vienna Genesis, Golden Haggadah, British Library, Or. 2884.
Haggadah, Or. 2884: Creation of Adam – related to the Cotton Genesis tradition (Millstadt Genesis), yet no longer correctly understood. Similar understanding of the revivification in the Ezekiel cycle of Dura Europos.
(Translator: Joan Avery)
The Corresponding illustrations, selected by the Center of Jewish Art (Hebrew University, Jerusalem), can be found here: http://phaidra.univie.ac.at/detail_object/o:526510
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The Contribution of Jewish Studies to the Research of Early Christian Art (the significance of Jewish Sources for Early Christian Iconography).
Otto Pächt (The Rise of Narrative in Twelfth Century England) indicates that there was no tradition of extensive New Testament picture cycles until the 12th century.
Sarcophagus with Representations of Jesus’ miracles, the Passion Sarcophagus,... show more
Otto Pächt (The Rise of Narrative in Twelfth Century England) indicates that there was no tradition of extensive New Testament picture cycles until the 12th century.
Sarcophagus with Representations of Jesus’ miracles, the Passion Sarcophagus, Rabbula Gospel
However, extensive picture cycles relating to the Old Testament can be found in early Christian art: Callixtus Catacombs of the 3rd century, the Jonah Cycle; the catacomb at the Via Latina, 4th century, Vienna Genesis, Byzantium; Cotton Genesis, Egypt 5th century: a continuation of this tradition followed in the mid Byzantine Octateuch manuscripts, 11 and 12th century; the Old English Aelfric Paraphrase, 11th century, Caedmon Paraphrase, Oxford, 10th century.
In Judaism pictorial narratives can already be found in the 3rd century in the Synagogue of Dura Europos.
Image in the Synagogue of Dura Europos 244 A.D. of infant Moses being hidden and discovered.
Thoughts about the roots of Jewish art: inscriptions in the paintings are both in Aramaic and in Greek; Rabbinic influence is clearly visible, assuming that these themes go back to the Jewish book art of an earlier period.
A further argument for the existence of such late Antique Jewish book art is the fact that in early Christian and medieval art there are many cases where iconography can be interpreted with the help of Rabbinic Bible exegesis, or Midrash literature.
Samuel’s anointing of David, Dura Europos Synagogue; Sacra Parallela Manuscript, Palestine 7th century, Vatopaidi Psalter after 1088. In this case Rabbinic exegesis does not shape the interpretation, yet the parallels between late Christian and early Jewish versions still makes an affinity plausible.
A similar situation results from the representation of Noah’s Ark in the catacombs at the Via Latina. This varies from the familiar representation in catacomb iconography and shows Noah together with his wife. An analogous representation can be seen on a coin from Apamea, 193-253, where the scene runs from right to left.
Influence of Rabbinic exegesis in the catacombs of the Via Latina can be seen in the representation of Abraham welcoming the three angels in Mamre: [link: Christian-Jewish Encounters in Art http://phaidra.univie.ac.at/detail_object/o:472218], compared to Christian examples not influenced by Midrash literature: Santa Maria Maggiore, Rome, 432-36, San Vitale, Ravenna, beginning of the 6th century.
The iconography of Abraham, as influenced by the Rabbinic tradition, can also be seen on the sarcophagus in the Callixtus catacomb from the 3rd century as well as on the 12th century tapestry in the Halberstadt Cathedral treasure.
Catacomb at the Via Latina, expulsion of Adam and Eve from paradise with later parallels in the Creation Dome of San Marco in Venice, 13th century, related to the early Christian Cotton Genesis of 5th century Egypt; the Vienna Genesis, the St. Albans Psalter, England 12th century (Pächt), Farfa Bible, Ripoll, 12th century, Hortus Deliciarum, Herrad of Landsberg, Alsace, 11th century; Millstadt Genesis, 12th century; possibly a representation of the Shekhina (in-dwelling of the Godhead); the Fiery Wheel; Cherubs.
