Brust Op Köln

Review of: Brust Op Köln

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Brust Op Köln

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Although these road signs point us to photographs and words on which our visual attention should be focused, we are guided around in no particular order, all at once to everywhere.

Pithy words are used in the script to give direction or to describe a scene. No longer serving as the primary carrier of meaning, the text adds to the cacophony of the page and the effect of simultaneity.

Page shows a caged tiger at the top of the column on the left side of the page. The public already begins to get used to the shocks and illogic.

When the audience grows accustomed to the uncomfortable tension conveyed through the image of the caged tiger, the motif is no longer effective.

Sausage machine. Thousands of sausages. TEMPO-o-O Police with rubber baton at Potsdamer Platz. The BATON close-up.

The theater audience. The head of the lion becomes increasingly larger until finally its enormous maw fills the screen. The theater audience is cheerful and STILL the HEAD comes!

And so forth. The script that Moholy includes in Malerei Photographie Film describes what the film would have looked like if it had been produced.

But Moholy explains how scarce financial support prevented the production of the film. In other words, the filmscript prompts viewers to enact the film version in their minds.

Through the combination of text and image, the film encourages viewers to complete it. The text compensates for the stillness of the images by telling the reader what the effects would be on the screen.

It attempts to animate the images and thereby draws attention to the gap between still photography and cinematic motion that must be bridged in the mind.

However, the produced film is in no way left up to the imagination of the viewer. Given his belief in the objectivity and commensurability of the cognitive effects that photography can produce, Moholy assumes all viewers will produce the same film.

Malcolm Turvey, for example, has discussed the differences between the sequential nature of film, in which images change over time, and the simultaneity of stimulus in a modern environment like the urban street.

Yet as a hybrid product of a moment of media transition, the photographic book manages to re-create the copresence of visual material associated with modernity and to explore the distracted mode of perception known as modern vision.

Unlike film, the photographic book can potentially approximate the distractive experience of modern vision because of the copresence of material on a single page.

But he also conceded his own journal was intoxicated with the subject. To be honest, by now we almost regret it. The critic F. In fact, it is already here.

It is not difficult to photograph parts of architecture, lively streets and squares, parts of plants, glasses and bottles, gramophones and typewriters or any other objects in a prescribed manner.

Even the photographer Albert Renger-Patzsch critiqued the blind euphoria over photography. The recipe for success: shoot from above or below. Enormous enlargements or reductions, the trash can as the most satisfying motif.

Send negative prints to the press, the monster eats everything. Although his distaste for FiFo might reflect his disappointment at being overlooked for inclusion in such an important exhibition, his comments nonetheless express a desire to separate his work from an allconsuming, injudicious craze for photography.

Between and , German currency depreciated from 4. This economic crisis had a traumatic effect on the German psyche for years to come. In other words, a belief in the underlying unity and order of modern society had been severely compromised.

Discussions of photo-inflation would have triggered a very real sense of fear and anxiety associated with the instability of German currency.

As the comments quoted above indicate, photography critics invoked economic inflation to refer to an overwhelming quantity of reproductions as well as an inflated importance placed on objects reproduced.

Rather than limiting abstraction to a formalist sense, nonrepresentational or without referent, abstraction becomes a social process under these conditions.

The link between money and photography arises from this process of abstraction. After all, photography is one of the primary ways in which meaning is circulated, reified, and abstracted in the modern world.

After a brief introduction by the art historian Carl Georg Heise, the photographs unfold on the recto of each page. The book features a variety of angles and distances between the camera and the objects photographed.

Its one hundred photographs are organized into eight categories so viewers can visually explore the world through small, coherent portions. The verso of each page is blank, which allows each photograph a generous and tranquil space within the book and creates a slow and steady pace.

Such references and overlaps suggest a particularly strong relationship between these two books. Renger supplied photographs for many volumes in which his authorship disappeared behind a purpose to communicate with a mass audience.

