Relevant bibliographies by topics / London Gallery

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'London Gallery'

Author: Grafiati
Published: 10 March 2023
Last updated: 30 July 2024

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Journal articles on the topic "London Gallery"

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Rubinstein, Ben. "The micro gallery at the national gallery of London." Archives and Museum Informatics 6, no. 2 (June 1992): 5–10. http://dx.doi.org/10.1007/bf02770344.

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Sloan, Dr Rachel, and Deborah Harty. "REVIEWS." Visual Inquiry 2, no. 1 (March 1, 2013): 99–103. http://dx.doi.org/10.1386/vi.2.1.99_5.

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MANTEGNA TO MATISSE: MASTER DRAWINGS FROM THE COURTAULD GALLERY The Courtauld Gallery, London, 14 June to 9 September 2012 and The Frick Collection, New York, 2 October 2012 to 27 January 2013HYPERDRAWING: BEYOND THE LINES OF CONTEMPORARY ART, TRACEY (2012) (EDITED BY PHIL SAWDON AND RUSSELL MARSHALL) London & New York: I.B. Tauris & Co Ltd. Paperback, ISBN: 978 1 78076 254 8
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Curling, Pip. "Lucian Freud: Hayward Gallery, London, 1988." de arte 23, no. 38 (September 1988): 34–35. http://dx.doi.org/10.1080/00043389.1988.11761076.

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Houlton, Tom. "Art's Unconscious Accuracy." Excursions Journal 4, no. 1 (September 13, 2019): 119–30. http://dx.doi.org/10.20919/exs.4.2013.168.

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Gómez González, Marisa. "Scientific Research on Ancient Asian Metallurgy. Proceedings of the Fifth Forbes Symposium at the Freer Gallery of Art." Ge-conservacion 5 (December 22, 2013): 149–50. http://dx.doi.org/10.37558/gec.v5i0.202.

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Scientific Research on Ancient Asian Metallurgy. Proceedings of the Fifth Forbes Symposium at the Freer Gallery of Art Editado por P. Jett, B. McCarty and J. G. Douglas Publicado por Archetype Publications Ltd. and Freer Gallery of Art, Smithsonian Institution. London, Los Angeles, 2012. 268 páginas, 297x210mm. ISBN. 9781904982722
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Harris, Laura. "Patriarchs, Nira Pereg, curated by James Clegg and Show Me the World Mister, Ayo Akingbade, curated by Carmen Juliá and Olivia Aherne." Moving Image Review & Art Journal (MIRAJ), The 12, no. 1 (April 1, 2023): 126–32. http://dx.doi.org/10.1386/miraj_00110_5.

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Review of: Patriarchs, Nira Pereg, curated by James Clegg and Show Me the World Mister, Ayo Akingbade, curated by Carmen Juliá and Olivia Aherne Reviewed by Laura Harris, University of Southampton Talbot Rice Gallery, Edinburgh, 29 October 2022-18 February 2023 Chisenhale Gallery, London, 10 November 2022-5 February 2023
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Patel, Raksha. "Revisiting the Decameron." Journal of Contemporary Painting 6, no. 1-2 (October 1, 2020): 171–79. http://dx.doi.org/10.1386/jcp_00021_7.

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Reynolds, Lucy. "Barang-Barang, Erika Tan." Moving Image Review & Art Journal (MIRAJ), The 11, no. 2 (September 1, 2022): 278–84. http://dx.doi.org/10.1386/miraj_00099_5.

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Wilson, Sarah Kate. "Insight: Week 8, Aimée Parrott." Journal of Contemporary Painting 6, no. 1-2 (October 1, 2020): 180–87. http://dx.doi.org/10.1386/jcp_00022_7.

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David, Karen. "Full of Days, Hermione Burton and Andy Holden." Journal of Contemporary Painting 9, no. 2 (October 1, 2023): 307–10. http://dx.doi.org/10.1386/jcp_00061_7.

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Dissertations / Theses on the topic "London Gallery"

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Calè, Luisa. "Fuseli's Milton Gallery : 'turning readers into spectators' in late eighteenth-century London." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395294.