The story of Joseph in the Vienna Genesis: Joseph and the wife of Potifar. This representation contains many non-Biblical elements (reference to Levin, Revel Neher, Gutmann). Some of these have parallels in the frescoes in the church of San Paolo fuori le Mura (only the copies of which are preserved). In both images one can see Potifar’s wife in bed, which goes back to Rabbinic tradition.
In the Vienna Genesis the rest of the story of Joseph is also based on non-Biblical Jewish tradition, particularly the episodes of Aseneth.
Octateuch iconography (vat. gr.746): illustration of the Fall with a four-legged snake looking like a camel. This detail can also be ascribed to Jewish tradition and is perhaps based on a late Antiquity Jewish model (Weitzmann).
Summary: it is now impossible to gauge to what extent the Christian illustrations were created in accordance with transmitted Jewish models, or how much they were new creations, mixed with various Jewish elements to become novel compositions. For late antique Jewish painting was also shaped by the Hellenistic painting tradition.
(Translator: Joan Avery)
The Corresponding illustrations, selected by the Center of Jewish Art (Hebrew University, Jerusalem), can be found here: http://phaidra.univie.ac.at/detail_object/o:524558
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o:474877 The Hebrew Bible in Art
The Hebrew Bible in Art
See http://phaidra.univie.ac.at/detail_object/o:472253 and http://phaidra.univie.ac.at/detail_object/o:474453 with other examples
* Prohibition of Images and the conflict with the culture of images (in particular the cult of pictures) in the... show more
See http://phaidra.univie.ac.at/detail_object/o:472253 and http://phaidra.univie.ac.at/detail_object/o:474453 with other examples
* Prohibition of Images and the conflict with the culture of images (in particular the cult of pictures) in the non-Jewish environment
* The Giving of the Law on Sinai, Leipzig Mahzor
* Northern France, 13th century: collected volume in London (ca. 1280) with illustrations from various workshops. The story of Lot and Solomonic judgement
* Mishna Torah in Budapest (1295-96): Cologne or Northern France, as earlier research had assumed. The Giving of the Law on Sinai
* Southern Germany and Rhineland: Bird’s Head Haggadah with Biblical and ritual scenes (such as the miracle of Manna, the miracle of the quails, the Giving of the Law)
* The Bird’s Head is a forerunner of the later Ashkenazi Haggadot from the 15th century, for instance the Second Nurnberg Haggadah (the march through the Sea of Reeds)
(Translator: Joan Avery)
The Corresponding illustrations, selected by the Center of Jewish Art (Hebrew University, Jerusalem), can be found here: http://phaidra.univie.ac.at/detail_object/o:525997
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The Image of Christ in the First Centuries
Initial reservation in early Christianity towards artistic representation
Absorption of Greek-Roman image motifs, pictorial motifs which were understandable for the late Antique Roman population and were transferred onto Christian themes: one... show more
Initial reservation in early Christianity towards artistic representation
Absorption of Greek-Roman image motifs, pictorial motifs which were understandable for the late Antique Roman population and were transferred onto Christian themes: one example is the iconography of Orpheus, familiar from the Roman culture as a figure of salvation. Clemens of Alexandria compares him to Christ (Orpheus Sarcophagus)
Philosopher figures were transferred onto apostles and finally onto Christ himself (christus kynicus). Christian scholars argued with concepts of Greek-Roman philosophy (Sarcophagus from Santa Maria Antiqua). This idea also leads to the motif of Christ as young teacher (closing grave panel from Rome, ceiling in the catacomb of Santi Pietro e Marcellino)
Parable of the good shepherd in the gospel of Saint John, also known in Roman culture (Sarcophagus of Velletri, Catacomb of Santi Pietro e Marcellino, Catacomb of Priscilla, the so-called Mausoleum of Galla Placida, House Church in Dura Europos)
Christ as the sol invictus – ceiling mosaic in a grave chamber in Saint Peter – imperial features are transferred onto the image of Christ
Pagan victory ideology turns into a theology of Christian victory (Christus monogramme in coins of Constantine the Great; the so-called Passion Sarcophagus )
It is from this connection that an early Christian image of Christ emerges, at least as seen in the reliefs of the sarcophagus of Junius Bassus (died in 359): entry to Jerusalem is influenced by depictions of the adventus of Roman emperors.
