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Author: Carole Paul
Publisher: Getty Publications
ISBN: 1606061208
Category : Art
Languages : en
Pages : 372
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Book Description
In the eighteenth and early nineteenth centuries the first modern, public museums of art—civic, state, or national—appeared throughout Europe, setting a standard for the nature of such institutions that has made its influence felt to the present day. Although the emergence of these museums was an international development, their shared history has not been systematically explored until now. Taking up that project, this volume includes chapters on fifteen of the earliest and still major examples, from the Capitoline Museum in Rome, opened in 1734, to the Alte Pinakothek in Munich, opened in 1836. These essays consider a number of issues, such as the nature, display, and growth of the museums’ collections and the role of the institutions in educating the public. The introductory chapters by art historian Carole Paul, the volume’s editor, lay out the relationship among the various museums and discuss their evolution from private noble and royal collections to public institutions. In concert, the accounts of the individual museums give a comprehensive overview, providing a basis for understanding how the collective emergence of public art museums is indicative of the cultural, social, and political shifts that mark the transformation from the early-modern to the modern world. The fourteen distinguished contributors to the book include Robert G. W. Anderson, former director of the British Museum in London; Paula Findlen, Ubaldo Pierotti Professor of Italian History at Stanford University; Thomas Gaehtgens, director of the Getty Research Institute; and Andrew McClellan, dean of academic affairs and professor of art history at Tufts University. Show more Show less
Author: Carole Paul
Publisher: Getty Publications
ISBN: 1606061208
Category : Art
Languages : en
Pages : 372
Get Book Here
Book Description
In the eighteenth and early nineteenth centuries the first modern, public museums of art—civic, state, or national—appeared throughout Europe, setting a standard for the nature of such institutions that has made its influence felt to the present day. Although the emergence of these museums was an international development, their shared history has not been systematically explored until now. Taking up that project, this volume includes chapters on fifteen of the earliest and still major examples, from the Capitoline Museum in Rome, opened in 1734, to the Alte Pinakothek in Munich, opened in 1836. These essays consider a number of issues, such as the nature, display, and growth of the museums’ collections and the role of the institutions in educating the public. The introductory chapters by art historian Carole Paul, the volume’s editor, lay out the relationship among the various museums and discuss their evolution from private noble and royal collections to public institutions. In concert, the accounts of the individual museums give a comprehensive overview, providing a basis for understanding how the collective emergence of public art museums is indicative of the cultural, social, and political shifts that mark the transformation from the early-modern to the modern world. The fourteen distinguished contributors to the book include Robert G. W. Anderson, former director of the British Museum in London; Paula Findlen, Ubaldo Pierotti Professor of Italian History at Stanford University; Thomas Gaehtgens, director of the Getty Research Institute; and Andrew McClellan, dean of academic affairs and professor of art history at Tufts University. Show more Show less
Author: Charles Saumarez Smith
Publisher: National Geographic Books
ISBN: 0500022437
Category : Art
Languages : en
Pages : 0
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Book Description
A compelling examination of the art museum from a renowned director, this sweeping book explores how architecture, vision, and funding have transformed art museums around the world over the past eighty years. How have art museums changed in the past century? Where are they headed in the future? Charles Saumarez Smith is uniquely qualified to answer these questions, having been at the helm of three major institutions over the course of his distinguished career. For The Art Museum in Modern Times, Saumarez Smith has undertaken an odyssey, visiting art museums across the globe and examining how the experience of art is shaped by the buildings that house it. His story starts with the Museum of Modern Art in New York, one of the first museums to focus squarely on the art of the present rather than the past. When it opened in 1939, MoMA’s boldly modernist building represented a stark riposte to the neoclassicism of most earlier art museums. From there, Saumarez Smith investigates dozens of other museums, including the Tate Modern in London, the Getty Center in Los Angeles, the West Bund Museum in Shanghai, and the Centre Pompidou in Paris. He explores our shifting reasons for visiting museums, changes to the way exhibits are organized and displayed, and the spectacular new architectural landmarks that have become destinations in their own right. Global in scope yet full of personal insight, this fully illustrated celebration of the modern art museum will appeal to art lovers, museum professionals, and museum goers alike.
Author: Andrew McClellan
Publisher: Univ of California Press
ISBN: 9780520221765
Category : Architecture
Languages : en
Pages : 308
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Book Description
A narrative history of the founding of the Louvre that also explores the ideological underpinnings, pedagogical aims, and aesthetic criteria of this, the first great national art museum.
Author: Alice Procter
Publisher: Cassell
ISBN: 1788402219
Category : Political Science
Languages : en
Pages : 310
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Book Description
"Probing, jargon-free and written with the pace of a detective story... [Procter] dissects western museum culture with such forensic fury that it might be difficult for the reader ever to view those institutions in the same way again. " Financial Times 'A smart, accessible and brilliantly structured work that encourages readers to go beyond the grand architecture of cultural institutions and see the problematic colonial histories behind them.' - Sumaya Kassim Should museums be made to give back their marbles? Is it even possible to 'decolonize' our galleries? Must Rhodes fall? How to deal with the colonial history of art in museums and monuments in the public realm is a thorny issue that we are only just beginning to address. Alice Procter, creator of the Uncomfortable Art Tours, provides a manual for deconstructing everything you thought you knew about art history and tells the stories that have been left out of the canon. The book is divided into four chronological sections, named after four different kinds of art space: The Palace, The Classroom, The Memorial and The Playground. Each section tackles the fascinating, enlightening and often shocking stories of a selection of art pieces, including the propaganda painting the East India Company used to justify its rule in India; the tattooed Maori skulls collected as 'art objects' by Europeans; and works by contemporary artists who are taking on colonial history in their work and activism today. The Whole Picture is a much-needed provocation to look more critically at the accepted narratives about art, and rethink and disrupt the way we interact with the museums and galleries that display it.