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VELICOGNA, CHIARA. "The Clore Gallery in London. A Museum for Turner by James Stirling." Doctoral thesis, Università IUAV di Venezia, 2019. http://hdl.handle.net/11578/282580.

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Higgins, Sean Joseph. "Thomas Macklin's Poet's Gallery : consuming the sister arts in late eighteenth century London." Thesis, Courtauld Institute of Art (University of London), 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.539282.

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Greer, Elena J. "Sir Frederic William Burton and the Rosebery Minute : the directorship of the National Gallery, London, in the late nineteenth century." Thesis, University of Nottingham, 2017. http://eprints.nottingham.ac.uk/48057/.

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This thesis examines for the first time the role of Sir Frederic William Burton (1816-1900) as director of the National Gallery, London, during the period 1874 to 1894. I argue that his directorship is important because it was followed by the second major administrative re-organisation in the Gallery’s history, namely the Rosebery Minute of 1894, which significantly reduced the authority of the director in making acquisitions. This power had been bestowed upon the director in 1855 after an in-depth parliamentary Select Committee examining the running of the Gallery, which had established the post for the first time. My thesis seeks to determine to what extent and how Burton’s tenure prompted this major reassessment of the Gallery’s management structure. The enquiry addresses the question from a variety of perspectives including Burton’s acquisitions, the display of the collection, his attitude to the social function of the Gallery and the relationship of the Gallery authorities with government departments and individuals. These topics are informed by a methodological approach that takes as its starting point the large volume of archival material and correspondence both at the National Gallery and in other gallery archives and libraries relating mainly to Burton and his trustees, chiefly Sir Austen Henry Layard and Sir William Gregory. Using these sources my thesis examines the background, interests, motivations and personal relationships of key individuals, assessing the impact of personal biography upon institutional history. The thesis also sets these case studies within the broader cultural context of the development of the discipline of the history of art and the challenges this posed to the identity of the Gallery. The final chapter reassesses the Rosebery Minute of 1894 in the light of this research, highlighting the importance of both a detailed ‘micro-historical’ approach and a broad contextualisation of developments at the National Gallery at the turn of the twentieth century.
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Huang, Yun-hsuan, and 黃韻璇. "For the Sake of the Public: Defining and Reforming the National Gallery, London from 1824 to 1865." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/71202154580664562946.

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碩士
國立中央大學
藝術學研究所
101
Studies and publications about the National Gallery, London before the end of the twentieth century tend to focus on the collection’s history, artists and subjects of paintings, whereas the Gallery’s constitution and development in the contexts of art, society and institutional history are often neglected. Not until the end of the twentieth century did the issues of public practices of the National Gallery begin to draw attention in art-historical studies. Even so, ideas of public display and the institutional development of the National Gallery still need clarification and further discussion due to the particularities of the Gallery: compared with continental public galleries in the nineteenth century, the establishment of the National Gallery lacks certain important historical conditions, such as the patronage from the Royal family and thus the potential impetus of turning Royal collections into public or national properties. Under these circumstances, the reasons why Britain still insisted to establish a national gallery require explanation. Moreover, it is also worth considering the ways in which Britain not only overcame the above-mentioned restrictions to establish a “national gallery” but also reformed its constitution so as to answer the increasing demand for its public duty. This thesis on the National Gallery tries to reconstruct its foundation, its early collecting and display practices, and to examine debates relating to the Gallery’s public role and collecting and display issues. It consists of three chapters: the first chapter, “from private collection to public display,” traces England’s collecting and display conditions prior to the National Gallery and the growing public demands for establishing a national gallery. The second chapter, “defining the public character of the National Gallery and its public,” reconstructs the Gallery’s display condition in its early phases, and discusses the debates on its typology of collection, its public and public roles. The third chapter, “reforming the system of public collection and display,” examines how the Gallery’s administration, collecting and display system were gradually modernized in the 1850s. As the title indicates, this thesis aims to show that the National Gallery’s public vision and developing processes in its early stages can provide significant references for thinking about the raison d’être of a national gallery. It also suggests that the notion of public would be a basic but vital issue for all national galleries to face repeatedly.
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Campbell, KRISTIN. "Pictures for the Nation: Conceptualizing a Collection of 'Old Masters' for London, 1775-1800." Thesis, 2009. http://hdl.handle.net/1974/1668.

