| -3000 | Bronzezeit | | 0 | | 0 | 0 | | | | |
| -3000 | Frühe Bronzezeit | | 0 | | 0 | 0 | | | | |
| -1600 | Mittlere Bronzezeit | | 0 | | 0 | 0 | | | | |
| -1100 | Eisenzeit | | 0 | | 0 | 0 | | | | |
| -620 | Gesetzgebung Drakons in Athen | | 45 | Athen | 0 | 0 | | | | |
| 0 | xxx | | 30 | | 0 | 0 | | | | |
| 0 | xxx | | 0 | | 0 | 0 | | | | |
| 522 | Justinianische Pest | | 0 | | 0 | 0 | | | | |
| 628 | Köln: Gründung St. Maria im Kapitol | | 30 | Köln | 0 | 0 | | | | |
| 628 | Bradwell juxta-Mare: St.
Peter-ad-Murum | | 0 | | 0 | 0 | | | | |
| 700 | Ruthwell-Cross | | 0 | | 0 | 0 | | | | |
| 750 | Cividale: Sigvald-Platte | | 0 | | 0 | 0 | | | | |
| 780 | karolingische Buchmalerei an der
Hofschule Karls: Godescale-Evangeliar | | 0 | | 0 | 0 | | | | |
| 800 | S. Vincenzo al Volturno: Wandmalereien der Laurentiuskapelle | | 0 | | 0 | 0 | | | | |
| 830 | Reims: Ebo-Evangeliar | | 0 | | 0 | 0 | | | | |
| 830 | Reims: Utrecht-Psalter | | 3 | Reims | 0 | 0 | | | | |
| 850 | Drogo-Sakramentar | | 3 | Metz | 0 | 0 | | | | |
| 865 | St. Gallen: Folchard-Psalter | | 0 | | 0 | 0 | | | | |
| 870 | Cibonum Arnulfs von Kärnten | | 0 | | 0 | 0 | | | | |
| 900 | Beginn der »Ottonischen Renaissance« in der Miniaturmalerei | | 0 | | 0 | 0 | | | | |
| 900 | Benevent: erste Exultet-Rollen | | 0 | | 0 | 0 | | | | |
| 900 | St. Gallen: Elfenbeintafeln des Tuotilo mit Galluslegende | | 0 | | 0 | 0 | | | | |
| 900 | Haithabu: befestigtes Handelszentrum der Wikinger mit Holzbauten | | 0 | | 0 | 0 | | | | |
| 920 | Nordische Osebergkunst: Wikingerschiff mit Geräten, Wagen, geschnitzten Tier-und Flechtbandornamenten | | 0 | | 0 | 0 | | | | |
| 960 | Pontresina: Kapelle S. Maria | | 0 | | 0 | 0 | | | | |
| 966 | Winchester: New Mister charter | | 6 | Winchester | 0 | 0 | | | | |
| 970 | Corvey: Evangeliar aus Quedlikburg;Evangeliar aus Reims | | 0 | | 0 | 0 | | | | |
| 970 | Magdeburger Antspendium | | 30 | Magdeburg | 0 | 0 | | | | |
| 975 | Tavara: Beatus Kommentar zur Apokalypse | | 0 | | 0 | 0 | | | | |
| 980 | Evangeliar Ottos III. | | 0 | | 0 | 0 | | | | |
| 980 | Codex Egbeti | | 0 | | 0 | 0 | | | | |
| 980 | Conques (Südfrankreich): Goldene Statue des Heiligen Fides | | 0 | | 0 | 0 | | | | |
| 980 | Winchester: Benedictionale des Aethelwold | | 0 | | 0 | 0 | | | | |
| 1000 | Canterbury: Bosworth-Psalter | | 0 | | 0 | 0 | | | | |
| 1000 | Abdinghofer Evangeliar | | 0 | | 0 | 0 | | | | |
| 1000 | Trier: Registrum Gregoriï | | 30 | Trier | 0 | 0 | | | | |
| 1010 | Reichenauer Schule - Prikopenbuch Heinrichs II. | | 30 | | 0 | 0 | | | | |
| 1010 | Evangeliar der Hilda | | 0 | | 0 | 0 | | | | |
| 1017 | Bartholomäuskapelle | | 0 | | 0 | 0 | | | | |
| 1020 | St. Sever: Apokalypse Arras: Bibel,- Mis-- von St. Dengs | | 0 | | 0 | 0 | | | | |
| 1020 | St. Germain-des-Prés: Psalter und
Hymnar | | 0 | | 0 | 0 | | | | |
| 1030 | Vallombrosa: Gründung des Klosters | | 0 | Vallombrosa | 0 | 0 | | | | |
| 1030 | Echternach: Codex Aureus | | 0 | Echternach | 0 | 0 | | | | |
| 1030 | Missale von St Alban | | 30 | Mainz | 0 | 0 | | | | |
| 1050 | Evangeliar der Judith von Flandern | | 0 | | 0 | 0 | | | | |
| 1050 | Schuttern b. Lahr: Stiftsmosaik in der Pfarrkirche Mariä Himmelfahrt - Welfenkreuz | | 0 | | 0 | 0 | | | | |
| 1051 | Weihe der Kirche | | 0 | | 0 | 0 | | | | |
