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[first] [2] [3] Around 1930, the master student of Karl Hofer exhibited with the most important artists of modern art such as Otto Dix, Alexej von Jawlensky and Wassily Kandinsky and maintained friendships with Max Pechstein, Willy Jaeckel and George Grosz. Max Liebermann appointed Josef Steiner as a juror for art exhibitions in Berlin. From 1928 to 1937 Josef Steiner experienced his artistic Berlin high flowering and was often published in renowned artificial writings and presented on the front pages alongside Ernst Barlach and Lyonel Feininger. At the height of his career, he lost his work under the Nazi regime and was arrested for treason and anti-state attitudes and was detained in a prison. This was followed by the final “degeneration” with a job ban. From 1940 Josef Steiner lived in the bitter poverty in Munich for twenty years and worked as a freelance artist. From 1955 he worked intensively for the first time with modern “pre -information art” and “informal art” and he managed an artistic comeback, also because of his striking post -expressionism. His works became known through various exhibitions in domestic and foreign museums and galleries. Family and youth [ Edit | Edit the source text ] Josef Steiner was born in Munich-Sendling on September 17, 1899, as the son of the Munich sculptor and restorer Josef Steiner d. \u00c4. (1873\u20131931) and his wife Josephina Steiner, born Wiesinger. He was the oldest of three children. Little is known about his sister Frieda, while the youngest brother Karl Steiner (1908\u20131984) made a name for himself as a sculptor in Bad Kreuznach in the 1970s. [4] Already as a child, Josef Steiner had enthusiastic and favored the subject in the working day school. He was a student of the working day school in Blumenstra\u00dfe in Munich from September 4, 1905 to July 1913. After the 8th year of school, he moved to the municipal technical school in Munich Luisenstrasse and visited the department for September 11, 1913 to July 14, 1915 Building artisans. At the same time, he attended the “urban trade school for drawing and modeling” on Westenrieder Stra\u00dfe. [5] Studied and early work, Munich early days [ Edit | Edit the source text ] From October 1, 1913, Josef Steiner visited the municipal trade school in Munich on Westenrieder Stra\u00dfe at the age of 14. He studied sculpture with Karl Killer. As a young student, he soon noticed that his future was more in the two -dimensional art of drawing and painting. Steiner also studied painting with Hans Fleischmann. His studies at the Munich trade school lasted from 1913 to 1917. The early drawings and etchings testify to the talent of the young artist, which already produced quality graphics at the age of 14 to 17. The first print -graphic work with the title Spring was created in 1914. [6] Steiner’s studies at the Munich trade school was broken off suddenly in 1918 because it was recruited as a soldier last year of the First World War. [7] After the First World War, Josef Steiner visited the Bavarian Academy of Fine Arts in Munich from the winter semester of 1918 and studied in the natural sign class with Angelo Jank. Above all, he took the subject areas of portrait and acting studies as well as landscape and animal studies. [8] The fact that Josef Steiner left the Munich Art Academy after a year had several reasons. Although he enjoyed good academy training, he lacked the progressive orientation according to modern art. In addition, private circumstances were added. Steiner met the older art student Gertrud Schaefer (1882\u20131969) during his Munich studies in 1919. At that time, this was a student councilor for art lessons in Berlin and perceived further training in Munich. In Berlin, there were good contacts with the artist avant -garde and from 1908 she had a long -term friendship with Max Pechstein. Steiner’s move to Berlin and the 37-year-old art teacher became a couple from 19-year-old art student Josef Steiner and the 37-year-old art teacher. In July 1921, the two married in Berlin-Sch\u00f6neberg. [9] Berlin early days [ Edit | Edit the source text ]  Josef Steiner: Slacer and bathrooms at the lake , Big watercolor, monogrammed (around 1921\/23) Josef Steiner and his wife Gertrud Schaefer lived at Eisenacher Stra\u00dfe 64 in Berlin-Sch\u00f6neberg. Steiner attended