Vita Christi narratives emerge first in the 4th century (sarcophagus from Servannes)
Depictions of divine intervention through the hand of God (Dura Europos, Constantine consecration coins)
Santa Sabina – Wooden doors (5th century): Ascension, Rabbula Gospels Ascension (6th c.) – follows Roman Apotheosis depictions
Mary with child – emphasises the incarnation. Late Antique and Byzantine often links the incarnation (Jesus as man) with the ascension (Christ as God): Apse in Parenzo, Istria, 6th century
Santa Pudenziana (Apse), Rome, beginning of the 5th century: eschatological Jerusalem with the central Christ figure surrounded by apostles and a crux gemmata in heaven
(Translator: Joan Avery)
The Corresponding illustrations, selected by the Center of Jewish Art (Hebrew University, Jerusalem), can be found here: https://phaidra.univie.ac.at/detail_object/o:526512
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The Influence of Rabbinic Texts on Early Christian Art (Brown University, 1989)
Siehe:
Christlich-jüdische Begegnungen in der Kunst http://phaidra.univie.ac.at/detail_object/o:472218
Bilder zur Bibel im Judentum http://phaidra.univie.ac.at/detail_object/o:472253
Einfluss der jüdischen Malerei auf die frühchristliche Kunst
... show more
Siehe:
Christlich-jüdische Begegnungen in der Kunst http://phaidra.univie.ac.at/detail_object/o:472218
Bilder zur Bibel im Judentum http://phaidra.univie.ac.at/detail_object/o:472253
Einfluss der jüdischen Malerei auf die frühchristliche Kunst
http://phaidra.univie.ac.at/detail_object/o:472308
Der Beitrag der Judaistik zur Erforschung der frühchristlichen Kunst http://phaidra.univie.ac.at/detail_object/o:472342
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The Main Holy Days in Medieval Ashkenazi Mahzorim illustrations
Responsum of Meir von Rothenburg (died 1293) deals with the possibility of illustrations in prayer books and does not approve, as they distract worshippers from prayer.
The Mahzorim illustrations of the 13 and 14th centuries refer to the liturgical... show more
Responsum of Meir von Rothenburg (died 1293) deals with the possibility of illustrations in prayer books and does not approve, as they distract worshippers from prayer.
The Mahzorim illustrations of the 13 and 14th centuries refer to the liturgical hymns (piyutim) in these books.
Some of these illustrations are of humans with animal heads, in order to circumvent the prohibition of images.1
Laud Mahzor (Oxford, Bodleian Library): New year, 1st. Tag (melekh – King); 2nd day (Binding of Isaac);
Tripartite Mahzor (Oxford, Bodleian): Yom Kippur: (kol nidre – all vows);
Leipzig Mahzor (Leizpig, University Library): Yom Kippur, Afternoon prayer (Abraham in the fiery furnace of Nimrod) – this image emphasises the strength of Abraham’s faith, which is then the topic in the adjacent piyut
Leipzig Mahzor: Sukkot (Man with lulav and etrog)
Laud Mahzor: Simchat Torah: Man with a Torah roll
(Translator: Joan Avery)
The Corresponding illustrations, selected by the Center of Jewish Art (Hebrew University, Jerusalem), can be found here: http://phaidra.univie.ac.at/detail_object/o:525987
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The Origin and Significance of Jewish Pictorial Art in Talmudic Time (Lund, Göteborg, n.d.)