Munich: Kurt Wolff, , From the Walter Havighurst Special Collections, Miami University Libraries, Oxford, Ohio.

Nave Vaulting in Ernst Trimm, ed. Berlin: Ernst Wasmuth, , 8. Publishers also solicited image submissions from their audience. Indeed, book series promised quantity and visual stimulation, often promoting euphoria for the very idea of a collection of photographs rather than a focused argument or narrative.

I tried to connect quantity to quality, something I was never able to manage. The museums in which I worked for the publisher soon locked their doors to us since, within a few weeks, the material which had for centuries slumbered so peacefully in them had taken on the form of books which people snatched out of our hands, but which, in the opinion of the guardians of these public, state-owned treasures, were not desirable nourishment for intellectually and artistically interested people.

However, I want to recover here how the book establishes Renger as a photographer by presenting a visual approach to making meaning. The photographs present evidence for an underlying unity between nature and culture.

The book is primarily about Renger as a photographer and the cognitive potential of the visual experience he provides. The book separates the photographs from their original, commercial context and defines Renger as a photographer-artist.

But the book does not escape the principles of capitalist production and circulation so easily. Heise reinvents Renger as an artist, an identity easily marketed and fetishized for potential consumers.

The notion of photographer-artist thus plays an ambivalent role. But it also unifies the images under this familiar identity to package the book as a product for a mass audience.

It would be a scandal if RengerPatzsch had to force his populism into publications for bibliophiles. In his introduction to the book, Heise noted its potential to unify its audience and serve as an agent of social harmony.

Only a feel for it must be awakened. It is as if we learn to see things anew and more deeply. The value of this publication, which exposes the eye to undiscovered places, lies in its intelligibility to all.

How rarely polytheistic, how god-less and full of God these images are! And it is thus beautiful. Therefore, the book conflates an omniscient perspective with the particular circumstances of a modern, industrial nation.

Heise asserted a great deal of authorial command over the project. Heise approached this project as a curator, selecting, organizing, and arranging an exhibition in the form of a photographic book.

The book manages to suggest it has a unique value to society that distinguishes it from other photographic publications while also taking advantage of the growing prevalence of photography in mass culture.

Moreover, these formal features arise across categories, uniting plants with technology and landscapes with architecture, to produce a depiction of the world as unified beneath its endless variety.

These spirals can also be compared to other circular forms in the book, such as the rims and reflections of glassware, the cups in a box of paints, a coffee mug photographed from above plate 53 , and a pool of mud at a blast-furnace factory plate Associative threads bind together the pictures of the book, creating a sense of common structure among diverse objects.

The photographs direct us toward these shared elements and away from details that might distract the viewer from unifying common forms.

The result is a photographic book that claims to reveal an abstract structure shared by objects as different as a bunch of grapes and bundles of socks, railroad tracks and a church tower.

They provide a homogenous space in which the photographed objects can be systematically compared.

The book collects images representing a broad range of time from medieval architecture to industrial smokestacks and space from a Somali child to a German woman and presents them as interlocking parts of a monolithic world.

One object with a circular structure equals another with a similar structure, for example. The book positions the photographs in a network of exchange that determines their value.

These categories help emphasize the type over the individual and encourage connections among photographs in the group.

He discusses each section separately in his introduction, but there are no breaks to mark the end of one category and the beginning of another in the photographic sequence.

The transition from plants to animals and people at the beginning of the book is apparent enough, yet the criteria of these categorical divisions become increasingly more fluid.

Why, for example, is an agave plant particularly symbolic? Renger has photographed these plants from a close range, isolating them from any context and emphasizing their status as abstract forms.

Set against a black background, a cluster of repeated, conical forms falls down the center of the page.

This photograph also displays a simple, geometrical form repeated multiple times. Four petals of a similar size are flattened out into an abstract pattern.

The next image, which focuses on the fluffy poof of a georgina, switches back to the tangible sense of depth and volume seen in the first.

The first three images focus on centralized or circular patterns. This first section exposes its audience to a variety of textures and surfaces, yet several motifs unite the group.

