Same but different Joháczi, Szilvia; Párkányi, Bence
Dissertationes archaeologicae ex Instituto Archaeologico Universitatis de Rolando Eötvös Nominatae.,
03/2024, Letnik:
3, Številka:
11
Journal Article
Recenzirano
Attic black-figure vases from the Late Archaic and Early Classical periods are often neglected by scholars. Most of them are not included in the Beazley Archive Pottery Database, significantly ...hindering related research. This paper presents such a vase from the collection of the Museum of Fine Arts in Budapest. The authors propose that the scene on the lekythos, akin to others from the era, is a simplified version of a more elaborate one.
Precious cultural assets of East Asia are found worldwide and hold many important art-historical meanings, for example Buddhist statues. In this study, we conducted wood identification of Japanese ...and Chinese statues owned by the Museum of Fine Arts, Boston, USA. From the eight Japanese wood sculptures and one Chinese sculpture, 15 samples were collected. The anatomical features of these 15 samples were scrutinized using synchrotron X-ray microtomography or conventional optical microscopy. The results showed that the eight Japanese statues were made from
Chamaecyparis obtusa
, except for the base of one Japanese statue that was made from
Cryptomeria japonica
. Both species are important conifers in Japan. In contrast, the Chinese statue was made from hardwood,
Paulownia
sp.
En 1972 el Centro de Arte y Comunicación (CAYC), fundado en Buenos Aires en 1968, inauguró la exposición Hacia un perfil del arte latinoamericano. La muestra, curada por el promotor cultural Jorge ...Glusberg, incluyó 143 piezas correspondientes a 36 artistas de Argentina, América Latina, Estados Unidos y Europa. La exhibición, que viajó por distintos espacios exhibitivos del mundo, apuntaba a explorar, por medio de obras heliográficas, una conceptualización de “lo latinoamericano”, bajo el lente de las tensiones regionales amplificadas por las luchas políticas de aquellos años. En el presente artículo presentaré cómo esta exposición, a pesar de haber sido enviada a Santiago en 1973, con la intención de ser expuesta en el Museo Nacional del Bellas Artes (MNBA), quedó olvidada en los depósitos del museo durante más de 45 años, debido al golpe de Estado. Hoy, gracias al estudio de fuentes documentales, archivos y colecciones diversas, se ha podido reconstruir dicha historia, y proponer una lectura en profundidad, a través del análisis de tres obras consideradas emblemáticas.
AD Editor Neil Spiller first met Dwayne Oyler and Jenny Wu, founders of the Oyler Wu Collaborative, in 2014. Since then he has been interested in their practice, buildings and teaching, and their ...application of multi‐scalar solutions to projects from jewellery to urban towers, memorials and stairways. Here he talks to them about their recent designs, and the ambience and competitive nature of practising in Los Angeles.
Edith Hoffmann's name is not unknown to those involved in Hungarian museology or to researchers of medieval and Renaissance miniature painting and panel painting, and her research on 19th century ...Hungarian art is significant. Nevertheless, her oeuvre has not been scientifically processed, no collection of her numerous publications, which constitute basic research, has been published, and on her premature death she was not even honoured with a Festschrift. In 1948, her former workplace commemorated her with a memorial exhibition, the first to include her bibliography in its catalogue and the first compilation of the works she had collected for the Graphic Art Collection of the Museum of Fine Arts.1 In recent years, her person has come into focus primarily through her association with the Vienna School of Art History and her relationship with János (Johannes) Wilde.2 Although the anthology of the great authors of Hungarian art history (2007) includes a summary of her person and career, this could only be considered the starting point for a comprehensive volume of her works spanning several periods.3The theme of the current conference gave me the idea that a gender perspective on the development of her career might be a valid one, since we are talking about a woman scholar who managed carve out a place for herself in the all-male art historical community at a time when this was not at all obvious.That's why the present paper will in the first part of the text explore the conditions at the time she began her career and the possibilities for her remaining in the field. In the second part of the paper, I will focus on Edith Hoffmann's professional contacts in Vienna, because of the venue of the current conference.
Resumo Ao longo de quase todo o século XIX, o Estado português acompanha o movimento internacional de organização de museus públicos de arte como lugares de instrução para artistas, operários, alunos ...e público. As principais iniciativas museológicas valorizam acima de tudo o desígnio do ensinamento e os museus vivificam como espaços de coleção e experimentação. Esta tendência secular, revisitada através dos regulamentos de cinco casos modelares, sofre uma inflexão a partir dos anos 1880, quando se anuncia uma concepção museológica que exalta a contemplação e a fruição como valores fundamentais e menoriza a instrução e a pesquisa experimental.
Résumé Au cours de la majeure partie du XIXe siècle, l'État portugais a suivi le mouvement international consistant à organiser des musées d'art publics en tant que lieux d'enseignement pour les artistes, les ouvriers, les étudiants et le public. Les principales initiatives muséologiques valorisent tout d’ abord la conception de l'enseignement et les musées s'animent comme des espaces de collection et d'expérimentation. Cette tendance séculaire, revue à travers les réglementations de cinq cas modèles, s'est manifestée depuis les années 1880, à l'époque de l'annonce du succès de la conception muséologique qui exaltait la contemplation et la jouissance en tant que valeurs fondamentales et diminue l'enseignement et la recherche expérimentale.