Siehe:
Christlich-jüdische Begegnungen in der Kunst http://phaidra.univie.ac.at/detail_object/o:472218
Bilder zur Bibel im Judentum http://phaidra.univie.ac.at/detail_object/o:472253
Einfluss der jüdischen Malerei auf die frühchristliche Kunst
... show more
Siehe:
Christlich-jüdische Begegnungen in der Kunst http://phaidra.univie.ac.at/detail_object/o:472218
Bilder zur Bibel im Judentum http://phaidra.univie.ac.at/detail_object/o:472253
Einfluss der jüdischen Malerei auf die frühchristliche Kunst
http://phaidra.univie.ac.at/detail_object/o:472308
Der Beitrag der Judaistik zur Erforschung der frühchristlichen Kunst http://phaidra.univie.ac.at/detail_object/o:472342
Jüdische Kunst der Antike http://phaidra.univie.ac.at/detail_object/o:472616
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The Problem of Models for Medieval Jewish book Illumination (Salzburg, 1981)
Siehe:
Christlich-jüdische Begegnungen in der Kunst http://phaidra.univie.ac.at/detail_object/o:472218
Bilder zur Bibel im Judentum http://phaidra.univie.ac.at/detail_object/o:472253
Einfluss der jüdischen Malerei auf die frühchristliche Kunst ... show more
Siehe:
Christlich-jüdische Begegnungen in der Kunst http://phaidra.univie.ac.at/detail_object/o:472218
Bilder zur Bibel im Judentum http://phaidra.univie.ac.at/detail_object/o:472253
Einfluss der jüdischen Malerei auf die frühchristliche Kunst http://phaidra.univie.ac.at/detail_object/o:472308
Der Beitrag der Judaistik zur Erforschung der frühchristlichen Kunst http://phaidra.univie.ac.at/detail_object/o:472342
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License
CC BY-NC-ND 4.0 International
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The Problem with calling art ‘Jewish’
Prohibition of Images https://phaidra.univie.ac.at/detail_object/o:474453
Catacomb painting in Rome (Villa Torlonia): Christian catacombs compared to Jewish ones. Central to both is the concept of the end of times. In the Jewish catacombs it is... show more
Prohibition of Images https://phaidra.univie.ac.at/detail_object/o:474453
Catacomb painting in Rome (Villa Torlonia): Christian catacombs compared to Jewish ones. Central to both is the concept of the end of times. In the Jewish catacombs it is expressed by the iconography of the temple objects.
Murals in the Synagogue of Dura Europos: discovery story- the strengthening of the Roman city wall as protection from an Sassanid attack, enabled the paintings to be preserved.
Artistic features of the Torah shrine in the Dura Europos Synagogue and the surrounding murals ( https://phaidra.univie.ac.at/detail_object/o:472713)
Mosaic floors of the Beth Alpha Synagogue
Moses Scenes in the Dura Europos Synagogue (http://phaidra.univie.ac.at/detail_object/o:472308)
Influence of Jewish themes on Christian art and the beginning of a link to the Sephardi Haggadot (http://phaidra.univie.ac.at/detail_object/o:475054)
(Translator: Joan Avery)
The Corresponding illustrations, selected by the Center of Jewish Art (Hebrew University, Jerusalem), can be found here: http://phaidra.univie.ac.at/detail_object/o:526511
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License
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The Triumphal Arch at Santa Maria Maggiore: an expression of the papacy’s political claim
Methodological background: the lecture addresses the representations of Jesus’ infancy from the Gospels. Following early Christian practice, the contents were brought in relation with the politics of the day. The Christian content should therefore be... show more
Methodological background: the lecture addresses the representations of Jesus’ infancy from the Gospels. Following early Christian practice, the contents were brought in relation with the politics of the day. The Christian content should therefore be checked against its contemporary political topics.
Short description of the mosaic ornamentation from the 5th century (Triumphal Arch and the walls of the nave). These are from the original construction phase, which according to the no longer existing inscription, occurred during Pope Sixtus’ papacy (432-40). The building of the church dedicated to Mary is linked to the Council of Ephesus, which declared Mary as Theotokos, the Mother of God.