| 1060 | Caen: Klostergründungen | | 0 | | 0 | 0 | | | | |
| 1065 | Crucifixus aus St. Georg | | 0 | | 0 | 0 | | | | |
| 1070 | Maas-Gebiet: Christuskopf | | 0 | | 0 | 0 | | | | |
| 1070 | Weihe der Kirche | | 0 | | 0 | 0 | | | | |
| 1081 | St. Étienne | | 0 | | 0 | 0 | | | | |
| 1100 | Cluniazenser-Kirchen und Emporenbasiliken in Frankreich; | | 0 | | 0 | 0 | | | | |
| 1100 | Hirsauer Schule; | | 0 | | 0 | 0 | | | | |
| 1170 | Bibel von Floreffe - Evangeliar
von Averbode | | 0 | | 0 | 0 | | | | |
| 1250 | Bergen: Halle des Königs Häkon V | | 0 | | 0 | 0 | | | | |
| 1260 | Coppo di Marcovaldo, Kruzifix | | 0 | | 0 | 0 | | | | |
| 1262 | Troyes: St. Urban | | 0 | | 0 | 0 | | | | |
| 1265 | Cimabue, Kruzifix in S. Domenico in Arezzo | | 0 | | 0 | 0 | | | | |
| 1278 | St. Germain-des-Prés: Martyrologium | | 0 | | 0 | 0 | | | | |
| 1285 | Arnolfo di Cambio, Ziborium in S. Paolo fuori le mura in Rom | | 0 | | 0 | 0 | | | | |
| 1285 | Duccio, Thronende Madonna aus S. Maria Novella in Florenz | | 0 | | 0 | 0 | | | | |
| 1293 | Ziborium in S. Cecilia in Trastevere zu Rom | | 0 | | 0 | 0 | | | | |
| 1322 | Grabmal in der Kathedrale von Gerona | Faveran Jacques de | 0 | Gerona | 0 | 0 | | | | |
| 1325 | Jean Pulcelle, Breviar der Familie Belleville | | 0 | | 0 | 0 | | | | |
| 1335 | Palma de Mallorca: Llibre dels Priivilegis | | 0 | | 0 | 0 | | | | |
| 1338 | Maso di Banco, Drachenwunder des hl. Silvester | | 0 | | 0 | 0 | | | | |
| 1350 | Andrea Pisano und Alberto | | 0 | | 0 | 0 | | | | |
| 1375 | Georg und Martin von Klausenburg, Hl. Georg mit Drachen | | 0 | | 0 | 0 | | | | |
| 1375 | im Veitsdom von Prag - Altardecke von Narbonne | | 0 | | 0 | 0 | | | | |
| 1377 | Apokalypse von Angers, Wandteppichfolge | | 0 | | 0 | 0 | | | | |
| 1379 | Meister Bertram von Minden,
Grabower Altar | | 0 | | 0 | 0 | | | | |
| 1380 | Wilton-Diptychon (um 1380) - | | 0 | | 0 | 0 | | | | |
| 1400 | G. Fabriano und L. Monaco in Italien | | 2 | | 0 | 0 | | | | |
| 1531 | Salamanca: J. G. de Honta 66n, | | 5 | Salamanca | 0 | 0 | | | | |
| 1550 | Rom: Villa Giulia | G. Vasari und B. Ammanati | 2 | Rom | 0 | 0 | | | | |
| 1557 | P de L'Orme, Cha-teau de Saint-Germain-en-Laye | | 0 | | 0 | 0 | | | | |
| 1598 | Haarlem: L de Key, Waage | | 0 | | 0 | 0 | | | | |
| 1598 | Hl. Martin (um 1598) | | 0 | | 0 | 0 | | | | |
| 1598 | Frascati: G. della Porta, Villa Aldobrandini | | 0 | | 0 | 0 | | | | |
| 1615 | Greenwich: I. Jones, Queen s House | | 0 | | 0 | 0 | | | | |
| 1645 | Eglise du Val-de-Grace | Mansart F. | 0 | | 0 | 0 | | | | |
| 1680 | Venedig: B. Longhena, Ca' Rezzonico | | 2 | Venedig | 0 | 0 | | | | |
| 1709 | Flora | Frémin R. | 0 | | 0 | 0 | | | | |
| 1710 | Meudon - J. Hardonin-Mansart | | 0 | | 0 | 0 | | | | |
| 1725 | Gründung der »Concerts spirituels«
in Paris | | 0 | | 0 | 0 | | | | |
| 1725 | Karl der Große in St. Peter | Cornacchini A. | 0 | | 0 | 0 | | | | |
| 1725 | London: R. B. Burlington, Chiswick
House | | 0 | | 0 | 0 | | | | |
| 1726 | Vertumnus und Pomona | Delvaux L. | 0 | | 0 | 0 | | | | |
| 1729 | Madonna der sieben Schmerzen | Subleyras P. | 0 | | 0 | 0 | | | | |
| 1733 | Sarah Malcolm | Hogarth W. | 0 | | 0 | 0 | | | | |
| 1733 | Das Bad | Nattier | 0 | | 0 | 0 | | | | |
| 1733 | la Valle, Temperantra in S.
