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A dozen likenesses of Frederick III and his brother John are dated It is characteristic of Cranach's prolific output, and a proof that he used a large workshop, that he received payment at Wittenberg in for "sixty pairs of portraits of the elector and his brother" on one day.
Cranach's religious subjects reflect the development of the Protestant Reformation , and its attitudes to religious images. In his early career, he painted several Madonnas; his first woodcut represents the Virgin and three saints in prayer before a crucifix.
Later on he painted the marriage of St. Catherine , a series of martyrdoms , and scenes from the Passion. After he occasionally illustrated the old subjects, but he also gave expression to some of the thoughts of the Reformers, although his portraits of reformers were more common than paintings of religious scenes.
In a picture of , where a dying man offers "his soul to God, his body to earth, and his worldly goods to his relations", the soul rises to meet the Trinity in heaven, and salvation is clearly shown to depend on faith and not on good works.
Other works of this period deal with sin and divine grace. One shows Adam sitting between John the Baptist and a prophet at the foot of a tree.
To the left God produces the tables of the law, Adam and Eve taste the forbidden fruit, the serpent raises its head, and punishment manifests in the shape of death and the realm of Satan.
To the right, the Conception, Crucifixion and Resurrection symbolize redemption, and this is duly impressed on Adam by John the Baptist.
There are two examples of this composition in the galleries of Gotha and Prague , both of them dated Towards the end of his life, after Luther's initial hostility to large public religious images had softened, Cranach painted a number of "Lutheran altarpieces" of the Last Supper and other subjects, in which Christ was shown in a traditional manner, including a halo , but the apostles, without halos, were portraits of leading reformers.
He also produced a number of violent anti-Catholic and anti-Papacy propaganda prints in a cruder style. His best known work in this vein was a series of prints for the pamphlet Passional Christi und Antichristi ,  where scenes from the Passion of Christ were matched by a print mocking practices of the Catholic clergy, so that Christ driving the money-changers from the Temple was matched by the Pope, or Antichrist , signing indulgences over a table spread with cash see gallery below.
Some of the prints were echoed by paintings, such as his Adoration of the Shepherds c. One of his last works is the altarpiece, completed after his death by Lucas Cranach the Younger in , for the Stadtkirche city church at Weimar.
The iconography is original and unusual: Christ is shown twice, to the left trampling on Death and Satan, to the right crucified, with blood flowing from the lance wound.
John the Baptist points to the suffering Christ, whilst the blood-stream falls on the head of a portrait of Cranach, and Luther reads from his book the words, "The blood of Christ cleanseth from all sin.
The Herderkirche Weimar Cranach Altarpiece by Lucas Cranach the Elder and finished by his son Lucas Cranach the Younger in after his father's death.
Cranach was equally successful in a series of paintings of mythological scenes which nearly always feature at least one slim female figure, naked but for a transparent drape or a large hat.
These are mostly in narrow upright formats; examples are several of Venus , alone or with Cupid , who has sometimes stolen a honeycomb, and complains to Venus that he has been stung by a bee Weimar, ; Berlin, Other such subjects are Diana with Apollo , shooting a bow, and Hercules sitting at the spinning-wheel mocked by Omphale and her maids.
Cupid complaining to Venus , c. Venus , Caritas Lucas Cranach the Elder , ca. These subjects were produced early in his career, when they show Italian influences including that of Jacopo de' Barberi , who was at the court of Saxony for a period up to They then become rare until after the death of Frederick the Wise.
The later nudes are in a distinctive style which abandons Italian influence for a revival of Late Gothic style, with small heads, narrow shoulders, high breasts and waists.
The poses become more frankly seductive and even exhibitionist. Humour and pathos are combined at times in pictures such as Jealousy Augsburg, ; Vienna, , where women and children are huddled into groups as they watch the strife of men wildly fighting around them.
A lost canvas of is said to show hares catching and roasting hunters. In , possibly under Italian influence, Cranach composed the Fons Juventutis The Fountain of Youth , executed by his son, a picture in which older women are seen entering a Renaissance fountain, and exiting it transformed into youthful beauties.
Catherine of Mecklenburg , Sybille , s. Portrait of a Saxon Princess possibly George of Saxony's daughter-in-law Elizabeth of Hesse , c. Sibylle of Cleves , wife of John Frederick I, Johannes Cuspinian , Lukas Spielhausen , , Metropolitan Museum of Art.
Torgauer Altar , , Städel Museum , Frankfurt. The Martyrdom of Saint Barbara , , Metropolitan Museum of Art. Judith with the head of Holofernes , Lovers , Bemberg Foundation, Toulouse.
