"A painting must stand as a painting, made by human hand," wrote Caspar David Friedrich, "not seek to disguise itself as Nature." One of his generation's most popular painters, Friedrich imagined landscapes of powerful beauty and spirituality from within the confines of his studios. This breathtaking monograph, filled with glorious reproductions and details of his paintings, argues for Friedrich's reputation as a sublime artist and interpreter of nature. In his thoughtful and well-researched commentary, author Johannes Grave explores Friedrich's approach to landscape painting as well as his revolutionary thoughts about how these paintings should be received by their viewers. Looking closely at pieces such as Monk by the Sea, Abbey in the Oakwood, and the Tetschener Altar, Grave shows how Friedrich developed an innovative approach to landscape painting, one that communicated a new sense of space and time, and which draws the viewer into a unique aesthetic experience. Highly readable, insightful, and copiously illustrated, this compelling book sheds crucial light on Friedrich's celebrated body of work.

Practices of comparing shape how we perceive, organize, and change the world. Supposedly innocent, practices of comparing play a decisive role in forming categories, boundaries, and hierarchies; but they can also give an impetus to question and change such structures. Like almost no other human practice, comparing pervades all social, political, economic, and cultural spheres. This volume outlines the program of a new research agenda that places comparative practices at the center of an interdisciplinary exploration. Its contributions combine case studies with overarching systematic considerations. They show what insights can be gained and which further questions arise when one makes a seemingly trivial practice - comparing - the subject of in-depth research.

Following the arc of Bellini's career, from his early devotional paintings to his later, occasionally secular works, this book offers an in-depth appreciation of the Venetian master who dominated the Early Renaissance. Featuring nearly every extant Bellini work, as well as those of his contemporaries, this book brims with gorgeous Renaissance art. Author Johannes Grave focuses on some of the artist's greatest works including Allegoria Sacra, the Brera Pieta, and the altarpiece of San Giobbe-to explore how Bellini excelled in tempera before mastering oil painting. Grave discusses how Bellini's precise lines, his delicate facial expressions, and the subtle effects of light and shadow were used in his religious paintings as well as his portraiture and late mythological depictions. This book examines Bellini's life, including his complex relationships with his father Jacopo, his brother Gentile, and his brother-in-law Andrea Mantegna. It considers the original contexts of Bellini's works, and elucidates the ways in which these paintings were meant to be perceived. The book also links Bellini's devotional paintings with the poetic creations of his pupil Giorgione. An important contribution to the scholarship of Renaissance art, this masterful book reaffirms Bellini's status as one of Venice's greatest painters.

Die Vorschriften zur koerperschaftsteuerlichen Organschaft sind bereits seit Jahrzehnten Gegenstand eines wissenschaftlichen Diskurses. Der breiten Kritik an den geltenden Vorschriften wollte der Gesetzgeber zuletzt durch die Organschaftsreform aus dem Jahr 2013 entgegenwirken. Gegenuber dem Organschaftsregime, das auf dem Grundsatz der Trennung der beteiligten Gesellschaften fusst, behandeln die Vorschriften der fiscale eenheid in den Niederlanden die Konzernunternehmen als eine Einheit. Der Autor geht der Frage nach, welche Auswirkungen die Anwendung einer Einheitstheorie auf die tatsachliche Ausgestaltung der Gruppenbesteuerung entfaltet. Daneben entwickelt er einen Vorschlag zur grenzuberschreitenden OEffnung des Anwendungsbereiches der Organschaft uber bilaterale Vertrage.