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This thesis addresses the growing impulse towards establishing a public, national collection of Old Master pictures for Britain, located in London, in the last quarter of the eighteenth-century. It does so by identifying the importance of individual conceptualizations of what such a collection might mean for a nation, and how it might come to be realized for an imprecisely defined public. My thesis examines the shifting dynamics between private and public collections during the period of 1775 to 1800, repositioning notions of what constituted space for viewing and accessing art in a national context, and investigates just who participated in the ensuing dialogues about various uses of art for the nation. To this end, three case studies have been employed. The first examines the collection of pictures assembled by Sir Robert Walpole and their public legacy. The second explores the proposal for a national collection of art put forth by art dealer Noel Desenfans. The third examines the frustrated plans of Sir Joshua Reynolds for his collection of Old Master pictures. Through the respective lenses provided by the case studies, it is demonstrated that the envisioning of a national gallery for Britain pitched competing perspectives against each other, as different kinds of people jockeyed for cultural authority. The process of articulating and shaping these ambitions with an eye towards national benefit was only beginning to be explored, and negotiations of private ambitions and interests surrounding picture collections for the public was further complicated by factors of social class and profession. This thesis demonstrate that the boundaries of participation in matters concerning art for the nation were not fixed regarding Old Master pictures and the value placed on them in late eighteenth-century London.
Thesis (Ph.D, Art History) -- Queen's University, 2009-01-26 09:01:22.591
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caterina, caputo. "Collezionare, esporre, vendere. Strategie di mercato e diffusione dell'arte surrealista tra il 1938 e il 1950: il caso della London Gallery." Doctoral thesis, 2018. http://hdl.handle.net/2158/1128889.

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La tesi analizza le strategie di mercato e la diffusione del surrealismo relative alle attività dell'unica galleria ufficialmente surrealista in Gran Bretagna, aperta a Londra dall'artista surrealista belga E.L.T. Mesens e dall'inglese Roland Penrose, e rimasta in attività dal 1938 al 1950. Nel corso della trattazione viene posta una particolare attenzione sia al mercato dell'arte che al collezionismo surrealista del periodo tra le due guerre e dell'immediato dopo guerra, non solo in ambito britannico ma anche internazionale. Lo studio, inoltre, ambisce a ricontestualizzare quel processo di internazionalizzazione che il movimento surrealista aveva posto tra i suoi principali obiettivi a partire dai primi anni Trenta.
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Khalife, Lamis. "Autour des nouvelles valorisations des collections permanentes au musée : le cas de l'exposition Encounters : New Art from Old." Thèse, 2016. http://hdl.handle.net/1866/16147.

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Dans le cadre de la célébration du nouveau millénaire, la National Gallery de Londres a organisé l'exposition Encounters: New Art from Old (14 juin - 17 septembre 2000). La formule consistait à inviter vingt-cinq artistes contemporains à choisir une œuvre de la collection permanente du musée et à s'en inspirer afin d'en créer une nouvelle. Certaines des œuvres produites pour l’occasion ont été exposées près de leurs sources dans les salles historiques de la collection du musée. Ce mémoire examine comment la formule de cette exposition et son accrochage anachronique agissent de façon directe sur la temporalité de la collection historique en invitant à sa réactualisation, et à la mise en valeur de la création. Il situe cette formule dans le cadre d’un regain d’intérêt pour les collections, décortique la sélection des artistes par le musée et la sélection des œuvres de la collection par les artistes. Il propose aussi une classification des modalités par lesquelles ceux-ci ré-interprètent la tradition. Enfin, en s’appuyant sur la théorie de la réception, ce mémoire considère les réponses générées par l’exposition : celles des artistes aux œuvres de leurs prédécesseurs, celles des critiques et celles du public.
As part of the celebration of the new millennium, the National Gallery of London organized the exhibition Encounters: New Art from Old (June 14 to September 17, 2000). The concept was to invite twenty-five eminent contemporary artists to choose a painting from the permanent collection of the museum in order to create a new artwork. Some of the works produced for the occasion were displayed near the works that inspired them in the historic galleries of the museum. This dissertation examines how the anachronistic hanging of the works of art helped Encounters in shedding new light on the permanent collection of the museum and in showcasing the contemporary artists' interpretations. The dissertation seeks to situate Encounters in the context of a new interest in museum collections, to reflect on its selection of artists as well as on the selection of works chosen by the artists. It then proceeds to classify the new creations in four modalities of intervention and in conclusion addresses the reception generated by the exhibition: that embodied by the new works created and those of the press and the public.
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Books on the topic "London Gallery"