Many photographs show some sort of serial pattern of growth, in which petals, leaves, sprouts, or needles are repeated.

To accent these patterns, Renger often photographed the plants from uncommon angles. The composition of the photograph brings out an underlying symmetry in the plant.

On the next page, we see a Brazilian melon tree from below. The trunk of the tree begins in the lower right of the photograph and its branches spread across the page.

These two images are paired as radial forms. In both, leaves or branches extend from a centralized point. Yet, they also refer to other photographs in the group.

The flattened, frontal depiction of the umbrella plant recalls earlier photographs in the sequence in which flowers and plants radiate out from the center and evenly across the picture plane.

These photographic techniques emphasize rational organizational principles that transform the plants into abstract patterns.

Heise goes on to define a kind of occupational ethics for photographers, which is based on fidelity to the world around them.

Plants are characterized and never abused as complacent playthings. Heise had been a fervent supporter of Expressionism in the s, but he had grown frustrated with the increasing rift between art and the public sphere.

Circles of art historians, architects, and applied artists turned to the writings of Viennese art historian Alois Riegl and his concept of Kunstwollen in the mid- to lates to address this challenge.

Heise concludes his introduction by announcing a great need for the revelation of unifying forms, claiming a spiritual unification among objects was being threatened by the distractions and fragmentation of modern life.

We must not forget that the laws of nature and life themselves carry certain symbolic power for each appearance. The work of the photographer does not create the symbol, but only makes it visible!

But guidance towards independent seeing, towards strengthening our sense of the reflection of the universe in single objects of creation, these alone are valuable services that today can hardly be overestimated.

As the powerful symbols of our forefathers begin to fade away from us, it is of the greatest importance that we slowly learn to recognize inexhaustible life in all its parts as new symbols.

But what photography can do is locate the symbolic forms appropriate for the current age and restore an ability to identify these forms visually.

For Heise, the unity that results symbolizes an integrated, stable culture, and the aesthetic evidence of a world free of alienation. Such a unity, according to Heise, is threatened in modern times.

Modern viewers have lost the ability to recognize the formal bonds between objects. It is not that these bonds no longer exist, but that the opportunities for recognizing the signs of these integral laws of form are waning.

And most important, it is the role of the photographer to revive this connection. Rather than holding photography and its predominance in modern visual culture responsible for the neglect of cultural unity, Heise argues photography could potentially revive the ability to identify the spiritual signs of the age.

Heise was one of several art historians trained in the Hegelianism of the nineteenth century who turned to photography as a way of preserving this tradition of cultural understanding.

Structure, material, the surface of an object are, if seen correctly, a single and full reality. Each true photograph ties itself to this idea of reality, to this austere demand to be realistic.

It demands the active attention of the observer, stimulates an awareness of valid forms of nature and opens, in its mirror, an essential but almost lost access to a true, persistent world.

Those who have eyes to see, see. Heise and others who were searching for this evasive Kunstwollen put a great deal of pressure on the photographic medium.

Not only would photography have to reveal universal connections, but also such connections were expected to be self-evident and immediately clear.

The repetition and simplification of form unifies the objects but also drives the commodity fetish and the production of commercial and cultural fantasies.

In many photographs throughout the book, orthogonals and gridded networks attempt to stabilize vision, imposing a sense of formal order. Plate 36, for example, depicts a clearly marked path through the Weinbergweg.

Like a perspective drawing, the edges of the path extend from two bottom corners to slightly above the center of the photograph, where the path trails off to the right.

This composition arises in a starker form in plate 48 in which railroad tracks sharply delineate a mountain path. Here the orthogonal lines of the track swerve in the distance, capturing a deviation from the underlying template of visual regularity.

Other photographs in the book juxtapose lines and grids with disordered forms. Plate 58 shows bulging bundles of cotton socks spilling over the linear edges of the table and beams from which they are piled and hung.

