Review of: Brust Op Köln

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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.

Where technology begins, that is where the unity of all living things ends. Lotz addresses the relationship between photography and mass production in a essay in Die Form.

A photograph by Renger of mass-produced bathtubs, standing on end and stacked in infinite rows, serves as one of two frontispieces to the essay.

The serial rows of shiny, aluminum forms fill the picture plane, conveying the hallmark of mass production, the endless repetition of form. But they also capture the coldness and sterility of these mechanically produced objects.

After all, these products are intimate vessels of the human form, yet no traces or accommodations for this function can be seen.

The infinite rows, in which each austere form is cradled by the next, emphasize the seriality of mass production.

Alternatively, the serial forms capture the modern and mechanical way in which the bathtubs were produced. The stacked serial objects, one beside the other ad infinitum, even conjure up the pages amassed and bound within the photographic book.

The upward thrust of factory smokestacks and their comparison with the groin vaulting of a cathedral celebrate the architecture of industrial production.

The precise and dignified depictions of cranes, engines, and electrical wiring exalt the objects of modern industry. In plate 70, the pulleys of a cable railway march across the photograph.

Several photographs to follow have a similar composition. Plate 73 shows a series of rectangular floating docks that diagonally align across the photograph.

The flat surfaces and sharp contrasts between shadow and light transform these docks into unidentifiable, geometric forms.

Plate 77 captures a series of protective grilles and exhaust pipes that begin on the left and advance toward the right. The photograph transforms the machinery into an abstract grid.

While the aligned grilles and pipes create vertical groups, the bands on the pipes above, the exhaust cylinders in the center, and the two protective grilles below create a series of horizontal lines.

The repetition of circles in the steel grilles appears incidental but connects the photograph to other circular forms in the book. We turn the page to find a series of curved, steel parts of the overhead track of a cable railway.

In plate 50, three rows of identical wooden shoe molds begin in the upper left corner of the photograph and extend beyond the lower right edge.

The steel cooking pots in plate 55 are piled into seemingly endless columns. The abrupt cropping of the photograph limits our inspection of these precarious stacks and suggests they continue without limit beyond our view.

Plate 41 shows this serial motif transposed into a scene of nature. A linear series of wooden stumps arises from the foamy surface of a pool of water and crosses the photograph from the bottom right to the upper left corner.

Serial repetition is unearthed as the unifying principle of the age. Certainly an important and noble purpose of photography is to show its viewers the object.

It has become for us today an indispensable aid for the introduction and arrangement of visible facts.

It shows us distant lands, other types of people, new buildings, and satisfies our search for knowledge. The photograph also gives the scholar the option to build comparisons and often shows him the objective thing that he cannot see with his own eyes.

Flender-Werke A. The objectives of Neue Sachlichkeit photography depended on viewing images in sequence, and the photographic book was the principle format that facilitated this visual experience.

It was in photography that the unity of form, now dictated by the conditions of mass production, could still be legitimately discovered and claimed.

It is left up to the camera to reproduce the object in a way that lays bare universal forms, the Sachlichkeit. However, in the context of the Werkbund, Neue Sachlichkeit lacked the redemptive potential of spiritual unity.

In a disenchanted world devoid of communal spirit, Neue Sachlichkeit photography accepts the mechanical condition of the modern world and attempts to reveal a unifying principle of the age just the same.

Unlike Benjamin, the Werkbund was, by the late s, committed to the production of objects within capitalism and was willing to negotiate with the abstraction and fetishization of objects as part of a capitalist system of meaning.

The repetition of formal structures such as grids and spirals often appear in twentieth-century art and have been discussed as attempts to suspend the resolution of contradictions.

It serves as a matrix in which structures can be compared to each other to prove the presence of an underlying universal principle. As a structure, the book itself is a grid, imparting order, regularity, and homogeneity to reveal the presence of a sacred world.

The last photograph in the book of praying hands suggests this without subtlety. The repetition of serial forms reinforces the uniformity of photo-mechanical reproduction and multiplication.

The book presents its photographed objects like products on an assembly line, and the repetitive action of turning its pages evokes the repetitive action of machines.

In this sense, the photographic book becomes a sachlich object, its form dictated by the means of industrial production.

In his introduction, Heise holds out for the spiritualization of form through photography. Its photographs capture the cold, repetitive features of mass production, and the compositional rhetoric of unity is often tenuous, summoning anxieties about knowledge and vision in the age of mechanical reproduction.