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Sandra, Pisano, ed. The National Gallery London. London: Scala in association with the National Gallery, 2011.

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Britain), National Gallery (Great, ed. The National Gallery, London. New York: Thames and Hudson, 1989.

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Harris, Russell. Maharajas at the London studios: National Portrait Gallery, London. New Delhi: Roli Books, 2001.

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Opie, Catherine. Catherine Opie: The Photographers' Gallery, London. London: Photographers' Gallery, 2000.

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Leventis, Michael. Michael Leventis: The Solomon Gallery London. London: Solomon Gallery, 1988.

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Britain), National Gallery (Great. Treasures of the National Gallery, London. London: The Gallery, 1996.

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L, Barcham William, Whiteley Linda, and National Gallery (Great Britain), eds. Paintings in the National Gallery, London. Boston: Bulfinch Press Book, 2000.

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Virtue, John. John Virtue: London paintings. London: National Gallery, 2005.

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Wegner, Nicholas. Depart from zero: The development of the Gallery London 1973-1978. London: Gallery Trust, 1987.

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Virtue, John. John Virtue: London, Venice monotypes. London: Marlborough, 2008.

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Book chapters on the topic "London Gallery"

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Mader, Rachel. "Art for Society, Whitechapel Art Gallery, London, 1978." In "When exhibitions become politics", 95–110. Köln: Böhlau Verlag, 2016. http://dx.doi.org/10.7788/9783412504632-005.

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Roberts, Daniela. "Visualizing Historical Greatness." In Spaces for Shaping the Nation, 231–54. Bielefeld, Germany: transcript Verlag, 2024. http://dx.doi.org/10.14361/9783839466940-014.

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In this paper I will look at the two national portrait galleries in Great Britain (the English institution in London and the Scottish National Portrait Gallery in Edinburgh) and compare their strategies for presenting the collections of certain eminent men and women. Such strategies served to convey the significance of these figures both for the nation and for each museum's history. Choices of architecture, style, and decorative scheme, as well as the setting for the collection and its display, will be analysed in order to understand these institutional modes of reconstructing and visualizing national history.
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Mörsch, Carmen. "Die Bildung der A_N_D_E_R_E_N durch Kunst." In Postcolonial Studies, 355–76. Bielefeld, Germany: transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839449868-018.

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Carmen Mörsch fokussiert in diesem Beitrag auf die Entwicklung der Kunstvermittlung in England in London. Dort ist dieses Arbeitsfeld weltweit am stärksten ausdifferenziert, und seine Diskurse und Praktiken setzen bis heute auch in Deutschland Impulse. Dies ist kein Zufall, denn seine Entstehung ist eingebettet in die Zeit der Nationalstaatsbildung und verwoben mit der Entstehung des Empire und damit mit der Formierung einer kolonial und kapitalistischen Gesellschaftsordnung. Anhand kurzer historischer Abrisse zum 18. und 19. Jahrhundert sowie eines Fallbeispiels, der Whitechapel Art Gallery in London und ihrer Vorläuferinstitution, dem Social Settlement Toynbee Hall, soll anschaulich werden, dass es sich bei Kunstvermittlung um ein Arbeitsfeld handelt, in dem sich minorisierte Subjektpositionen - allen zuvorderst und bis heute weiße, bürgerliche Weiblichkeit - professionelle Handlungsräume und Sichtbarkeit erkämpften und dass letztere nicht ohne Verluste - nämlich auf Kosten rassistisch und klassistisch markierter A_n_d_e_r_e_r - zu haben waren.
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Maier, Lukas. "König, Königin, Königinmutter." In Übersetzungskulturen der Frühen Neuzeit, 373–99. Berlin, Heidelberg: Springer Berlin Heidelberg, 2021. http://dx.doi.org/10.1007/978-3-662-62562-0_19.