In the next plate, a disorderly heap breaks up the otherwise regular repetition of stacks of wooden planks. Later in the book, steel industrial planks crisscross picture planes, dividing the images into serial patterns and grids.

Plate 75 depicts a series of traveling cranes at an industrial plant. A complex system of beams and cables extends laterally across the photograph while tower masts and smokestacks traverse the horizontal runways.

Yet, this gridded pattern contrasts with the heaps of coal in the lower right corner, creating a tension between gridded space and these informal mounds.

Neither appears more natural nor industrial than the other. In plate 80, iron beams stand in front of massive, amorphous piles of coal.

The disorderly stacks of wood in the foreground, which recall the close-up of logs stacked on end in plate 52 and the wooden planks in plate 59, exemplify the sustained presence of both order and chaos that distract from the attempt to show unifying forms.

Through the variety of perspectives and distances, Renger allows objects of disparate size to be formally compared. Towering industrial smokestacks in plate 91, for example, are reduced to the size of the pyramidal arrangement of shoe irons in plate And inversely, the shoe irons are transformed into monumental smokestacks.

The rhythmic play of lightly colored gables and dark, pitched roofs in the townscape in plate 66 recalls the all-over vacillation between leaves and darkness in plate It compels the viewer to see shape and pattern rather than a familiar object or motif.

Consistent with its stated purpose to teach people to see differently, the images and their sequencing compel the viewer to see the subjects of the photographs abstractly as shape and pattern.

Heise highlights the homogenizing ability of the camera in the section labeled Bunte Welt. This title has a double meaning. Offering a mixed bag of objects, the group includes the stern of a sailing ship, a provincial cornmill, and a frozen waterfall.

Heise seems to have wanted to show that formal unity can be found even among the most diverse collection of things.

But the sense is easier to discover and is more effectively emphasized when it is captured in the realm of black and white surfaces, half dematerialized through the absence of color, and simultaneously removed to a spiritual sphere.

By homogenizing the objects of the world, draining them of color and distorting their size, photography can reveal connections that we normally do not see.

But such abstraction also invites commodity fantasies. But the metallic sheen of their circular form emphasizes their status as mass-produced goods.

The store label attached to one of the bottom pots further stimulates a desire for such commodities.

This label announces the price of the pots, relocating the value of these objects in the world of capitalist exchange rather than abstract form.

Yet, the photographs also invite forms of pleasure easily associated with capitalist consumption. In plate 32, a fisherwoman looks away from us toward the distant horizon.

The fishing net, which again evokes a grid, waves in front of her, obscuring her body and enveloping her in a geometrical pattern. The flattened plane of the net she holds rhymes with the checkered print of her skirt.

Dwarfed by the imposing network of nets and masts, the fisherman is barely visible. Is it not true that animals are more interesting than people anyway?

His photographs could make us believe it. As with flowers, he enhances the appearance of the type. Renger excels at showing the general and the systemic.

He looks for what represents the type. A little Somali girl with a head polished like a billiard ball shows the face of a child more strongly formed by the influences of nature than by the human mind.

The Maori mummy eerily awakens an extinct race. This photograph in particular exemplifies the Marxist assertion that capitalism transforms subjects into objects, and objects into subjects.

According to Heise, photography both revives the spiritual power of objects and destroys it. There is hardly a book about medieval sculpture that does not contain photographs of single heads.

The aesthetic effect might be strengthened, but the power of the holy image is diminished, like when the head and body of Christ on the lap of the holy mother appear without her anguished face.

The only justification lies in the fact that old symbols have become empty to us and subsequently only an artistic way of seeing stands in the place of worshipping.

The camera opens up new fields of reverence [Verehrung] and destroys others. The pained expression and streams of painted blood on the sculpted Christ seem disturbingly perverse among the things Renger represents with cool disconnect.

But according to Heise, the objectivity of the camera does not obscure the emotional effect of the sculpture. Yet he does not seem to realize the full significance of his claim.

A photographic system of perception involves more than a shift in visual experience. It forsakes earlier visual experiences and severs ties with other forms of knowledge.