the academic university for the visual arts in Berlin-Charlottenburg. There he studied with Hans Meid, who headed an eraser class and mainly represented impressionism in pressure graphics. Apparently, Josef Steiner did not feel stylistically native to this Impressionist and switched to Karl Hof on November 18, 1920, i.e. in the winter semester 1920\/21. Steiner recognized his future style in Expressionism and in his academy professor Hofer the decisive teacher of his life. This shaped the young Josef Steiner like no other, stylistically in the nature of expressionism and expressive realism as well as with regard to the choice of motif. Josef Steiner’s following artist is characterized by this “Hofer-Duktus”. With the academy study at Hofer, Steiner found the origin of his stylistic actions and being: Expressionism. Steiner became a master student of Hofer four years later. [ten] Expressionism met with overwhelming form. Gertrud Steiner-Schaefer’s friendship with Max Pechstein, the great master of German Expressionism, also passed to Josef Steiner and he also revered this artist’s personality of Berlin modernity. In the shortest possible time, he understood this modern, revolutionary art direction and implemented Expressionism in the second year of his Berlin Academy. [11] Berlin high flowering period [ Edit | Edit the source text ]  Josef Steiner: Love (Original title), large ink drawing, signed (around 1933) In contrast to many other topics, Josef Steiner mostly did not design the “Nature” subject according to the stylistic principles of Expressionism. He remained deliberately arrested by the old tradition by mainly impressionistic and erased. His etchings are characterized by exceptional delicacy and precision. Above all, the large -format print graphics testify to his masterly etching art. Graphics of Steiners were recognized and received positive exhibition reviews. [twelfth] Josef Steiner, who was a member of the Berlin Secession from 1923, took part in their large art exhibitions and the “jury -free” with remarkable success from 1928 to 1931. The young Josef Steiner exhibited with the best artists of 1930, such as B. Willi Baumeister, Max Beckmann, Otto Dix, Max Ernst, George Grosz, Karl Hofer, Karl Hubbuch, Alexej von Jawlensky, Wassily Kandinsky, Paul Klee, Rudolf Levy, Frans Masareel, Max Pechstein, Oskar Schlemmer, Rudolf Schlichter, Karl Schmidt -Rottluff and Lesser Ury. He became a recognized and successful painter and graphic artist. [13] An extensive list of art exhibitions with the participation of Josef Steiner underlines his appreciation at the time, e.g. B. the “Great Berlin art exhibition in Bellevue Castle” from 1930, where he, among other things. With Max Slevogt and again exposed his works with Alexej von Jawlensky. While from Jawlensky his work Warm light presented and Max Slevogt The Palatinate friends Darbot, Josef Steiner put his painting The lonely house out of. [13] The artist called himself with increasing awareness Josef Steiner Sendling . [14] From 1928 he also had remarkable success in Hamburg when he was successful in many exhibitions from 1928 to 1937 in the Hamburg Art Association and graphic cabinet Maria Customer and received praise reviews. [14] In 1924 Gertrud and Josef Steiner received a daughter named Gabriele. [15] In the period of the artistic high blossom around 1926 to 1936, the world of Steiners in Berlin was still salvation and crowned with success. In addition to ideal estimates, he earned good money with his works. His longstanding membership in the Berlin Secession, his well-founded academy as a Hofer master student, his successful participation in large Berlin secondary exhibitions, his good exhibition reviews and the increasing level of awareness through publications in art magazines and large daily newspapers-all of this was also implemented by the President and Honorary President of the Berlin Secession and Berlin art academy professor Max Liebermann. Josef Steiner protected this important representative of German Impressionism and co -designer of Berlin’s art policy from 1930 to 1933. Due to the appreciation of Philipp Franck and through recommendations by Privy Councilor Ludwig Pallat, Josef Steiner was able to be a drawing teacher at the Friedenau high school for many years from 1926, at the Fichte -Realschule, at the municipal Lyzeum Fontane School and at the