Already 63 years old when Urformen der Kunst was published, Blossfeldt produced its photographs in the s when he was an instructor at the Museum of Decorative Art in Berlin.

It consists of photographs of plants bound in a blue-green cloth cover with the title and a plant motif stamped in gilt on the front. Its matching protective case makes it suitable for inclusion in a private library or rare book collection.

The paper in the volume has a thicker texture than the waxy pages of cheaper books. The photographs of Urformen der Kunst were printed by copper engraving, a technique that imparts a rich, soft look with subtle variations in tone.

Like the earliest attempts to construct photographic catalogues of plants, Urformen der Kunst removes each specimen from its natural context and places it in front of a blank background, a space of objective and focused observation.

That means for the learned and the unlearned, for the poor and the rich, for the manual laborer and the intellectual.

The price is also affordable with very modest resources. Plants paired with the accessibility of photographic books to provide the public with a connection to nature that was presumably threatened by modern industry and urban life.

A worldview based on the visual study of nature was argued for in the introductions to many of these botanical books. Here modern photography helps us recognize things within the plant kingdom, perhaps allowing us to sense the power of life to shape form.

For example, the caption underneath the photograph on page 13 compares the stamens and anthers of the blossom to a waterfall.

Formen des Leben. Neue Sachlichkeit photography undergoes a shift in cultural meaning in photographic books like Formen des Lebens.

No longer expressive of modern industry and mechanical reproduction, it now reveals the antithesis of modern progress, a conservative anchoring of culture to dreams of a natural past.

Photographic books of plants were part of a larger impetus to return the modern world to nature in the early twentieth century.

As scholars have shown, these efforts derived from a variety of ideologies and political viewpoints and did not occur in Germany alone.

To do this, he employs the rhetoric of racial purity being cultivated by the National Socialist party.

Since the beginning, they have grown wild in our Fatherland or in German-speaking regions. Certain plants that arrived in Germany from degenerate cultures, or that came in from foreign lands on the streets of our transportation system, are not found in this collection.

Fifteen thousand copies were published in By , 62, copies of the book were printed and twelve photographs were added to further editions.

Neue Sachlichkeit photography thus operates as cultural currency, a style available to be circulated and politicized through accompanying text.

Urformen der Kunst is not really a book about flowers, but a book about form. Despite their shared associations with Neue Sachlichkeit, Urformen der Kunst was not entirely at ease among the photographic books of plants discussed above.

Referencing both its nineteenth-century roots and the Weimar present, it refuses to be a product of any single set of temporal circumstances.

Urformen der Kunst attempts to bring past and present, history and modernity, into new and often unexpected relationships. Despite its expensive price and its apparently retrograde content, the first edition of Urformen der Kunst, consisting of 6, copies, sold out after only eight months.

Nierendorf had been a prominent supporter of progressive artists and artistic movements since the s. But in Urformen der Kunst, this exoticism is tempered in favor of a transcendental purity of form.

As endlessly various as the kingdom of developing and declining mineral, animal, and vegetable forms is, it is determined from an otherworldly, fixed, and eternal law and obeys the unfathomably secretive command of creation that calls it into being.

All forms of nature are the permanent repetition for centuries of the same sequence and only yield to change from climatic dislocation or changing topographical conditions, which does not disturb the basic forms.

The omniscient history that Urformen der Kunst presents relies on the accumulation of a wide variety of Urformen and the abstraction of plants from their everyday appearance.

These forms are the visual evidence of connections between cultural production and the corresponding age. Goethe argued Urformen visualized the spiritual building blocks of human life and these forms could be observed in plants, as materializations of the Platonic ideal.

The same law will be applicable to all other living organisms. Urformen der Kunst consists of photographic enlargements of various species of plants that range from three to thirty times their natural size.

On pages 22 through 25, thick stems of plants bisect the photographs into mirrored halves. Flowers and leaves, such as those on pages 30 and 31, exhibit radial or axial symmetry.

Repetitive formal arrangements encourage comparison among the pages and ensure their coherence as a comprehensive collection.

Berlin: Ernst Wasmuth, , A number of pages include two or three images arranged in symmetrical compositions that complement the measured regularity of the individual plants.

On page 28, two tightly braided stalks of Cassiope tetragona frame a bloom of Chrysanthemum Leucanthemum photographed slightly from below.