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ZusammenfassungUnder King Charles I, Queen Henrietta Maria, and the exiled French Queen Mother Maria de’ Medici, St James’s Palace in London became the scene of various cultural translation processes that were subject to different strategies and objectives. Henrietta Maria not only presented herself as the mother of the future Stuart kings, but also emphasized her Bourbon heritage with her French bedroom suite. Charles I staged himself as British emperor in the gallery and garden by translating the display context of artworks in continental European collections. Translation efforts could also have a mediating function, as can be seen in Inigo Jones’ Queen's Chapel and the apartment of Marie de’ Medici, which combined both English and French court ceremonial.
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Morgan, Augustus De. "‘Newton’ in Cabinet Portrait Gallery of British Worthies, 12 vols (London, Charles Knight & Co., 1846), vol. 11, pp. 78-117." In Early Biographies of Isaac Newton, 1660-1885 vol 2, 183–212. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003551829-9.

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Desmond, Adrian. "22. British Aborigines." In Reign of the Beast, 417–42. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0393.22.

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Saull’s switch from geology to primeval archaeology was not so strange. The upper geological strata and lowest archaeological layers were thought to share a porous border in the 1840s. Nor was the move any less central to his Owenite goal of proving nature’s perfectibility. He saw himself dealing with what he called British “aborigines”, and their rise from “savagery” towards modern mercantile man through changing cultural conditioning. In practice he developed a system, almost unique at this time, of Celtic cultural stages in pre-Roman Britain. Here we deal with his path to this singular position, from his study of ancient hut remains to reclamation and salvage archaeology, as London’s new sewerage works threw up Roman artefacts (which only his and Charles Roach Smith’s museums were prepared to receive). This led to his book Notitia Britanniae (1845), and a lower museum gallery filling up with archaeological remains. Lecturing now often took place at another radical hotbed, the Finsbury Social Institution. Here the old Spencean revolutionary Allen Davenport dedicated his poem “Urania” to Saull. It was also a feminist stronghold, and its leading light Mary Jenneson talked of Saull’s favourite (and levelling) topic, the rise of the British “aborigines”. The Owenite understanding of this concept in an imperial age is unpacked, as is Saull’s political agenda in Notitia.
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Olson, Jeannine. "The Mission to France: Nicolas Des Gallars’ Interaction with John Calvin, Gaspard de Coligny, and Edmund Grindal, Bishop of London." In Calvinus clarissimus theologus, 344–57. Göttingen: Vandenhoeck & Ruprecht, 2012. http://dx.doi.org/10.13109/9783666569463.344.

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"Galeriegebäude in London / Gallery Building in London." In Brick Buildings S, M, L, 232–43. DETAIL, 2023. http://dx.doi.org/10.11129/9783955536008-022.

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Calè, Luisa. "The Reader Turned Spectator: Visual Narratives." In Fuseli’s Milton Gallery, 105–57. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780199267385.003.0004.

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Abstract Chapter 2 used Iser’s reader response to analyse the role and trans- formation of texts at exhibitions. That analysis is here pushed further as we move from the catalogue to the pictures. Much as gallery catalogues exemplify the ways in which texts construct their implied readers, so do literary galleries construct their implied spectators. This chapter sets the visual narrative explored by theorists alongside dictionary entries, developments in museum layouts as well as the visual spectacles of the day: magic lanterns, panoramas, and the Eidophusikon. In The Shows of London (1978), R. D. Altick offered a ground-breaking inventory of London’s spectacles. Eighteenth-century spectacles and viewing practices went across the barriers preserving high art and literature from what now falls in the precincts of popular culture. In order to reconstruct how language and painting turned readers into spectators in late eighteenth-century London, we need to explore the ways in which aesthetic experience was shaped by visual technologies as a series of integrated cultural practices. This chapter focuses on how reading shaped the experience of exhibitions and ends with an analysis of literary gallery narratives, culminating in a montage reading of Fuseli’s Milton Gallery.
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"Serpentine Gallery Pavilion London, GB." In OMA, 158–63. DETAIL, 2019. http://dx.doi.org/10.11129/9783955534998-015.