Werner-Siemens Realgymnasium temporarily teach. [16] After Steiner’s Berlin Academy Studies, a significant increase in its portrait qualities can still be found. Steiner’s artistic style range had expanded. In addition to the late expressionism shaped in Munich, the style of “new objectivity” was now added in addition to primary expressionism. [17] In Josef Steiner’s graphic work, the animal Sujet represents an important component and is an essential part of his artistic success in the Berlin high flowering. Many contemporary reviews praised Steiner as an excellent animal painter and above all as a gifted graphic artist in the representation of the poultry. [18] Taking into account the National Socialism emerging around 1930 and Nazi regime existing from 1933, Steiner’s Kassandra motifs obtain special importance. He recognized the ominous zeitgeist with the politically more and more powerful National Socialism. The artist, which has always been liberal, criticized the onset of repression and allegory with symbolism and allegory and all dominant dictatorship under Adolf Hitler and thus exposed himself. [19] Around 1927, Josef Steiner met a woman who became the “unknown” Berlin nude model of his artistic high blossom. This dark -haired, chubby woman was about 30 years old at the time. Although this lady is repeatedly abstracting with expressionist or cubist stylistic devices, Josef Steiner’s nude work occurs and forms the main motive in this regard for almost a decade, its face and identity have so far remained unknown. Josef Steiner guarded this secret to death. The frivolous motifs stocked many art exhibitions with great sales success. However, such provocative, “immoral” nude motifs did not fit into the National Socialist understanding of art and, together with other serious constellations, became the artist’s doom. [20] Even today, these lustful and at the same time socially reflective acting scenes are among the most precious pictures of Josef Steiner and are very important in his work. The \u201cunknown\u201d Berlin nude model was also the artist Muse and secret lovers. [21] This was followed by the divorce of wife Gertrud on August 2, 1935. Josef Steiner took an apartment with a studio at Sch\u00f6neberger Stra\u00dfe 25, located on Sch\u00f6neberg. [22] In 1936, the level of awareness of the artist name “Josef Steiner-Sendling” in Berlin and in northern Germany culminated despite divorce. Regardless of Josef Steiner’s Aktgenres, which has now been discredited to National Socialist critics, he was also known for his natural graphics for some time. In 1936 the Berlin daily newspaper hired Berliner Tageblatt Josef Steiner for illustration of the special supplement House, courtyard and garden . As part of these newspaper publications, Steiner delivered many drawings of domestic and exotic plants. [23] The edition height was 100,000 newspaper copies. [24] Berlin spaetzit, “degeneration” [ Edit | Edit the source text ] According to initial problems with the early Nazi regime with regard to public review warnings and malignant reviews in relation to Josef Steiner’s proximity to Georges Braque and Pablo Picasso, it became increasingly dangerous for Steiner from year to year. The same applies to the topic of “act”, because erotic-provocative subjects were not in line with the National Socialist understanding of “German art”. Steiner had been artistically bird -free with the National Socialist all -round overall against modern art and at the latest with the decree of June 30, 1937, which pretended to “select and ensure German expiry art”. He, as a “degenerator”, expected exhibition ban and severe punishments if disregarded. [25] Josef Steiner was arrested for treason and from July 30, 1937 to August 7, 1937 as a political prison in the political prison in Berlin on Alexanderplatz, confiscated or destroyed his existence. [26] The relocation followed on August 7, 1937 to the Berlin-Pl\u00f6tzensee prison. [27] After over eight months of Nazi captivity, Josef Steiner again gained his freedom on April 7, 1938. The fact that he was released at all, was not executed or his verdict was mitigated, he primarily owed his friend Andr\u00e9 Fran\u00e7ois-Poncet, the French ambassador in Berlin, who brought a demarch with Hitler and Goebbels. After eight months in Pl\u00f6tzensee, Josef Steiner was still a broken man. The sensitive