Author: Katherine Ware
Publisher:
ISBN:
Category : Biography & Autobiography
Languages : en
Pages : 196
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Book Description
Presents delicious and easy to prepare recipes and dishes from the northern region of Mexico.
Author: Pamela Carter-Birken
Publisher: Vernon Press
ISBN: 1648892604
Category : Art
Languages : en
Pages : 175
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Book Description
He was born to privilege and sought the world of art. She lived at the center of that world—a working artist encouraged by the famous artists in her extended family. Together, Duncan Phillips and Marjorie Acker Phillips founded The Phillips Collection in Washington, D.C., the first museum of modern art in America. It opened in the grand Phillips family home in 1921, eight years before New York City’s Museum of Modern Art and only a few weeks after they wed. Duncan took the lead in developing the collection and showcasing it. Marjorie kept space and time to paint. Duncan considered Marjorie a partner in the museum even though she was not directly involved in all purchasing and presentation decisions. To him, her influence was omnipresent. Although Duncan’s writings on artists and art history were widely published, he chose not to provide much instruction for visitors to the museum. Instead, he combined signature methods of displaying art which live on at The Phillips Collection. Phillips had viewers in mind when he hung American art with European art—or art of the past with modern art, and he frequently rearranged works to stimulate fresh encounters. With unfettered access to archival material, author Pamela Carter-Birken argues that The Phillips Collection’s relevancy comes from Duncan Phillips’s commitment to providing optimal conditions for personal exploration of art. In-depth collecting of certain artists was one of Phillips’s methods of encouraging independent thinking in viewers. Paintings by Pierre Bonnard, Arthur Dove, Georgia O’Keeffe, John Marin, Jacob Lawrence, and Mark Rothko provide testament to the power of America’s first museum of modern art.
Author: Mary and Leigh Block Museum of Art
Publisher:
ISBN: 9780300171075
Category : Art and science
Languages : en
Pages : 0
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Book Description
Published to accompany an exhibition held at the Harvard Art Museums, Sept. 6-Dec. 10, 2011, and the Block Museum of Art, Jan. 17-Apr. 8, 2012.
Author: Fernando Domínguez Rubio
Publisher: University of Chicago Press
ISBN: 022671411X
Category : Art
Languages : en
Pages : 426
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Book Description
How do you keep the cracks in Starry Night from spreading? How do you prevent artworks made of hugs or candies from disappearing? How do you render a fading photograph eternal—or should you attempt it at all? These are some of the questions that conservators, curators, registrars, and exhibition designers dealing with contemporary art face on a daily basis. In Still Life, Fernando Domínguez Rubio delves into one of the most important museums of the world, the Museum of Modern Art (MoMA) in New York, to explore the day-to-day dilemmas that museum workers face when the immortal artworks that we see in the exhibition room reveal themselves to be slowly unfolding disasters. Still Life offers a fascinating and detailed ethnographic account of what it takes to prevent these disasters from happening. Going behind the scenes at MoMA, Domínguez Rubio provides a rare view of the vast technological apparatus—from climatic infrastructures and storage facilities, to conservation labs and machine rooms—and teams of workers—from conservators and engineers to guards and couriers—who fight to hold artworks still. As MoMA reopens after a massive expansion and rearranging of its space and collections, Still Life not only offers a much-needed account of the spaces, actors, and forms of labor traditionally left out of the main narratives of art, but it also offers a timely meditation on how far we, as a society, are willing to go to keep the things we value from disappearing into oblivion.
Author: Bruce Altshuler
Publisher: Princeton University Press
ISBN: 9780691133737
Category : Antiques & Collectibles
Languages : en
Pages : 212
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Book Description
Twelve distinguished curators discuss the questions & challenges faced by museums in acquiring & preserving contemporary art.
Author: Julius von Schlosser
Publisher: Getty Research Institute
ISBN: 160606679X
Category : Art
Languages : en
Pages : 246
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Book Description
For the first time, the pioneering book that launched the study of art and curiosity cabinets is available in English. Julius von Schlosser’s Die Kunst- und Wunderkammern der Spätrenaissance (Art and Curiosity Cabinets of the Late Renaissance) is a seminal work in the history of art and collecting. Originally published in German in 1908, it was the first study to interpret sixteenth- and seventeenth-century cabinets of wonder as precursors to the modern museum, situating them within a history of collecting going back to Greco-Roman antiquity. In its comparative approach and broad geographical scope, Schlosser’s book introduced an interdisciplinary and global perspective to the study of art and material culture, laying the foundation for museum studies and the history of collections. Schlosser was an Austrian professor, curator, museum director, and leading figure of the Vienna School of art history whose work has not achieved the prominence of his contemporaries until now. This eloquent and informed translation is preceded by Thomas DaCosta Kaufmann’s substantial introduction. Tracing Schlosser’s biography and intellectual formation in Vienna at the turn of the twentieth century, it contextualizes his work among that of his contemporaries, offering a wealth of insights along the way.