A deep sense of melancholy, evoked by the homelessness of the object isolated from its context and history, replaces the religious pathos once experienced in the presence of the entire sculpture.

The group consists of images that recall the previous seven sections: industrial smokestacks, the steel support of a crane, shoe irons, views of architecture, ceiling lights, a fishing net, plants, and praying hands.

Strangely, even Heise admits their randomness. Other images could stand in the places of the plates displayed. In the end only an introduction to the various possibilities is attempted through a packed sequence in which observed objects ascend to a symbolic imprint.

But this desire also distorts the value of objects by separating them from earlier systems of meaning. One should try to attract the public to buy in another, more sober and thereby honorable way.

Especially in the case of books with such valuable contents. Several other titles were considered, including Die Freude am Gegenstand Joy Before the Object , Die Dinge The Things , Die kleine und die grosse Welt The World Great and Small , and Hundert Wunder One Hundred Wonders.

Rather than arising before the camera on its own volition, unity and order appear forced and artificial. Exciting in its bustling abundance as well as its silence.

The Werkbund was an alliance of applied artists, art historians, architects, critics, and businessmen who debated the role of commodified objects in the modern world.

The aesthetic approach is here and there the same. In photography Sachlichkeit expresses itself as a sharp reproduction of the object through clear articulation and near isolation from surroundings and background.

Rather than describing Neue Sachlichkeit as a recent trend in photography and legitimizing modern photography as an artistic movement, discussions of the term in the Werkbund context emphasized the relationship between objects and its circumstances of production.

Sachlichkeit was a natural outcome of the methods in which objects are produced. In contrast, sachliche objects showcased visual traces of the ways in which they were produced.

Instead of dismissing all commodity forms as results of whimsical fashion, Sachlichkeit upheld the essence of mass production as the formal expression of the age.

He defined it as a machine aesthetic exemplified by the regular shapes and sleek textures of commodities. Their forms were shaped by the assembly line, the simulacra of mass production, and the multiplication of copies with no origin or definitive endpoint.

The Werkbund thus located the contemporary Kunstwollen in the logic of mass production and the serialilty of identical forms. When the term Neue Sachlichkeit emerged later in the Weimar Republic, the potential spiritual unity of industrial forms was discussed with less certainty.

As photography experienced a surge in use, popularity, and cultural influence in the late s, the search for the spiritual unity of objects was resuscitated and transferred to this media.

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Beim Kauf von Bekleidung sollten Sie stets darauf achten, dass Sie hier genug Spielraum einplanen, damit der Pulli oder Mantel nicht zu eng am Hundekörper anliegt.

Deutsche Dogge, Landseer, Leonberger und Irish Wolfhound haben eines gemeinsam. Diese Hunde können eine Schulterhöhe von bis zu Zentimetern erreichen, in Ausnahmefällen sogar mehr.

Auf ganze 1,12 Meter brachte es der ehemalige Weltrekordhalter Zeus. Auch Zeus gehörte der Rasse der Doggen an, ist aber leider bereits verstorben.

Die derzeitige Rekordhalterin ist Chihuahua Dame Miracle Milly. Sie ist gerade einmal 9,65 Zentimeter hoch. Schulterhöhe meint vermutlich das gleiche, ist nur nicht das Fachwort dafür oder will betonen, dass nicht die Kopfhöhe gemessen wird.

LG Andi. Unser neuer Hund kommt aus Griechenland von der Insel Samos und hat eine Schulterhöhe von 52cm. Frage: Welcher Rassen könnten da drin sein?

Bilder unten. Ich habe seit 2 Wochen einen Welpen jetzt 13 Wochen alt. Das ist doch eigentlich nicht möglich oder? Wisst ihr was darüber?

Also ich bin 1,63 cm und 65 Kilo im Moment : Ich versuche abzuspecken. Aber ich habe so Angst, dass ich seinen Rücken kaputt mache! Wurde von unten fotografiert!