artist became a battered victim of the arbitrary Nazi regime, because his captivity consisted of a spectrum of physical and mental abuse, to fear of death and elementary deprivation as well as permanent damage to health. [28] On January 16, 1939, the “degree of degrees” of the “Reich Chamber of Fine Arts” took place against Josef Steiner. [29] Second Munich time [ Edit | Edit the source text ] In September 1939, Josef Steiner was again moved in as a soldier for the Second World War. At the beginning of 1941 he suffered a foray on his head and was unconscious. The wounded pioneer then came to a hospital, where the loss of a skull bone on the right icino and constant hearing loss were diagnosed. In the course of 1941, due to the war wounding with consequential damage, dismissal from the Wehrmacht took place. Regardless of this, Steiner was moved into military service again in 1943 and had to go to the “flak” twice. For health reasons, he was released as “completely unsuitable” at the Munich Luftgau Command in May 1944. [30] Josef Steiner convinced Joseph Goebbels by the Children’s head or that Portrait of the Holde Goebbels , [thirty first] [32] A hand -signed etching, which he sent to the Reich Minister, with his art. [33] On March 29, 1940, he received a personal thank you from Goebbels and was again approved in Munich from April 1, 1942 in the “Reich Chamber of Fine Arts”. [34] Josef Steiner was never a member of the NSDAP or a National Socialist organization. Regardless of all political adversity and constraints, he held on to his liberal attitude. [35] [36] From 1940 Steiner lived almost centered most of the time. The painter and graphic artist, which was once so successful in Berlin, were so bad after the Nazi persecution and the double loss of his belongings (Berlin-Gestapo plunder and Munich bombing) that he had to look for a dwelling for years. [37] In addition, Josef Steiner also learned private happiness in 1941. He met a very beautiful woman who met his ideal idea; She became Josef Steiner’s new main model. [38] Time after 1945 [ Edit | Edit the source text ]  Just seven months after the unconditional surrender of the German Reich on May 8, 1945, Josef Steiner became a member of the “Professional Association of Figure Center Munich e.V.” from 1946 there was a member card of the “Kulturliga Munich” and a member certificate of the artist in the “Professional Association of Professional Journalists in Bavaria”. On May 31, 1946, the US occupying powers in Munich granted him the “Licence”, the approval of the professional practice as a painter and graphic artist. [35] From 1960, Josef Steiner lived in the bourgeois apartment at Georgenstrasse 59\/1 until the end of his life. [35] Josef Steiner came into contact with well -known artist colleagues at exhibitions not only at his Berlin high flowering, but also in his second Munich period after 1945, because many of these trend -setting artists and graphics were represented in the “House of Art”. In addition to these and other Munich art exhibitions, Steiner also took part in numerous exhibitions in Germany and later abroad outside of his hometown. B. in Paris, London, New York and Ibiza. In addition, from 1960 study trips to Austria, France, Italy and Switzerland took place. [39] From 1950 Josef Steiner remembered Cubism and created a number of considerable work. At the same time, he again devoted himself to Expressionism, the expression of which he gradually intensified. [40] From 1955, Josef Steiner worked intensively for the first time with modern “pre -information art” and “informal art”. So a new time broke for him, an artistic comeback. His “informal” paintings learned u. Special attention in the “House of Art” in Munich and the success gradually resigned. [41] The unmistakable post -expressionism Josef Steiner’s own style grade was also characterized by expressiveness. In 1964 the presentation was presented in a large “Josef Steiner – Art exhibition” in Munich directed by Wolfgang Gurlitt. The aging painter was far ahead with the creativity of his radical post -expressionism around 1960\/1965 of the “Neue Wilde” style, which was only created around 1980. [42] Especially from 1955 to 1970, the artist also created modern landscapes and overwhelming portraits of women and girls and girls in his unmistakable late expressionist style, which became his trademark of the late work. [43] Josef Steiner’s applications regarding a teacher failed as well as his court proceedings that lasted over 25 years. From the aspect of his suffering, his deprivation of freedom and existence as well as the conflict of his Berlin life’s work and household, he was denied any legal justice. 