Giovanni in Laterano | | 0 | | 0 | 0 | | | | |
| 1735 | Das Leben eines Wüstlings | Hogarth W. | 0 | | 0 | 0 | | | | |
| 1735 | rth, Das Leben einer Dirne | | 0 | | 0 | 0 | | | | |
| 1736 | Jean-Baptiste Siméon Chardin - Der
Zeichner | | 0 | | 0 | 0 | | | | |
| 1737 | Rheinsberg: G. W von Knobelsdorf,
Schlo߸ | | 0 | | 0 | 0 | | | | |
| 1738 | Jean-Baptiste Siméon Chardin -Das
Tischgebet | | 0 | | 0 | 0 | | | | |
| 1739 | London: G. Dance d. Ä., Mansion
House | | 0 | | 0 | 0 | | | | |
| 1741 | Brá: B. Vittone, S. Chiara | | 0 | | 0 | 0 | | | | |
| 1741 | Schwanenservice für den Grafen Brühl | Kändler J. J. | 0 | | 0 | 0 | | | | |
| 1744 | Carceri d'Invenzione | Piranesi G. B. | 0 | | 0 | 0 | | | | |
| 1745 | Ehe nach der Mode | Hogarth W. | 0 | | 0 | 0 | | | | |
| 1745 | Action painting: | | 0 | | 0 | 0 | | | | |
| 1746 | Postdam: G. W von Knobelsdorfï | | 30 | Postdam | 0 | 0 | | | | |
| 1746 | Lyrischer Apoll | Egell P. | 0 | | 0 | 0 | | | | |
| 1746 | J. Boumann, Sanssouci - Nerresheim: | | 0 | | 0 | 0 | | | | |
| 1748 | Merkur | Pigalle J. B. | 0 | | 0 | 0 | | | | |
| 1748 | Vedute di Roma | | 0 | | 0 | 0 | | | | |
| 1748 | AE. Verhelst: Evangelisten Jesaias
und Joachim für den Choraltar der Wieskirche | | 0 | | 0 | 0 | | | | |
| 1748 | Twikkenham: H. Walpole, Strawberry
Hill | | 0 | | 0 | 0 | | | | |
| 1752 | F. und G. Guardi, Orgelprospekte
in S. Raffaele in Venedig | | 0 | | 0 | 0 | | | | |
| 1753 | Lyon: J. G. Soufflot, Grand Théâtre | | 3 | Lyon | 0 | 0 | | | | |
| 1753 | Bath: J. Wood d. Ä., sCircus- | | 0 | | 0 | 0 | | | | |
| 1753 | Statue der Freundschaft | Pigalle J. B | 0 | | 0 | 0 | | | | |
| 1755 | Die Bibellesung | Greuze J. B. | 0 | | 0 | 0 | | | | |
| 1756 | Le antidute (Romane) | Piranesi G. B. | 0 | | 0 | 0 | | | | |
| 1756 | HI. Rochus | Coustou G. | 0 | | 0 | 0 | | | | |
| 1756 | M. Q. La Tour, Marquise de
Pompadour | | 0 | | 0 | 0 | | | | |
| 1756 | Die Badende | Falconet M. | 0 | | 0 | 0 | | | | |
| 1761 | Parnaß | Meng A. R. | 0 | | 0 | 0 | | | | |
| 1763 | J. Collino, Affabilità, Giustizia,
Beneficenza | | 0 | | 0 | 0 | | | | |
| 1765 | Knabe mit Eichhörnchen | Copley J. S | 0 | | 0 | 0 | | | | |
| 1765 | York: J. Carr, Court House | | 0 | | 0 | 0 | | | | |
| 1766 | Die Schaukel | Fragonard J. H. | 0 | | 0 | 0 | | | | |
| 1766 | Nathaniel Hurd | Copley J. S. | 0 | | 0 | 0 | | | | |
| 1766 | Hafen der Ripetta in Rom | Robert H. | 0 | | 0 | 0 | | | | |
| 1767 | Bath: J. Wood d. J., Royal
Crescent | | 0 | | 0 | 0 | | | | |
| 1767 | Abschied des Calas | Chodowiecki D. | 0 | | 0 | 0 | | | | |
| 1769 | J. T Sergel, Merkur entführt
Psyche | | 0 | | 0 | 0 | | | | |
| 1771 | J. O. Antoine, Münze | | 0 | | 0 | 0 | | | | |
| 1772 | E. L Boullée, Hôtel de Brunoy | | 0 | | 0 | 0 | | | | |
| 1773 | Büste der Madame Dubarry | Pajou A. | 0 | | 0 | 0 | | | | |