The arrangement creates a balanced formal rhythm that is repeated throughout the book. By isolating the plants from any particular time and place, these photographs serve as a symbolic language of forms that can be associated with a variety of cultural monuments.

But on the other hand, the photographs must avoid any specific indexical referent in order to serve as Urformen and to encourage imaginative associations by its audience.

The photographic enlargement of plants distances them from a specific referent and encourages the identification of general formal patterns that can be associated with a variety of objects.

For example, the arrangement of three vertical branches in plate 15 shows specimens of Cornus Nuttallii and Cornus florida, as well as potentially evoking Native American totem poles, wrought iron fencing, and the scepters of a royal court.

The microscope reveals macro-systems in a drop of water and the instruments of the observatory open up the infinity of the universe.

Today technology forms our connection to nature stronger than ever before and creates for us through apparatus insights into the world that were earlier closed off to our senses.

Urformen der Kunst is thus framed as rediscovering the laws of continuity, rebinding the modern world to creative spirit. For Nierendorf, history is defined by permanence rather than change, and when an object properly conveys the spirit of its age, it situates itself in this history of enduring forms.

That is, the unity between nature and art, past and present, appears all the more convincing because it requires no textual guidance or accompaniment.

The petals of a flower can be compared to a coiled snake, which can then be compared to a spiral staircase or wheel of a machine. In contrast, the formal connections in Urformen der Kunst rely on imagination and free association.

This happens through associations occurring in the mind of the viewer rather than the sequencing or comparison of images.

The visual experience Urformen der Kunst offers can be clarified further by comparing it to a photo-essay that appeared in the popular magazine Uhu in These associations are not provided through captions or comparisons.

The difference suggests photographic books and photo-essays in the illustrated press were in dialog but were not one and the same. Instead, I believe Urformen der Kunst preserves a kind of experience often associated with the realm of the book.

Its photographic material conjures up an imagined space in the mind of its viewers. In several photographs in Urformen der Kunst, such as the Aconitum anthora in plate 31 and the Verbena canadensis in plate 39, shadows of leaves on the blank ground establish some sense of depth.

However, it is more common for the botanical forms to appear without shadows, suspended in a space without the slightest trace of context.

Branches and blooms extend across the photographs, taking up as much space as possible. Circular blooms expand radially from the center of photographs, bursting forth with no stem or roots in sight.

The blank space in which the plants are suspended contrasts with the meticulously detailed texture of the plants. Although the photographs provide no sense of scale, they give the ribbing of stalks, the vesicular patterns of leaves, microscopic tendrils, and pointed thorns a monumental presence.

The precision of these magnified details suggests something other than the particularities of individual plants. The book presents none of the tears, creases, folds, and holes that often accompany botanical specimens.

The thin, dry leafs of Silphium laciniatum in plates 40 and 41 have the texture and thickness of bronze. The tendrils of pumpkin gourd in plate 53 appear like iron spirals.

The sculptural weight created through the photographic enlargement of the plants suggests the endurance of form. The fixed stillness of each form implies timelessness and formal purity.

Rights Society ARS , New York. Although Nierendorf claims connections between art and nature are inherently present, these associations remain unfixed without external guidance.

Through many years of difficult work Herr Professor Blonssfeldt [sic] achieved the production of these photographs, which shift the small into the monumental and the monument into its origin.

Some critics were not convinced of the magical connections Nierendorf and others claimed for Urformen der Kunst.

I am afraid that is what they mean. According to this title, the images of plants were used as models for the architectonic creations of man.

It is quite astonishing that all possible styles from civilization can be recognized in the development of buds and knots, and in the tendrils and structure of leaves.

These echoes, repeatedly so close, by no means prove that the earliest creations were plagiarized from plants. But perhaps they prove that they were of a more botanical character than the creations of today.

He suggests the connections between art and nature are not as inherent in the photographs as Nierendorf claims.

Blossfeldt began his studies at the Museum of Decorative Art in Berlin in and served as an apprentice to Meurer from to On excursions to Rome, Greece, and North Africa, Blossfeldt made plaster casts and bronze models of plants and eventually learned to photograph.

In keeping with contemporary trends in the decorative arts, Meurer emphasized the basis of all artistic form could be found in the natural world.

Plaster casts, bronze models, and photographs made by Blossfeldt and others apprenticed to Meurer visualized these Urformen to teach students to recognize them in nature.