Another inscription on the Triumphal Arch itself refers to Sixtus as the ‘Bishop of God’s People’, which already established a clear connection to the political status of the bishop of Rome.
The order of the Gospel scenes does not correspond to that of the gospel texts themselves. In addition, there are several apocryphal elements to be noted, such as those supporting Mary’s Davidian ancestry, as well as the priestly and double kingly function of the awaited Messiah. This double function is alluded to in the representation of two buildings: those of the house of Levi and Juda. This can be compared with the apse mosaic in the church of Parenzo (Annunciation and Visitation, 6th century, Armenian Gospel book/ Codex from Edshmiazdin, 10th century, the Syrian Rabbula Codex, 6th century). From an earlier drawing that was exposed during restoration works on the apse, one can see that the annunciation to Zacharias might have been the original plan, which would re-inforce the priestly ancestry of Mary’s family.
In the first nave mosaic (adjacent to the Triumphal Arch) the subject is also priesthood as seen in the meeting of Melchisedek with Abraham.
This line of thought is continued in the presentation of Jesus in the temple. Here one sees a representative of the priesthood stretching his right hand out to a matron, suggesting marriage, thus alluding to Jesus’ covenant with the church, to which Ambrosius often referred. The temple’s architecture carries features of the Roman temple, Rome’s national shrine. One of the priests is seen with the traditional physiognomy of Peter, thus a clear reference to the papacy.
(Translator: Joan Avery)
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CC BY-NC-ND 4.0 International
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The Triumphal Arch at Santa Maria Maggiore: an expression of the papacy’s political claim
Methodological background: the lecture addresses the representations of Jesus’ infancy from the Gospels. Following early Christian practice, the contents were brought in relation with the politics of the day. The Christian content should therefore be... show more
Methodological background: the lecture addresses the representations of Jesus’ infancy from the Gospels. Following early Christian practice, the contents were brought in relation with the politics of the day. The Christian content should therefore be checked against its contemporary political topics.
Short description of the mosaic ornamentation from the 5th century (Triumphal Arch and the walls of the nave). These are from the original construction phase, which according to the no longer existing inscription, occurred during Pope Sixtus’ papacy (432-40). The building of the church dedicated to Mary is linked to the Council of Ephesus, which declared Mary as Theotokos, the Mother of God.
Another inscription on the Triumphal Arch itself refers to Sixtus as the ‘Bishop of God’s People’, which already established a clear connection to the political status of the bishop of Rome.
The order of the Gospel scenes does not correspond to that of the gospel texts themselves. In addition, there are several apocryphal elements to be noted, such as those supporting Mary’s Davidian ancestry, as well as the priestly and double kingly function of the awaited Messiah. This double function is alluded to in the representation of two buildings: those of the house of Levi and Juda. This can be compared with the apse mosaic in the church of Parenzo (Annunciation and Visitation, 6th century, Armenian Gospel book/ Codex from Edshmiazdin, 10th century, the Syrian Rabbula Codex, 6th century). From an earlier drawing that was exposed during restoration works on the apse, one can see that the annunciation to Zacharias might have been the original plan, which would re-inforce the priestly ancestry of Mary’s family.
In the first nave mosaic (adjacent to the Triumphal Arch) the subject is also priesthood as seen in the meeting of Melchisedek with Abraham.
This line of thought is continued in the presentation of Jesus in the temple. Here one sees a representative of the priesthood stretching his right hand out to a matron, suggesting marriage, thus alluding to Jesus’ covenant with the church, to which Ambrosius often referred. The temple’s architecture carries features of the Roman temple, Rome’s national shrine. One of the priests is seen with the traditional physiognomy of Peter, thus a clear reference to the papacy.