| 1774 | Faun | Sergel J. T, | 0 | | 0 | 0 | | | | |
| 1774 | J. S. Copley, Doppelportrait des
Ehepaares Ralph Izard | | 0 | | 0 | 0 | | | | |
| 1775 | Arc-et-Senans: C. N. Ledoux,
Saline | | 0 | | 0 | 0 | | | | |
| 1775 | Clodion, Satyr und Bacchantin | | 0 | | 0 | 0 | | | | |
| 1775 | Bordeaux: V Louis, Grand Théâtre | | 0 | | 0 | 0 | | | | |
| 1777 | Blick auf St. Peter in Rom | Hackert J. P. | 0 | | 0 | 0 | | | | |
| 1777 | Voltaire | Pigalle J. B | 0 | | 0 | 0 | | | | |
| 1777 | J. H. Fragonard, Die
Wäscherinnen | | 0 | | 0 | 0 | | | | |
| 1778 | Die Marlborough Familié | | 0 | | 0 | 0 | | | | |
| 1778 | G. J. Vogler, B. de Laborde | | 0 | | 0 | 0 | | | | |
| 1779 | T F. Pritchard und Darby,
Severn-Brücke | | 0 | | 0 | 0 | | | | |
| 1779 | Derbyshire: J. Carr, Crescent in
BuxtonCoalbrookdale: | | 0 | | 0 | 0 | | | | |
| 1779 | J. T Sergel, Der sterbende
Othyradas | | 0 | | 0 | 0 | | | | |
| 1782 | J. F. Heurtier, Théâtre Italien | | 0 | | 0 | 0 | | | | |
| 1783 | Buffon | Houdon J. A | 0 | | 0 | 0 | | | | |
| 1786 | Venus und Adonis | | 0 | | 0 | 0 | | | | |
| 1786 | Paris: V Louis, Théâtre de la
Comédie Française | | 0 | | 0 | 0 | | | | |
| 1789 | Bern: J. D. Antoine, Münze | | 0 | | 0 | 0 | | | | |
| 1792 | Die Vermählung von Himmel und Hölle | Blake William | 6 | | 0 | 0 | | | | |
| 1798 | »Vertreter eines radikalen Klassizismus: | E. L Boullée, C. N. Ledoux, J. Soane, F. Gilly, F. | 0 | | 0 | 0 | | | | |
| 1798 | Weisheit und Wahrheit steigen auf die Erde | Proudhon P. P. | 0 | | 0 | 0 | | | | |
| 1804 | Ossian ou les bardes | Lesueur J. F. | 0 | | 0 | 0 | | | | |
| 1806 | J. H. v. Dannecker, Ariadne auf
dem Panther | | 1 | | 0 | 0 | | | | |
| 1808 | Einzug Kaiser Rudolfs von Habsburg in Basel | Pforr F. | 0 | | 0 | 0 | | | | |
| 1811 | Sir und Lady Clerk | Raeburn H. | 0 | | 0 | 0 | | | | |
| 1823 | Pontoise: P. F. L. Fontaine,
Hôtel-Dien | | 0 | | 0 | 0 | | | | |
| 1825 | Westminster: J. Soane, New Law
Courts | | 0 | | 0 | 0 | | | | |
| 1828 | Konrad Wallenrod | Mickiewicz Adam | 9 | | 0 | 0 | | | | |
| 1828 | Helsingfors: C. L Engel,
Universität | | 0 | | 0 | 0 | | | | |
| 1834 | J. Barnett, Mountain sylph | | 0 | | 0 | 0 | | | | |
| 1835 | H. Chélard, Die Hermannsschlacht | | 0 | | 0 | 0 | | | | |
| 1835 | Überfahrt am Schreckenstern | Richter Ludwig | 0 | | 0 | 0 | | | | |
| 1837 | Kastanienallee | Rousseau Th. | 0 | | 0 | 0 | | | | |
| 1839 | Roméo et Juliétte | | 0 | | 0 | 0 | | | | |
| 1843 | Paris: H. Labrouste, Bibliothek Ste Geneviève | | 0 | | 0 | 0 | | | | |
| 1844 | Th. Chassériau, Der Frieden | | 0 | | 0 | 0 | | | | |
| 1845 | Präraffaeliten in England | | 6 | | 0 | 0 | | | | |
| 1846 | M. v. Schwind, Sängerkrieg auf der
Wartburg | | 0 | | 0 | 0 | | | | |
| 1847 | Dresden: G. Semper, Baubeginn der
Gemäldegalerie | | 0 | | 0 | 0 | | | | |