But this visual practice did not depend on studying nature directly. Rather than complicating the authenticity of the forms represented in each image, the use of sculptural models and drawings served to highlight the underlying Urformen.

For Meurer, photography was not obliged to record directly and indiscriminately. They see in this more beautiful form what no one recognizes, and most will consider the group of sepals of a clover blossom with the leaves removed to be a pineapple, for example.

Here is how Meurer explains the organization of his pedagogical system: The examples are applied to a framework of stages that supports the increasing interpretative and representational abilities of the student, as well as following the ascending phases of development in the history of ornamental types.

The ornamental and botanical representations in the tables are ordered here so that the comprehension of a sequence of forms is facilitated through progressive examples.

This succession of forms also fosters the improving skill and dexterity of the artist as he works his way through the book.

The lithographs in Pflanzenbilder are organized into ten volumes of ten tables. The genus and species of the plant appears at the bottom of each plate.

By presenting a series of images as the primary carrier of meaning, it also anticipates Urformen der Kunst. Blossfeldt produced a number of the plaster casts and models reproduced in Pflanzenbilder.

Circles or other geometrical forms are often superimposed on the plant forms to highlight their underlying balance. An important difference emerges if we explore how Blossfeldt selected and arranged the photographs in Urformen der Kunst.

Blossfeldt collected over a thousand photographs he had taken since the s on sixty-one separate poster boards.

As Ulrike Meyer Stump has explained, Blossfeldt often cut up photographic prints and mounted the separated parts on different boards according to the botanical forms represented.

The soft, feathery fronds of common comfrey and polypody appear on the sixth board. Photographs of larkspur appear on one board, while forsythia and dogwood appear on another.

These boards constituted a career-long search for Urformen in botanical specimens, and he eventually used them to select the images for Urformen der Kunst.

The images in Urformen der Kunst are almost always fragments of what appear on the poster boards. The source photograph of plate 19 includes the top branches of the plant, which are less symmetrical than the branches that appear in the book.

Makeshift clay stands that Blossfeldt used to stabilize the specimens are also cropped out. In the source photograph of plate 90, which shows two examples of Phacelia tanacetifolia, we can see the tacky clump of clay Blossfeldt used to adhere the plant to the board.

Like his mentor, Blossfeldt seems to have conceived of photography as a process of manipulation and modification rather than the sachlich approach that he would be associated with in the s.

However, Urformen der Kunst parts ways with the rigid sequencing of Pflanzenbilder. Numbers Blossfeldt inscribed in the lower right corner of his poster boards suggest a logical sequence, yet they neither follow the developmental system Meurer lays out in his publications, nor do they correspond to the sequential arrangement of images in Urformen der Kunst.

The Saxifraga willkomminana displayed on the sixty-first board, the last in the numbered sequence, appears in plate 65 of Urformen der Kunst.

Images that appear side by side on the poster boards are scattered throughout the book. However, other sections of the book present a cluster of images from the same board.

The sequence unfolds in no particular order, creating a kaleidoscope of changing visual form. Without text, without an explicit logic that guides the sequential arrangement of the photographs, the historical continuity and development these Urformen are meant to explicate is left undefined.

The production of Urformen der Kunst was thus a process of complicating a direct connection to its own immediate origins. The loss of such a system comes across in the last eight images of the book.

This sequence dispels with the balance and symmetry of botanical structure emphasized so strongly throughout the rest of the book.

Small flowers fill these photographs, resulting in chaotic, all-over patterns that contrast with the sparse compositions appearing earlier in the book.

Rather than showing ideal forms, these images present clusters of botanical specimens that reference the multiple variations in appearance a single species can contain.

It is not surprising that Urformen der Kunst was often discussed in a Surrealist context. The art historian provocatively compared Urformen der Kunst to Histoire naturelle, a portfolio of drawings by the Surrealist Max Ernst published in They likewise seem like a mythical history of nature and creation.

They are only photographs, but now and then appear more symbolic, more uncanny than those creatures by the truly imaginative Max Ernst.

Not restricted to images of plants, Histoire naturelle consists of fantastical images from the mineral, vegetable, and animal worlds.

Rather than conceiving of plants as the visualization of continuities uniting all forms through time, Bataille argues that continuity can be shattered by their diabolical details.