(Translator: Joan Avery)
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CC BY-NC-ND 4.0 International
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Three Lectures at the Humboldt University, Berlin
The first lecture broadly corresponds to the lectures that appeared in file "Christian-Jewish Encounters in Art" ( http://phaidra.univie.ac.at/o:472218 and "Bible Images in Judaism" ( http://phaidra.univie.ac.at/detail_object/o:472253 )
The second... show more
The first lecture broadly corresponds to the lectures that appeared in file "Christian-Jewish Encounters in Art" ( http://phaidra.univie.ac.at/o:472218 and "Bible Images in Judaism" ( http://phaidra.univie.ac.at/detail_object/o:472253 )
The second lecture deals with medieval book illumination with special emphasis on figural art
At the beginning of the second lecture there is a short overview of the manuscripts from the Middle East, which had not been dealt with in earlier lectures: Moses ben Asher Codex, 8951 (Cairo, Karaite Synagogue), Salomon Ben Buya Bible, The First Saint Petersburg Bible (‘First Leningrad Bible, Saint Petersburg, Russian National Library). These bibles contain ornamental carpet pages or representations of the temple implements. The latter are similar to illustrations in Christian art, such as the Codex Amiatinus (circa 700) and influence later similar representations in the Sephardi Bibles (Bible from Perpignan, 1299, Paris, Bibliothèque Nationale de France).
The discussion of the Ashkenazi manuscripts corresponds to the lecture mentioned above (Bible Images in Judaism), and also mentions the collection from Northern France (London, British Library).
The iconography of European manuscripts traditions can be traced back to the frescoes of the Dura Europos Synagogue or seen as connecting elements between early Christian art and that of the medieval period in which traces of Jewish interpretation traditions can be discerned (The Influence of Jewish painting on early Christian art), Christian-Jewish encounters in art). Stylistically the artistic examples of Hebrew book illumination are related to their contemporary Christian book illumination.
The creation of Adam in the Sephardi Haggadah, London Or. 2884 can be traced back to the Cotton Genesis Recension (preserved in Venice, San Marco, in the dome of creation, 13th century).
Joseph and the wife of Potiphar, Golden Haggadah can be traced back to a version of the Vienna Genesis and to a motif found in the Midrash.
(Translator: Joan Avery)
The Corresponding illustrations, selected by the Center of Jewish Art (Hebrew University, Jerusalem), can be found here: https://phaidra.univie.ac.at/detail_object/o:556126
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Tschechisches Logo des Kurt und Ursula Schubert Zentrum für Jüdische an der Palacký Universität Olmütz
Hier findet sich die Logos des Kurt und Ursula Schubert Zentrum für Jüdische an der Palacký Universität Olmütz in tschechischer Sprache. show more
Hier findet sich die Logos des Kurt und Ursula Schubert Zentrum für Jüdische an der Palacký Universität Olmütz in tschechischer Sprache.
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o:472125 Ursula Schubert
Ursula Schubert
Ursula Schubert bei einer Vortragsreise durch Skandinavien, Königliche Bibliothek Kopenhagen, Februar 1990 show more
Ursula Schubert bei einer Vortragsreise durch Skandinavien, Königliche Bibliothek Kopenhagen, Februar 1990
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o:472145 Ursula Schubert
o:472139 Ursula Schubert
Verleihung des Goldenen Ehrenkreuzes für Verdienste um das Land Wien an Univ. Prof. Dr. Kurt Schubert 1998
Festakt im Wiener Rathaus anlässlich der Preisverleihung; Übergabe des Verdienstzeichens an Kurt Schubert durch Kulturstadtrat Peter Marboe. show more
Festakt im Wiener Rathaus anlässlich der Preisverleihung; Übergabe des Verdienstzeichens an Kurt Schubert durch Kulturstadtrat Peter Marboe.
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Verleihung des Goldenen Ehrenkreuzes für Verdienste um das Land Wien an Univ. Prof. Dr. Kurt Schubert 1998
Festakt im Wiener Rathaus anlässlich der Preisverleihung; erste Reihe rechts Kurt Schubert, daneben im Rollstuhl seine Frau Ursula Schubert. show more
Festakt im Wiener Rathaus anlässlich der Preisverleihung; erste Reihe rechts Kurt Schubert, daneben im Rollstuhl seine Frau Ursula Schubert.
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