| 1847 | Brüssel: J. P. Cluysenaar,
Galeries St. Hubert | | 0 | | 0 | 0 | | | | |
| 1848 | Kopenhagen: G. Bindesböll,
Thorvaldsen-Museum | | 0 | | 0 | 0 | | | | |
| 1848 | Th. Rousseau, Gewitterstikmung in
der Ebene von Montmartre | | 0 | | 0 | 0 | | | | |
| 1848 | Th. Couture, Die
Kriegsfreiwilligen von 1792 | | 0 | | 0 | 0 | | | | |
| 1858 | St. Bennett, The may queen | | 0 | | 0 | 0 | | | | |
| 1865 | Noiturno in Blau und Gold | | 0 | | 0 | 0 | | | | |
| 1867 | Th. Rousseau, Winterwald bei
Sonnenuntergang | | 0 | | 0 | 0 | | | | |
| 1867 | Ungarische Königsmesse | | 0 | | 0 | 0 | | | | |
| 1873 | Der Schatten des Todes | Hunt W H. | 0 | | 0 | 0 | | | | |
| 1876 | Moulin de la Galette | | 0 | | 0 | 0 | | | | |
| 1876 | Eröffnung des Festspielhauses mit
der Gesamtaufführung des Rangs der Nibelungen | | 0 | | 0 | 0 | | | | |
| 1877 | Dorfpolitiker | Leibl W. | 0 | | 0 | 0 | | | | |
| 1878 | Max Klinger, Überfall | | 0 | | 0 | 0 | | | | |
| 1879 | Wien: H. v. Ferstel, Votivkirche | | 0 | | 0 | 0 | | | | |
| 1885 | Alte Frau mit Katze | Gallen-Kallela A. | 0 | | 0 | 0 | | | | |
| 1896 | O. Redon, Klatschmohn | Redon Odilon | 0 | | 0 | 0 | | | | |
| 1896 | J. Ensor, Masken | | 0 | | 0 | 0 | | | | |
| 1897 | Messidor | Bruneau A. | 0 | | 0 | 0 | | | | |
| 1898 | Der Kyklop | Redon Odilon | 0 | | 0 | 0 | | | | |
| 1898 | Tomorrow, Gartenstadt-System E. Howards | | 0 | | 0 | 0 | | | | |
| 1906 | E. Heckei, E. L. Kirchner, K. Schmidt-Rottluff, E. Nolde,M. Pechstein, O. Müller | | 0 | | 0 | 0 | | | | |
| 1906 | London Bridge | Derain . | 0 | | 0 | 0 | | | | |
| 1906 | Berlin: H. Muthesius, Eigenheim Nikolassee | | 0 | | 0 | 0 | | | | |
| 1906 | Dorfstrafe | Dufy R. | 0 | | 0 | 0 | | | | |
| 1907 | Gründung des Deutschen Werkbundes | | 0 | | 0 | 0 | | | | |
| 1908 | Chicago: F. L. Wright, Haus Robie | | 0 | | 0 | 0 | | | | |
| 1909 | Süßes Licht | Balla G. | 0 | | 0 | 0 | | | | |
| 1909 | K. Malewitsch, Heumahd | | 0 | | 0 | 0 | | | | |
| 1910 | Die Brücke | | 30 | | 0 | 11 | | | | |
| 1910 | K. van Dongen, Alter Clown | | 0 | | 0 | 0 | | | | |
| 1910 | U. Boccioni, Die Stadt erhebt sich | | 0 | | 0 | 0 | | | | |
| 1915 | M. Wigman begründet eigenen Stil
des Ausdruckstanzes | | 0 | | 0 | 0 | | | | |
| 1915 | New-York-Dada: M. Duchamp, Man Ray | | 0 | | 0 | 0 | | | | |
| 1915 | Dada (ab 1916): | | 0 | | 0 | 0 | | | | |
| 1915 | Konstruktivismus | | 0 | | 0 | 0 | | | | |
| 1915 | Suprematismus (K. Malewitsch) | | 0 | | 0 | 0 | | | | |
| 1916 | Faguswerk, Alfeld (W Gropius) | | 0 | | 0 | 0 | | | | |
| 1920 | kreativer Automatismus: | | 0 | | 0 | 0 | | | | |
| 1920 | Das Kabinett des Dr. Caligari | Wiene R. | 0 | | 0 | 0 | | | | |
| 1921 | Einstein Turm, Potsdam (E. Mendelsohn) | | 0 | | 0 | 0 | | | | |
| 1924 | Der letzte Mann | Murnau F W. | 0 | | 0 | 0 | | | | |