Wir reiten eig gut zusammen, auch voller Galopp ist kein Problem. Ich würde doch merken, wenn ich zu schwer wäre und er schmerzen hätte oder?

Dann wird nämlich eine neue Reiterin gesucht und ich bin weg vom Fenster! Im Anhang findet ihr ein Foto von einem Hund. Kann mir jemand sagen, was in diesem Mischling steckt?

Und seinen Schwanz trägt er nicht immer "auf den Rücken". Hi,ich wollte fragen was ihr meint welche Hunderasse am besten zu mir passt.

Ich wohne auf dem Land mit eigenem Haus und Garten. Der Hund sollte nicht über 40cm Schulterhöhe ausgewachsen sein. Ich gehe ab und zu joggen und der Hund sollte verschmust sein.

Ich hoffe ihr könnt mir helfen,denn ich will mir schon bald einen Hund "zulegen". Nun, mein nachbar kommt aus serbien, und er hatte so ein ähnliches hund,und ich fragte ihn : das ist ja eine kosovarische hunde rasse oda?

Die Frau hatte noch einen erwachsenen Schwarzen Hund der hatte eine schulterhöhe ungefähr wie ein Spitz wenn nicht sogar kleiner. Also ich besitze kein Bild weil mir einfach der Name fehlt , also die Hunde sind komplett weiss sehr gross ,also die Schulterhöhe liegt bei ungefähr 70 cm, bei Rüden und sie wiegen so kg ,sie haben hängende Ohren und meist werden sie zum Schafe hüten eingesetzt.

Wie heisst der Hund , mir ist der Name entfallen. Ich danke für eure Antworten. Ich wuerde gerne wissen welche Rasse bzw. Danke im voraus.

In der untenstehenden Tabelle haben wir für Sie grundlegende Informationen über eine kleine Auswahl verschiedener Hunderassen zusammengestellt.

Ihr Hund soll ein neues Halsband, Geschirr oder z. Bauchumfang, Rückenlänge usw. Ein etwas eigenwilliger Hund, nicht für Jedermann geeignet. Sein grosses Laufbedürfnis kann man nicht auf Promenaden befriedigen, er läuft gern Rennen.

In der Familie sehr anhänglich, sonst eher zurückhaltend. Ein mutiger, dominanter, aber seinem Besitzer treu ergebener Hund, mit enormem Durchhaltevermögen, der gerne läuft.

Kein Anfängerhund, bei guter und konsequenter Erziehung kann er jedoch viel lernen und passt dann auch gut in die Familie.

Ruhiger Hund mit starkem Selbstbewusstsein und Eigenwilligkeit. Wird zu Unrecht als eine Art langer Schosshund angesehen. Anderen Hunden gegenüber furchtlos und kampfstark.

Ein fröhlicher, leicht erziehbarer Familienhund, der gern mit Kindern tollt. Er benötigt allerdings viel Zuwendung und reichlichen Auslauf. Das seidige Fell muss täglich gepflegt werden.

Ein zuverlässiger Hund mit goldenem Herzen. Lässt sich leicht als Gebrauchshund ausbilden, ist wegen seiner Charakterstärke aber auch ein fast idealer Familienhund, den auch kleine Kinder nicht aus der Ruhe bringen.

Gilt zu Unrecht als "Kampfhund". Er ist treu, anhänglich und kinderfreundlich. Kann durch kriminelle Dressur allerdings zur gefährlichen Waffe werden.

Bei konsequenter Erziehung ein guter Familienhund. Kleinste Hunderasse der Welt! Bei Verzicht auf extremeVerzwergung aber kompakt und erstaunlich robust.

Ein intelligenter und gelehriger Hund, dessen grosses Bewegungsbedürfnis auch in der Wohnung zu befriedigen ist.

Der Dackel oder Dachshund gehört zu den am meisten geschätzten und verbreitetsten Gesellschaftshunden, wird aber auch als Jagdhund gehalten. Dieser pfiffige und etwas dickköpfige Hund versucht mit liebenswerten Tricks, sein Herrchen zu dressieren.