Even the most beautiful flowers are spoiled in their centers by hairy sexual organs. But even more than by the filth of its organs, the flower is betrayed by the fragility of its corolla: thus, far from answering the demands of human ideas, it is a sign of their failure.

Bataille dismantles the system of resemblances and correspondences set up by Nierendorf in Urformen der Kunst.

Rather than upholding the plant as a timeless form, the inevitable rot of the flower is symbolic of the death drive. The independence of the visual from the textual realm was also important to the art theorist Carl Einstein, who selected and arranged the five photographs by Blossfeldt that accompany the essay.

Published in , Negerplastik consists of a twenty-three-page essay followed by pages of photographs of African sculpture. It provides an early example of an attempt to reconsider the relationship between images and text in the age of photographic reproduction.

Negerplastik was never recognized as a significant or even sound study of African art. Rather than providing an ethnographic analysis, Einstein states the photographs of African sculpture must be visually experienced, isolated from any cultural or temporal context.

His theory of African sculpture extolls the ability of the visual to destroy memory, opening up a completely original experience to the viewer that is unhindered by experience or preconceptions.

The backgrounds in both sets of photographs range from dark to light grey. The floral and vegetal forms in Urformen der Kunst recall the floating, isolated sculptures in the photographs of Negerplastik.

Without any comparative, classifying, or developmental structure, the photographic sequence in Urformen der Kunst triggers free and imaginative associations through form.

For example, the seed Callistemma brachiatum in plate 11, magnified to thirty times its natural size, appears like a hat or a thimble.

The anthropomorphic appearance of a number of images in the book causes the boundaries between human and botanical forms to dissolve.

The frontal symmetry of plate 12, the Geum rivale, transforms the enfolding petals into eye sockets, while the curvy thistle at the stem hints at facial hair.

Shoots of chestnut blooms on the following page appear like totem poles, but the stalks also contain notches and ridges that align in facial configurations.

In plates 88, 89, 90, and 93, specimens of wild heliotrope and comfrey appear like carnival masks. Rather than confirming the eternal return of certain forms through history, these images confront the viewer with the human body in the stems, bulbs, and petals of plants.

History was an intensely discussed concept in the Weimar Republic. In the Passagen-Werk, an ambitious, yet uncompleted, study of the nineteenth century, Walter Benjamin sought to uncover the origins of Weimar modernity through a montaged collection of images and essays.

He has done more than his share of that great stock-taking of the inventory of human perception that will alter our image of the world in as yet unforeseen ways.

Everything is so new here that even the search leads to creative results. Technology is, of course, the pathbreaker here. It is not the person ignorant of writing but the one ignorant of photography who will be the illiterate of the future.

Leaping toward us from every calyx and every leaf are inner image-imperatives [Bildnotwendigkeiten], which have the last word in all phases and stages of things conceived as metamorphoses.

For Nierendorf, this critique involved drawing connections between the past and the present and using photography to reveal continuity.

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Man spricht daher von der Schulterhöhe des Tieres. Um ein korrektes Ergebnis zu bekommen, sollte Ihr Hund ruhig und gerade stehen.

Geschirr, Halsband und Hundebekleidung sollten Sie am besten immer anprobieren. Er ist nicht nur für Bekleidung notwendig, sondern vor allem beim Kauf eines Halsbandes entscheidend.

Das Halsband sollte nie ganz am Hals anliegen. Etwa zwei Finger sollten noch zwischen Hals und Halsband passen.

Zu locker darf es allerdings auch nicht sein, denn sonst kann sich der Hund leicht daraus befreien. Denken Sie bei einem jungen Hund daran, dass er noch wächst.

Sie müssen lang genug sein, um den Rücken optimal vor Kälte oder Nässe zu schützen. Die Rückenlänge ist auch bei speziellen OP-Bodys von Bedeutung.

Diese Bodys werden in letzter Zeit gerne anstatt des unangenehmen Trichters nach einer Operation oder bei einer Verletzung verwendet.

Der Body sorgt dafür, dass der Hund nicht an der Wunde schleckt und die Verletzung damit verschlimmert.

Dann ist der Hund nicht in seiner Bewegungsfreiheit eingeschränkt. Der Brustumfang wird etwa eine Handbreit hinter den Vorderläufen gemessen.

Das Ergebnis wird ungenau. Bei der Taille machen Sie es genauso wie beim Brustumfang. Die Taille wird etwa eine Handbreit vor den Hinterläufen gemessen.

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.

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