| 1924 | R. Clair, Zwischenakt | | 0 | | 0 | 0 | | | | |
| 1924 | Haus Schröder, Utrecht (G. T
Rietveld) | | 0 | | 0 | 0 | | | | |
| 1925 | Neue Sachlichkeit, Verismus: | | 0 | | 0 | 0 | | | | |
| 1925 | Sozial-realistische Schule in den USA: | | 0 | | 0 | 0 | | | | |
| 1925 | Soziale Realisten in Mexiko: | | 0 | | 0 | 0 | | | | |
| 1927 | Werkbund-Ausstellung | | 0 | | 0 | 0 | | | | |
| 1928 | »Abstraction - Creation«: | | 0 | | 0 | 0 | | | | |
| 1928 | Sozialistischer Realismus als
Kunstdoktrin in der Sowjetunion: | | 0 | | 0 | 0 | | | | |
| 1928 | S. Eisenstein ,Oktober | | 0 | | 0 | 0 | | | | |
| 1929 | Haus Lovell, Los Angeles (R. Neutra) | | 0 | | 0 | 0 | | | | |
| 1929 | Sturm über Asien | Pudowkin W. | 0 | | 0 | 0 | | | | |
| 1929 | S. Eisenstein Die Generallinie | | 0 | | 0 | 0 | | | | |
| 1931 | Trauernder Genius | Waderé HeinrichGeniud´s | 30 | München | 0 | 3 | | | | |
| 1931 | Triumph der Liebe | Malipiero Gian Francesco | 0 | | 0 | 0 | | | | |
| 1931 | S. Dudow, Kuhle Wampe | | 0 | | 0 | 0 | | | | |
| 1931 | Die Dreigroschenoper | Pabst G. W. | 0 | | 0 | 0 | | | | |
| 1937 | »Lyrische Abstraktion: W Baumeister | | 0 | | 0 | 0 | | | | |
| 1939 | Mr. Smith geht nach Washington | Capra E. | 0 | | 0 | 0 | | | | |
| 1939 | J. Ford, Stagecoach | | 0 | | 0 | 0 | | | | |
| 1941 | Ohm Krüger | Steinhoff H. | 0 | | 0 | 0 | | | | |
| 1941 | J. Huston (Der Malteserfalke) | | 0 | | 0 | 0 | | | | |
| 1941 | L. Andersen, Lili Marleen (N. Schultze) | | 0 | | 0 | 0 | | | | |
| 1941 | Offene Winkelgeometrie | Baertling O. | 0 | | 0 | 0 | | | | |
| 1942 | Sein oder Nichtrein | Lubitsch E. | 0 | | 0 | 0 | | | | |
| 1943 | The Ox-Bow incident | Weltmann W. | 0 | | 0 | 0 | | | | |
| 1943 | R. Rogers und 0. Hammerstein, Oklahoma | | 0 | | 0 | 0 | | | | |
| 1945 | R. Rossellini (Rom, offene Stadt) | | 0 | | 0 | 0 | | | | |
| 1946 | J. Cocteau, La belle ei la bete | | 0 | | 0 | 0 | | | | |
| 1946 | Die Mörder sind unter uns | Staudte W. | 0 | | 0 | 0 | | | | |
| 1947 | Gründung der >Fronte nuove delle arti< in Italien | | 0 | | 0 | 0 | | | | |
| 1947 | Cobra-Gruppe in Holland: | | 0 | | 0 | 0 | | | | |
| 1948 | V. de Sica (Fahrraddiebe) ) | | 0 | | 0 | 0 | | | | |
| 1948 | G. de Santis, (Bitterer Reis) ) | | 0 | | 0 | 0 | | | | |
| 1952 | Tachismus:H. Hartung, G.Mathieu, K. O. Götz | | 0 | | 0 | 0 | | | | |
| 1952 | Lohn der Angst | Clouzot H. G. | 0 | | 0 | 0 | | | | |
| 1952 | R. Clément, Verbotene Spiele | | 0 | | 0 | 0 | | | | |
| 1952 | F. Zinneman, Highnoon | | 0 | | 0 | 0 | | | | |
| 1953 | P. Henry und P. Schaeffer, Orphee
| | 0 | | 0 | 0 | | | | |
| 1955 | Lichtkinetik der ZERO-Gruppe: | | 0 | | 0 | 0 | | | | |
| 1955 | R. Rauschenbergs Collage-Modulation, Vorbereitung der Pop Art der sechziger Jahre | | 0 | | 0 | 0 | | | | |
| 1957 | Rock and Roll (E. Presley, B.