40 years after his death, this artist belongs to the “degenerate” and forgotten generation. [36] Solo exhibitions [ Edit | Edit the source text ] 1929: Art Salon Maria Kunde, Hamburg 1930: Galerie Amsler & Ruthardt, Berlin 1934: The graphic cabinet Maria Kunde, Hamburg 1935: Hamburger Kunstverein, Hamburg 1937: Art Salon Maria Kunde, Hamburg 1954: Galerie Gurlitt, Munich 1956: Becker Galerie, Bad Kreuznach 1964: Gallery Wolfgang Gurlitt, Munich 1966: Krauss-Maffei administration building, Munich 1972: Wasserburg am Inn Single exhibitions posthumously [ Edit | Edit the source text ] 1981: State Kurhaus, Bad Schwalbach 1982: Wehen Castle, Heimatmuseum, Taunusstein 2003: Galerie Beck, Homburg\/Saar 2005: House of Saarland Grants’ Associations, Saarbr\u00fccken 2016: “50 years of painting – from Berlin Secession to Informel”, Gallery Mother Fourage, Berlin Exhibition participations [ Edit | Edit the source text ] 1926: Galerie Amsler & Ruthardt, Berlin 1927: Hinrichsen Gallery in the K\u00fcnstlerhaus, Berlin 1928: Berlin Secession – Summer exhibition 1928: Berlin jury -free exhibition, Berlin 1929: Berlin Secession – Summer exhibition 1929: Berlin Secession – autumn exhibition 1929: “Jury-Free” art show in the state exhibition building, Berlin 1930: Berlin Secession – Spring Exhibition 1930: Berlin Secession – autumn exhibition 1930: “Exhibition of young artists”, organizer The art newslete In the Reckendorfhaus Berlin, here Josef Steiner was a member of the jury at the same time with Hermann Poll and Hilde Leest [44] 1930: Large Berlin art exhibition in Bellevue Castle, cartel of the United Associations of Fine K\u00fcnstler Berlin e.V., Berlin 1930: Exhibition of the Art Association, Berlin 1930: Art fair of the “Jury Free”, Christmas exhibition, Berlin 1931: Berlin Secession, Great Art Exhibition, Berlin 1931: Large Berlin art exhibition in Bellevue Castle, cartel of the United Associations of Figure Artists Berlin e.V., Berlin 1931: Art exhibition “Josef Steiner and others” Art Salon Maria Kunde, Hamburg 1932: Art exhibition of the Berlin artist in the K\u00fcnstlerhaus, Berlin 1932: General independent exhibition in the Haus der “Jury Free”, Berlin 1933: Great Berlin art exhibition, Berlin 1934: Art exhibition “Josef Steiner and others” Art Salon Maria Kunde, Hamburg 1936: Art exhibition “Josef Steiner and others” Hamburger Kunstverein, Hamburg 1938: Art exhibition “Das Kunstblatt”, Berlin 1941: Great German art exhibition in the Haus der Kunst, Munich 1942: Great German art exhibition in the Haus der Kunst, Munich 1943: Exhibition “Guest of the Berliner K\u00fcnstler”, Tiergartenstra\u00dfe, Berlin 1944: Art exhibition “Das Schiff”, Kunstverein, Flensburg 1946: Art exhibition, Group Fine Arts, Munich 1947: Art exhibition, artist guild Landsberg\/Lech and Ammersee 1947: Art exhibition, artist association Neue Group, Munich 1947: Art exhibition, Curt Naubert, Langensalza 1948: Art exhibition, artist association Neue Group, Munich 1948: Exhibition of the protection association of visual artists, urban. Gallery, Munich 1948: Art exhibition Professional Association of Fine Artists, Munich 1949: Art exhibition, Ehrenburg, Coburg 1952\u20131977: Great Art Exhibition Munich \/ New Munich Artistship in the Haus der Kunst 1954: Great D\u00fcsseldorf art exhibition 1954: Galerie Gurlitt, Munich 1954: 3rd alpine art exhibition 1962: Exhibition of the Society of Friends of Young Art, Kunstverein Baden-Baden 1962: Exhibition “The World of Present – A Mirror of our Time”, Kunsthalle Wuppertal 1962: Art exhibition of the city of Fulda, in the city palace Fulda 1964: Art exhibition in the Museo de Arte Contemporano, Ibiza 1967: Art exhibition, Brunnenhalle, Bad D\u00fcrkheim Exhibition participations posthumously [ Edit | Edit the source text ] 1979: Heuson Museum, B\u00fcdingen 2018: Art exhibition “Expressive Realism – Earf Art in the 20th Century”, Gallery Art at the Gendarmenmarkt, Berlin 2019: Johannes Niemeyer – Josef Steiner: Paths in the abstraction, painting – Pastel – Drawings, Gallery Mother Fourage, Berlin Anna-Sophie Laug: Jos. Steiner (1899\u20131977) – 50 years of painting from Berlin Secession to Informel. Gallery Mother Fourage, Berlin 2016. Rainer HAFF: Josef Steiner – life and graphic work. An artist of the “degenerate” and forgotten generation Kunst-Publising-HAPoff, Leopoldshaven 2019, ISBN 978-39,93801-07-2. \u2191  Steiner, Josef . In: Hans Vollmer (ed.): General lexicon of the visual artists of the XX. Century.  