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Conference papers on the topic "London Gallery"

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Chen, Shupeng, Huan Fan, and Jonathan P. Bowen. "Indoor Tourist and Digital Scenery: Rethinking the Chengdu Immersive Art Gallery." In Proceedings of EVA London 2024. BCS Learning & Development, 2024. http://dx.doi.org/10.14236/ewic/eva2024.15.

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Harding, Clare R., Susan Liggett, Adrian Gradinar, and Mark Lochrie. "What Do Audiences Want from a Public Art Gallery in the Digital Age?" In Proceedings of EVA London 2019. BCS Learning & Development, 2019. http://dx.doi.org/10.14236/ewic/eva2019.27.

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Kendal, Maureen, Caitriona McAllister, and Jacob Deakin. "Dolls’ House Artists’ Installation: A-Maze artists collective exhibition at the APT Gallery, Deptford, London, October 2023." In Proceedings of EVA London 2024. BCS Learning & Development, 2024. http://dx.doi.org/10.14236/ewic/eva2024.33.

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Christie, Robyn. "The Great Debate: Campaigns and Conflicts in London in the 1980s." In The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. PLACE NAME: SAHANZ, 2023. http://dx.doi.org/10.55939/a5016p9v9h.

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In 1984 HM King Charles III, then HRH The Prince of Wales, gave the infamous speech to the RIBA in which he was critical of a proposed new extension to the National Gallery in Trafalgar Square. The fervour unleashed in the press signified a unique moment when architecture, conservation, planning and development became a much – and still – talked about part of the public discourse in Britain. Conservation theory had dictated since its early guidelines of practice that new additions to historic works should be clearly distinguished from their original host or the existing environment. Historicism, imitating the existing architecture within an urban setting was taboo, a notion that went back to Ruskin and the anti-scrape lobby of Morris. Unravelling the events of the 1980s, however, reveals that the desire to copy past forms as a means of retaining the past maintained an ongoing and strong legacy. It had become a method of seeking refuge from the failures of modernism and the divergence between traditional and modern forms, language and techniques. Openly acknowledged that modernism was anti- historic and anti-urban, classicism and medieval towns and forms offered the example of outdoor rooms and a predominance of solids over voids. For the then Prince and his many followers, including vast members of the public, the use of a traditional architectural style as infill in a classically inspired building setting was “good” design practice. At this point, ironically, the retreat to historicism also comprised not only mimicking traditional details but also their playful reinterpretation through an esoteric postmodernism. But the topic of new into old had become confused: the critical issue was one of urban design and not the language of infill architecture. Three case studies within the historic core of the City of London, the basis of criticism in Charles’ speeches of 1984 and 1987, will be explored through the popular press in order to understand their lessons and relevance to the complexity of current contemporary conflicts in historic urban areas.
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Proto, Camila. "Gallery of Lost Art: o Museu Virtual e as relações entre matéria e legitimação." In Encontro de História da Arte. Universidade Estadual de Campinas, 2017. http://dx.doi.org/10.20396/eha.12.2017.4485.

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Ao longo da história, imagens, símbolos e espaços são criados e, mesmo que de forma espontânea, lapidam o que conhecemos por humanidade. As obras de arte, por se configurarem simbolicamente, acabam também por moldar a sociedade e o jeito como o simulacro se configura.
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Landeira-Zylberberg, Julia, Mário Vicente Giordano, Renata Morato Santos, Luiz Augusto Giordano, Sandra Maria Garcia de Almeida, and Mario Gáspare Giordano. "Prevalência dos diferentes tipos de fenótipo da Síndrome do Ovário Policístico e sua correlação com a resistência insulínica e Síndrome Metabólica." In 44° Congresso da SGORJ - XXIII Trocando Ideias. Zeppelini Editorial e Comunicação, 2020. http://dx.doi.org/10.5327/jbg-0368-1416-2020130211.