Haley, Ch. Berry) | | 0 | | 0 | 0 | | | | |
| 1957 | Kunstmuseum, Tokio (Le
Corbusier) | | 0 | | 0 | 0 | | | | |
| 1957 | Der Schrei | Antonioni M. | 0 | | 0 | 0 | | | | |
| 1957 | Wenn die Kraniche ziehen | Kalatosow M. | 0 | | 0 | 0 | | | | |
| 1957 | Medical research Center, Philadelphia (L. Khan) | | 0 | | 0 | 0 | | | | |
| 1958 | Neue Realisten, »combine
painting«:E. Kienholz, M. Raysse, F Arman, D. Spoerri | | 0 | | 0 | 0 | | | | |
| 1958 | Beginn der »Neuen Welle« in Frankreich:C. Chabrol, F Truffaut, J. L. Godard, G. Franju | | 0 | | 0 | 0 | | | | |
| 1958 | Seagram-Building, New York (L.
Mies van der Rohe und P Johnson) | | 0 | | 0 | 0 | | | | |
| 1958 | Rio Bravo | Hawk H. | 0 | | 0 | 0 | | | | |
| 1958 | I. Pizetti, Mord im Dom (nach T S.
Eliot) | | 0 | | 0 | 0 | | | | |
| 1959 | Signalkunst, Farbfeldmalerei:R. Denny, K. Noland, N. Krushenick, F Stella | | 0 | | 0 | 0 | | | | |
| 1959 | Lichtvibration:J. R. Soto | | 0 | | 0 | 0 | | | | |
| 1959 | Op Art:V. Vasarely, C. Cruez-Diez, B. Riley | | 0 | | 0 | 0 | | | | |
| 1959 | Konkrete Kunst mit M. Bill und R. P Lohse als Wegbereitern: Z. Sykora, J. Klein, A. Calderara | | 0 | | 0 | 0 | | | | |
| 1959 | Materialkombination:César, R. Stankiewicz | | 0 | | 0 | 0 | | | | |
| 1959 | Décollage:M. Rotello, J. Tilson | | 0 | | 0 | 0 | | | | |
| 1959 | Aktionskunst | W Vostell, A. Karpow, O. Muehl, B. Brock | 0 | | 0 | 0 | | | | |
| 1959 | T Richardson, Blick zurück im
Zorn | | 0 | | 0 | 0 | | | | |
| 1959 | Aniara | Blomdahl K. B. | 0 | | 0 | 0 | | | | |
| 1959 | Pop Art in den USA und England:A. Warhol, T. Wesselmann, R. Lichtenstein, M. Ramos, C. Oldenburg, D. Hockney, L. Rivers, F Bacon, J.
Johns, R. Hamilton | | 0 | | 0 | 0 | | | | |
| 1959 | Utopische Entwürfe der
Metabolisten in Japan | | 0 | | 0 | 0 | | | | |
| 1962 | Available forms 11 | Brown E. | 0 | | 0 | 0 | | | | |
| 1964 | Strukturalismus (K. Tange, K. Kurokawa, K. Holscher, M. Safdie, B. Gaudi) | | 0 | | 0 | 0 | | | | |
| 1964 | Minimal Art:R. Morris, S. Lewitt, D. Judd, C. Murray | | 0 | | 0 | 0 | | | | |
| 1964 | Happening, Fluxus: HA Schult, G. Maciunas, N. June Paik, B. Vautier, J. Beuys, R. Rauschenberg | | 0 | | 0 | 0 | | | | |
| 1964 | »Syn«-Gruppe, artifizielles Informel | | 0 | | 0 | 0 | | | | |
| 1965 | Salk-Institut, La Jolla (L.