Resumen A lo largo de la mayor parte del siglo XIX, el Estado portugués sigue el movimiento internacional de la organización de los museos de arte públicos como lugares de educación para artistas, obreros, estudiantes y el público. Las principales iniciativas museológicas valoran por encima de todo la meta de la enseñanza y los museos vivifican como espacios de colección y experimentación. Esta tendencia secular, revisitada por medio de los reglamentos de cinco casos modelares, sufre una inflexión a partir de los años 1880, cuando se anuncia una concepción museológica que exalta la contemplación y la fruición como valores fundamentales y disminuye la instrucción y la investigación experimental.
Abstract Throughout most of the nineteenth century, the Portuguese state follows the international movement for organizing public museums of art as places for the instruction of artists, workers, students and the public. The major museological initiatives value above all the purpose of teaching and the museums vivify as places of collection and experimentation. This secular tendency, revisited through the regulations of five model cases, suffered a reverse from the 1880s when a museological conception that exalts contemplation and enjoyment as fundamental values and mitigates instruction and experimental research is announced.
Abstract
For decades, the realm within which architects work was limited to its realworld materiality and ideas of industrialised modernism. This straitjacketed prescription has recently been ...challenged by the advent of the virtual, through technologies that have blown the profession wide open to new and highly dexterous spatial opportunities that question the old adages that sustained many generations of architects. Curator and writer
Jesse Damiani
reveals some of the ramifications for design.
El artículo tiene como objetivo primordial realizar un análisis crítico de los procesos de formación e inicial desarrollo del Museo Municipal de Bellas Artes de Río Cuarto (Córdoba) entre 1933-1943. ...Surgido en el contexto de un creciente interés del Estado en la formación del patrimonio nacional, el Museo Municipal de Bellas Artes de Río Cuarto se conformará por el contrario y fundamentalmente por los esfuerzos promovidos por su director: el escritor cordobés, Juan Filloy. De esta manera, constituye un foco central del artículo explorar la red de relaciones e intereses que hicieron posible la gestación del Museo así como la dinámica específica de los campos culturales periféricos. En este marco, se inscribe al Museo Municipal de Bellas Artes de Río Cuarto en una trama más amplia de producción, circulación y apropiación de relatos y representaciones del pasado. La investigación se sustenta principalmente en el examen de fuentes primarias: el libro de Actas del Museo Municipal de Bellas Artes de Río Cuarto, que aún se conserva en su sede actual, y una serie de cartas dirigidas a Filloy, que pudimos examinar en el Archivo Histórico Municipal de Río Cuarto. Además cumple un rol relevante en este trabajo la correspondencia de Ricardo Montes i Bradley a Filloy recopilada en El Amigo de Filloy (2014). Finalmente contamos con algunas declaraciones o discursos del propio Filloy extraídas de la biografía sobre el escritor cordobés recientemente escrita por Ariel Magnus (2017).
The main objective of the article is to carry out a critical analysis of the formation processes and initial development of the Municipal Museum of Fine Arts of Río Cuarto (Córdoba) between 1933-1943. Emerged in the context of a growing interest of the State in the formation of national heritage, the Municipal Museum of Fine Arts of Rio Cuarto will be shaped, fundamentally, by the efforts promoted by its director: the writer from Cordoba, Juan Filloy. In this way, it will be a central focus of the article to explore the network of relationships and interests that made possible the gestation of the Museum as well as the specific dynamics of the peripheral cultural fields. In this framework, the Municipal Museum of Fine Arts of Río Cuarto will be inscribed in a wider plot of production, circulation and appropriation of stories and representations of the past. The research is mainly based on an examination of primary sources: the Minutes Book of the Municipal Museum of Fine Arts of Río Cuarto, which is still in its current location, and a series of letters addressed to Filloy, which we were able to examine in the Historical Municipal Archive of Río Cuarto. In addition, the correspondence of Ricardo Montes i Bradley to Filloy compiled in El Amigo de Filloy (2014) will play a relevant role in this work. Finally we analize some statements or speeches by Filloy himself taken from the biography of Juan Filloy recently written by Ariel Magnus (2017).
In the collections of the Utah Museum of Fine Arts in Salt Lake City is a fragmentary limestone relief of a chair carrying scene. The relief fragment in Salt Lake City was a gift to the museum from ...Natacha Rambova (née Shaugnessy), a dancer, spiritualist, Hollywood costume and set designer, and one-time wife of Rudolph Valentino, who developed an interest in ancient Egypt. Such chair carrying scenes in the Old Kingdom are generally accompanied by a porters’ ditty, a so-called Sänftenlied. The fragmentary scene in Salt Lake City is unusual in substituting commands to the porters for the ditty.
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