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Introdução: A Síndrome do Ovário Policístico (SOP) é uma patologia complexa e heterogênea frequente nos ambulatórios de ginecologia endócrina, cuja fisiopatologia não está completamente esclarecida. Apresenta manifestações clínicas e laboratoriais diversas, e por esse motivo é subdividida em quatro fenótipos (A, B, C e D). A resistência insulínica (RI) e a hiperinsulinemia (HI) podem ser características da SOP, havendo correlação com a Síndrome Metabólica (SM) em alguns casos. Apesar da alta prevalência da SOP e da SM na população, poucos trabalhos abordam de forma específica cada fenótipo da SOP e há dúvidas quanto ao comportamento endócrino e metabólico da síndrome, ao longo dos anos. Objetivos: Determinar a prevalência de cada fenótipo em um serviço de Ginecologia Endócrina do Rio de Janeiro; determinar se um fenótipo tem maior prevalência de SM e RI; e analisar parâmetros hormonais entre os fenótipos. Pacientes e Métodos: Estudo retrospectivo, por meio da análise de prontuários, de atendimentos realizados entre janeiro de 2015 e março de 2020. Foram incluídas 80 mulheres com SOP diagnosticadas pelos critérios de Rotterdam (2003). Para o diagnóstico da RI, utilizou-se a relação glicose/insulina maior que 2,5 e/ou Homeostases Model Assessment-Insulin Resistance (HOMA-IR) acima de 2,7. Para o diagnóstico da SM, utilizou-se o critério diagnóstico da National Cholesterol Education Program’s Adul Treatmen Panel III (NCEP/ATP III), que necessita de três critérios entre os cinco: glicemia de jejum >110 mg/d; circunferência abdominal >88 cm; triglicerídeos ≥150 mg/dL; lipoproteína de alta densidade (HDL) <50 mg/dL; e pressão arterial (PA) ≥130/85 mmHg. A análise dos dados incluiu média e desvio padrão para variáveis contínuas e número/proporção para variáveis categóricas. A distribuição normal das variáveis contínuas foi analisada pelo teste de Kolmogorov-Smirnov. ANOVA (teste de Kruskal-Wallis) foi usado para comparar os quatro fenótipos. A análise estatística foi realizada no programa GraphPad InSat version 3.00 for Windows. O projeto foi aprovado pelo Comitê de Ética em Pesquisa (CEP) da Universidade do Estado do Rio de Janeiro (UERJ), sob o número CAAE: 05433518.9.0000.5258. Resultados: Não houve diferença entre os grupos no que concerne às diversas dosagens hormonais. O fenótipo D, como era de se esperar, apresentou os menores índices do Escore de Ferriman e Gallwey, pois é o fenótipo em que não há hiperandrogenismo. Não houve diferença entre a idade da menarca, a média de idade e a circunferência abdominal entre os fenótipos. O fenótipo A foi o mais prevalente na amostra. A prevalência de RI e SM foi similar entre os fenótipos. Conclusão: O fenótipo A foi o mais prevalente. Não há diferença na prevalência entre RI e SM entre os fenótipos da SOP. Não houve diferença entre os parâmetros hormonais da SOP nos quatro fenótipos.
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Reports on the topic "London Gallery"

1

Mahat, Marian, Guy Morrow, Brian Long, Siew Fang Law, Amy Gullickson, and Chengxin Guo. Developing an impact framework for Science Gallery Network: Final report. University of Melbourne, 2022. http://dx.doi.org/10.46580/124372.

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The aim of this project was to develop an impact framework for the Science Gallery Network (SGN). This work was commissioned by the Science Gallery International (SGI). The SGN has eight member organisations across four continents: Dublin, London, Melbourne, Bengaluru, Detroit, Rotterdam, Atlanta and Berlin. Whilst the network consistently sees unprecedented levels of accomplishment by its members, a testimony to their capacity, innovation and vision, the SGN does not have a systematic way to measure and monitor this impact. An impact framework that can assist with understanding and reporting the value of this impact will provide important recognition that the SGN has achieved what it sets out to do— bringing science, art, technology and design together to deliver world-class educational and cultural experiences for young people. This report details the robust consultation approach that was undertaken by the University of Melbourne’s project team—one that included a desktop review, focus group discussions, surveys and interviews—to ensure multiple perspectives were gathered on what could be considered a multi-faceted concept. The desktop review provided a thorough review and an environmental scan of the impact literature and its measurement. In addition, the focus group discussions and interviews provided a rich understanding of what ‘good impact’ means for the SGN and the implications of this to the measurement of impact outcomes. Five key recommendations are provided and summarised. Note that these key recommendations should be taken as a point of departure for further in-depth consultation throughout the wider SGN.
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2