Aufgrund seines guten Geruchssinns, seiner Intelligenz und seiner Lernwilligkeit ist er ein brillanter Allround-Jagdhund. Daher sind sportliche Menschen, die selbst gerne draussen sind, die geeigneten Besitzer für diese Hunde.

Nicht nur goldenes Fell, sondern auch goldenes Herz. Daher idealer Kinder- und Familienhund. Wegen der Freundlichkeit und Klugheit auch gut jagdlich abzurichten, sehr wasserliebend.

Vielfach als "verrasster Schäfer" angesehen, dabei alte deutsche Rasse. Hat alle positiven Eigenschaften des Schäferhundes, bei sehr gutmütiger Charakterlage.

Lässt sich leicht für fast alle Zwecke ausbilden. Die grösste Hunderasse der Welt! Wenn man auf extreme Grösse verzichtet, noch relativ robust.

Ein ruhiger, sanfter, doch selbstbewusster Hund. Bei minimaler Erziehung auch gut als Familienhund geeignet. Viel Auslauf ist unverzichtbar.

In den zwanziger Jahren war er mit seiner buschigen, schönen Rute und dem üppigen, luftigen Haarkleid die ganz grosse Mode. Ein idealer Wächter, der Fremde gnadenlos verbellt.

Intelligenter und lernbereiter Hund, der viel menschliche Zuwendung benötigt. Diese äusserlich dem Löwen nachempfundene Rasse ist lebhaft, treu, zuverlässig und sehr kinderlieb.

Kein grosses Bewegungsbedürfnis. Wegen seiner Klugheit gut als Gebrauchshund auszubilden. Schon vor 2.

Lebhaft, fröhlich, immer spielbereit und temperamentvoll. Benötigt regelmässige Pflege und viel menschliche Zuwendung, dann lange Lebenserwartung.

Ein treuer sanfter Hund, der immer beschäftigt werden will. Sehr gut jagdlich abzuführen, da ausgesprochen klug. Der starke Bewegungsdrang kann bei Haltung im Haus zum Problem werden.

Humorvoll, sanftmütig, unkompliziert, anhänglich und folgsam sind die Adjektive, die einen Neufundländer charakterisieren. Sie sind freundlich zu Mensch und Tier, schwimmen gerne und gut, nicht besonders wachsam, aber durch das dicke Fell sehr robust.

Hund des Jahres ! Typischer Terrier, jedoch relativ leicht zu erziehen. Eigentlich ein Jagdhund, gilt heute aber mit Recht als idealer Familien- und Wohnungshund.

Unempfindlich, temperamentvoll und sehr klug. Ein arrogant und selbstbewusst wirkender Hund, im Wesen jedoch verspielt und gutmütig. Von der aufwendigen Pflege einmal abgesehen, ist er ein unkomplizierter und kinderfreundlicher Familienhund.

Bei konsequenter Erziehung ein angenehmer Begleithund. Ein ausgesprochener Rennhund, der viel Bewegung benötigt. Sehr anhänglich, sensibel, jedoch auch beherzt.

Der Whippet ist kinderfreundlich und temperamentvoll. Gut in der Familie zu halten. Kleinster Terrier, jedoch mit allen Terriereigenschaften, also selbstbewusst, intelligent, gelehrig und fröhlich.

Möchte kein Schosshund sein, will als vollwertiger Hund behandelt werden. Der grösste, aber auch der unkomplizierteste Terrier.

Vielseitig als Gebrauchshund zu verwenden, doch auch guter Familienhund. Muss viel bewegt werden, ist sonst aber sehr anspruchslos. Selbst für Hundeanfänger geeignet.

Barsois wurden einmal zur Wolfshetze eingesetzt! Ein ausgesprochen eleganter Hund, der seine Zurückhaltung und Lässigkeit sofort verliert, wenn er schnell und ausdauernd laufen darf.

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