The Nazis had a particular affection for Cranach's work and looted many paintings during the Third Reich. The Nazis looted Cranach's Portrait of John Frederick I, Elector of Saxony around s from Jewish art collector Fritz Gutmann before murdering him but painting was recovered by Gutmann's grandson Simon Goodman eighty years later after decades of searching.
The museum hired a private provenance researcher Laurie Stein to investigate the circumstance of the sale in , and she concluded that the Cranach had not been sold under duress by the Jewish owners.
From Wikipedia, the free encyclopedia. Lucas Cranach the Elder, portrait at age 77 , c. Uffizi Gallery , Florence.
Kronach , Holy Roman Empire. Weimar , Holy Roman Empire. Emilie , c. Portrait of a Saxon Prince Possibly Johann, husband of Elizabeth of Hesse , c.
Dorothea , c. Samson 's Fight with the Lion , Justice , New York, NY: Metropolitan Museum of Art. Lucas Cranach the Elder was perhaps the most successful German artist of his time.
Cranach Digital Archive. Archived from the original on 15 April Retrieved 25 January Cambridge University Press.
Retrieved Northern Renaissance Art. Harry N. The Art Newspaper. Archived from the original on 1 May Archived from the original on 24 November The Times.
Archived from the original on 18 April Archived from the original on 14 March Archived from the original on 2 May These methods help to maintain the quality of the soil andencourage the growth of Vines that produce healthy, ripe and balanced grapes, which are crucial to producing our high-quality champagne.
We liken our winemaking to that of a river. It starts upstream in the vineyards and flows downstream into the cellar.
Our winemaking is a continuous flow of processes and procedures. Another important factor that we take into consideration of is the preservation of the various 'grape personalities'.
Over time, we find them to be rich, balanced and fruity. By means of environmentally sustainable farming practices, the grapes are given the opportunity to express their various personalities and reach their full dynamism within a relatively short period of time.
Quantities may vary from year to year, which is dependant on a number of factors. For us, being able to adapt according to the vintage is vital and picking depends on the maturity of the grapes from the various villages and blocks.
Our desire to produce champagnes with character drives us to vinify each village, each varietal and each parcel where the size of the parcels allow it separately.
Making distinctive wines from a wide variety of terroirs is, in our opinion, fundamental to guaranteeing the regularity, finesse and precision of our blends.
The regularity and continuity of our blends can also be attributed to our reserve Wines. These reserves, stored in oak vats and in tanks, are blended with the wines from each harvest using the solera process.
We do our best to adapt the aging of each blend according to its potential, ensuring that your champagne will always be ready to drink when you buy it.
Tasting Note : Rich in ripe fruit aromas, cherry plums and a hint of toasted bread. This Champagne is perfectly served as an aperitif, enjoyed with friends.
Comprised entirely of Chardonnay grapes which come from Ludes and Rilly La Montagne. The name is deprived from the surprising ageing potential and robust aromas that the grapes from this area offer.
This Cuvee has matured for years in our cellar. Tasting Note : On the nose, you experience a lovely, fresh aroma of Hawthorn lemon.
The mouth is creamy, full-body, giving it a balanced finish, ending on a fresh note. Characteristically charming and delicate, this Champagne can be enjoyed as an aperitif or with a fish dish.
The red varietals, namely Pinot Noir and Pinot Meunier come from old vines situated in Ludes. Liquor d'expedition : 6g of sugar. Tasting note : Fresh citrus and hints of red fruits.
The mouth is fresh, light and delicate. Appealing as an aperitif, this Champagne shows itself well, when served with bitter chocolate and candied grapefruit peel.
It showcases the unique character of the year, as well as the work of the winegrower and winemaker.
Tasting Note : A fine nose with yellow fruits exuding citrus notes. The mouth is balanced and rich with a long finish. The wine is a combination of elegance and wealth, and is ideal for those who love champagne and gastronomy.
Only made in great vintages, from old vines Massale Selection coming from Ludes. Most of the vines are more than 40 years old. Liquor d'expedition : 2.
The mouth is very rich, long and persistant with a bright and fresh finish. This full bodied champagne is perfect to match a nice dinner with good friends.
We recommand to decant it so the wine express more flavours. Aging : In foudre 45 hL oak barrel. Tasting notes : This wine has an intense nose of fresh nut and Mirabelle, yet retains a lively citrus freshness.
The length and purity on the palate reveals the potential of the champenois terroirs to develop after many years of maturation.
A wine for gastronomy, it will marry perfectly with fish or even thin escalopes of veal. Precise, faithful and uncompromising view of our "lieux-dits", vintage after vintage, the 4 Elements range shows the strong identities of some parcels.
The Parcel : Le s Blanches Voies Rilly-La-Montagne Very chalky soil and south exposure. The Vinification : L barrel fermented and aged.
No malo-lactic fermentation.