Khan) | | 0 | | 0 | 0 | | | | |
| 1965 | Guild House, Philadelphia (Venturi
und Rauch) | | 0 | | 0 | 0 | | | | |
| 1965 | S. Bondartschuk, Krieg und Frieden
1 | | 0 | | 0 | 0 | | | | |
| 1966 | Sea Ranch, Kalifornien (C. Moore,
W Turnbull) | | 0 | | 0 | 0 | | | | |
| 1967 | J. L. Godard, Weekend | | 0 | | 0 | 0 | | | | |
| 1968 | J. Stein, J. Bock, Anatevka | | 0 | | 0 | 0 | | | | |
| 1968 | Ford Foundation, New York (Roche &
Dinkeloo) | | 0 | | 0 | 0 | | | | |
| 1968 | S. Kubrick, 2001 | | 0 | | 0 | 0 | | | | |
| 1969 | C. Halffter, Don Quichote | | 0 | | 0 | 0 | | | | |
| 1970 | Erro Kunst und Umwelt:HA Schult, Haus-Rücker-Co-Gruppe | | 0 | | 0 | 0 | | | | |
| 1970 | Individuelle Mythologien Materialkunst | Buth M., Rainer A., Merz M., Martin E., Graves N., Beuys Josef, Twombly C. | 0 | | 0 | 0 | | | | |
| 1970 | Land Art:R. Smithson, W de Maria, M. Heizer, J. Dibbets ' Foto-Realismus: L. Nesbitt, R. Cottingham, C. Close H. Kanovitz, A. Colville | | 0 | | 0 | 0 | | | | |
| 1970 | Body Art:V. Acconci, B. Nauman | | 0 | | 0 | 0 | | | | |
| 1970 | Rationalismus: A. Rossi, L. Krier, O. M. Ungers, M. Botta, L. Snozzi | | 0 | | 0 | 0 | | | | |
| 1970 | Auflösung der Beatles | | 0 | | 0 | 0 | | | | |
| 1970 | M. Kelemen, Der Belagerungszustand
(nach A. Camus) | | 0 | | 0 | 0 | | | | |
| 1970 | M. Tippett, Knot garden | | 0 | | 0 | 0 | | | | |
| 1970 | elbgeschnittene Kipfe | Rocha G. | 0 | | 0 | 0 | | | | |
| 1971 | St. Kubriek, Uhrwerk Orange | | 0 | | 0 | 0 | | | | |
| 1971 | Solarfis | Tarkowski A. | 0 | | 0 | 0 | | | | |
| 1971 | Der Fall Mattei | Rosi F. | 0 | | 0 | 0 | | | | |
| 1971 | Besuch der alten Dame (nach F Dürrenmatt) | Einem G. V. | 0 | | 0 | 0 | | | | |
| 1972 | Hochhaus in Pyramidenform, San
Francisco (W Pareira) | | 0 | | 0 | 0 | | | | |
| 1972 | M.A.S.H. | Altman R. | 0 | | 0 | 0 | | | | |
| 1973 | U. Zimmermann, Le viii Mühle (nach J. Bobrowski) | | 0 | | 0 | 0 | | | | |
| 1974 | Video Performance:M. Baumgartl,
K. Sieverding | | 0 | | 0 | 0 | | | | |
| 1974 | Experimente mit technischen Stoffen:R. Serra Verstärkung meditativer Funktion und symbolischer Bezüge in der Skulptur:N. Haraguchi, G. Trakas;
Wasserskulpturen M. Singers | | 0 | | 0 | 0 | | | | |
| 1974 | Narrative Art:J. Baldessaris | | 0 | | 0 | 0 | | | | |
| 1974 | Spurensicherung: D. Bay, P A. Gette, J. Brodwolfs | | 0 | | 0 | 0 | | | | |
| 1974 | Konferenzzentrum, Mekka (R.
Gutbrod und F Otto) | | 0 | | 0 | 0 | | | | |
| 1975 | Kommerzialisierung des Reggae | | 0 | | 0 | 0 | | | | |
| 1975 | Pattern Art:H. Gläsker | | 0 | | 0 | 0 | | | | |
| 1975 | Arte Cifra in Italien | S. Chia, E Clemente, E. Cuchi, N. de Maria, M. Paladino | 2 | | 0 | 0 | | | | |
| 1975 | B. Ferneyhough, Time and motion
study III | | 0 | | 0 | 0 | | | | |
| 1975 | Einstein | Dessau P. | 0 | | 0 | 0 | | | | |
| 1975 | Penzoil Place, Houston (P Johnson
und J. Burgee) | | 0 | | 0 | 0 | | | | |
| 1976 | S. Matthus, Omphale (Text P
Hacks) | | 0 | | 0 | 0 | | | | |
| 1976 | B. Bertolucci, 1900 | | 0 | | 0 | 0 | | | | |
| 1977 | Centre Pompidou, Paris (R. Rogers
und R. Piano) | | 0 | | 0 | 0 | | | | |
| 1977 | Hauptsitz des Roten Kreuzes, Tokio
(K. Kurokawa) | | 0 | | 0 | 0 | | | | |
| 1977 | Bonaventura-Hotel, Los Angeles (J.
Portman) | | 0 | | 0 | 0 | | | | |
| 1977 | Bronx Developmental Center, New
York (R. Meier) | | 0 | | 0 | 0 | | | | |
| 1977 | Die Spitzenklöpplerin | Goretta C. | 0 | | 0 | 0 | | | | |
| 1977 | Der Aufstand | Schepitko L. | 0 | | 0 | 0 | | | | |
| 1977 | P. und V. Taviani, Padre Padrone | | 0 | | 0 | 0 | | | | |
| 1978 | Wettbewerbsentwurf Erweiterung
Staatsgalerie, Stuttgart (J. Stirling) | | 0 | | 0 | 0 | | | | |
| 1978 | Christus kam nur bis Eboli | Rosi F. | 0 | | 0 | 0 | | | | |
| 1980 | L. Malle, Atlantic City | | 0 | | 0 | 0 | | | | |
| 1980 | Stardust memories | Allen W. | 0 | | 0 | 0 | | | | |
| 2006 | Die Passagierin | Weinberg Mieczysław | 19 | | 0 | 8 | | | | |