Band  4 : Q\u2013U . E. A. Seemann, Leipzig 1958, S.  354 .   \u2191  Steiner, Josef . In: Hans Vollmer (ed.): General lexicon of the visual artists from antiquity to the present. Founded by Ulrich Thieme and Felix Becker. Band  thirty first : Siemering – Steepens . E. A. Seemann, Leipzig 1937, S.  558 .   \u2191  Dressler’s handbook. Second volume: The book of living German artists, antiquity researchers, art scholars and art writers. Visual arts. Verlag Karl Curtius, Berlin 1930, p. 979.  \u2191  Rainer HAFF: Josef Steiner – life and graphic work. … S. 8.  \u2191  Rainer HAFF: Josef Steiner – life and graphic work. … S. 10.  \u2191  Rainer HAFF: Josef Steiner – life and graphic work. … S. 11.  \u2191  Rainer HAFF: Josef Steiner – life and graphic work. … S. 14.  \u2191  Rainer HAFF: Josef Steiner – life and graphic work. … S. 15.  \u2191  Rainer HAFF: Josef Steiner – life and graphic work. … S. 20.  \u2191  Rainer HAFF: Josef Steiner – life and graphic work. … S. 24.  \u2191  Rainer HAFF: Josef Steiner – life and graphic work. … S. 28.  \u2191  Rainer HAFF: Josef Steiner – life and graphic work. … S. 34.  \u2191 a b  Rainer HAFF: Josef Steiner – life and graphic work. … S. 38.  \u2191 a b  Rainer HAFF: Josef Steiner – life and graphic work. … S. 39.  \u2191  Rainer HAFF: Josef Steiner – life and graphic work. … S. 40.  \u2191  Rainer HAFF: Josef Steiner – life and graphic work. … S. 41.  \u2191  Rainer HAFF: Josef Steiner – life and graphic work. … S. 42.  \u2191  Rainer HAFF: Josef Steiner – life and graphic work. … S. 50.  \u2191  Rainer HAFF: Josef Steiner – life and graphic work. … S. 60.  \u2191  Rainer HAFF: Josef Steiner – life and graphic work. … S. 65.  \u2191  Rainer HAFF: Josef Steiner – life and graphic work. … S. 68.  \u2191  Rainer HAFF: Josef Steiner – life and graphic work. … S. 77.  \u2191  Rainer HAFF: Josef Steiner – life and graphic work. … S. 78.  \u2191  Rainer HAFF: Josef Steiner – life and graphic work. … S. 82, ABB. 237A\/237B  \u2191  Rainer HAFF: Josef Steiner – life and graphic work. … S. 83.  \u2191  Rainer HAFF: Josef Steiner – life and graphic work. … S. 78\/88.  \u2191  Rainer HAFF: Josef Steiner – life and graphic work. … S. 88.  \u2191  Rainer HAFF: Josef Steiner – life and graphic work. … S. 90.  \u2191  Rainer HAFF: Josef Steiner – life and graphic work. … S. 96.  \u2191  Rainer HAFF: Josef Steiner – life and graphic work. … S. 98.  \u2191  Exponate at the “Great German Art Exhibition 1941 in the House of German Art in Munich”.  \u2191  Rainer HAFF: Josef Steiner – life and graphic work. … S. 106, Abb. 267.  \u2191  Rainer HAFF: Josef Steiner – life and graphic work. … S. 103.  \u2191  Rainer HAFF: Josef Steiner – life and graphic work. … S. 107.  \u2191 a b c  Rainer HAFF: Josef Steiner – life and graphic work. … S. 112.  \u2191 a b  Rainer HAFF: Josef Steiner – life and graphic work. … S. 114.  \u2191  Rainer HAFF: Josef Steiner – life and graphic work. … S. 108.  \u2191  Rainer HAFF: Josef Steiner – life and graphic work. … S. 110.  \u2191  Rainer HAFF: Josef Steiner – life and graphic work. … S. 115.  \u2191  Rainer HAFF: Josef Steiner – life and graphic work. … S. 118.  \u2191  Rainer HAFF: Josef Steiner – life and graphic work. … S. 123.  \u2191  Rainer HAFF: Josef Steiner – life and graphic work. … S. 144.  \u2191  Rainer HAFF: Josef Steiner – life and graphic work. … S. 129.  \u2191  Exhibitions . In: The form: magazine for designing work . 5th year, issue 21\/22, November 15, 1930, S.  zzzn ( Uni-heidelberg.de – Supplement: Messages from the German Werkbund).   "},{"@context":"http:\/\/schema.org\/","@type":"BreadcrumbList","itemListElement":[{"@type":"ListItem","position":1,"item":{"@id":"https:\/\/wiki.edu.vn\/all2en\/wiki14\/#breadcrumbitem","name":"Enzyklop\u00e4die"}},{"@type":"ListItem","position":2,"item":{"@id":"https:\/\/wiki.edu.vn\/all2en\/wiki14\/josef-steiner-painter-wikipedia\/#breadcrumbitem","name":"Josef Steiner (painter) – Wikipedia"}}]}]