(Gamla), Grupo de Análisis del Mercado Laboral. Señales de un mercado laboral menos holgado y efecto del aumento de subsidios durante la pandemia sobre la oferta laboral. Edited by Leonardo Bonilla-Mejía. Banco de la República de Colombia, August 2022. http://dx.doi.org/10.32468/rml.23.

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A mayo de 2022, tanto las encuestas de hogares, como los distintos registros administrativos dan cuenta de un mercado laboral dinámico, en el cual el empleo continúa creciendo aceleradamente. En general, los niveles de ocupación son similares o mayores a los registrados antes de la pandemia. La ocupación crece más rápido en las ciudades y sobresalen los segmentos de empleo asalariado y formal. Los sectores con mayor contribución al crecimiento del empleo son comercio, alojamiento, transporte y recreación. Por su parte, los grupos poblacionales que más aportaron al crecimiento del empleo fueron las mujeres, las personas entre 29 y 65 años, los individuos sin educación superior y los no jefes de hogar. Los índices de vacantes y las encuestas de expectativas de contratación reafirman el buen desempeño del mercado laboral. La oferta laboral muestra señales de estabilización durante el último trimestre. Este comportamiento, junto con el mayor dinamismo en el empleo, explican la sostenida reducción en la tasa de desempleo (TD), especialmente en el área urbana. Si bien se observan aumentos en los ingresos corrientes, especialmente en el segmento no asalariado, la mayor inflación se traduce en que estos hayan permanecido estables en términos reales. Tanto los indicadores de holgura, como los de cuellos de botella y la curva de Beveridge muestran un mercado laboral cada vez más estrecho. Dadas las previsiones en materia de crecimiento económico del equipo técnico del Banco de la República, consignadas en el Informe de política monetaria de julio de 2022, los pronósticos indican que la TD nacional terminaría el año 2022 en 10,2%, y que su promedio para el año estaría entre 10,2 % y 11,5 %. Por su parte, las estimaciones de la tasa de desempleo no inflacionaria (Nairu) sugieren una brecha de desempleo urbana más negativa. Estas estimaciones indicarían que la mayor estrechez del mercado laboral podría estar generando presiones inflacionarias. Este reporte se divide en dos secciones. En la primera se profundiza en los hechos coyunturales del mercado laboral descritos. En la segunda parte se estudian los subsidios que fueron entregados a los hogares durante la pandemia y su posible efecto sobre la participación laboral. Como parte de la estrategia para mitigar los efectos de la crisis sobre el ingreso de los hogares más vulnerables, el monto de los distintos subsidios otorgados por el Gobierno Nacional creció de manera importante, pasando de 0,3 % del PIB en 2019, a 1,3 % en 2021. Esto se vio reflejado en un aumento importante en el número de las personas beneficiadas y en un incremento del monto recibido por beneficiario. Para medir el impacto de estos subsidios sobre la participación laboral, se siguen en el tiempo grupos sociodemográficos que se definen a partir del género, la edad, el nivel educativo y el área metropolitana. Las estimaciones de panel y efectos fijos indican que no se registran cambios persistentes en la participación laboral en los grupos con mayor probabilidad de recibir subsidios adicionales durante la pandemia. En un ejercicio complementario se muestra que los municipios que recibieron más subsidios tampoco registraron mayores aumentos en el empleo formal asalariado. Estos resultados van en línea con los encontrados por otros autores para el caso de Colombia, como Gallego et al. (2021) y Londoño-Vélez y Querubín (2022). Es importante resaltar que dichos resultados son válidos para el periodo de pandemia (2019-2021) y no necesariamente se pueden extrapolar a otros periodos con circunstancias diferentes.
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