Relevant bibliographies by topics / Painting – Private collections – United States

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Academic literature on the topic 'Painting – Private collections – United States'

Author: Grafiati
Published: 10 March 2023

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Journal articles on the topic "Painting – Private collections – United States"

1

Vastano, Julia. "Choice of Law and Nazi-Looted Art Restitution: Cassirer v. Thyssen-Bornemisza Collection Foundation." American Journal of Trade and Policy 9, no. 2 (August 31, 2022): 51–58. http://dx.doi.org/10.18034/ajtp.v9i2.620.

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On April 21, 2022, the Supreme Court came to an unanimous decision in Cassirer v. Thyssen-Bornemisza Collection Foundation, a case concerning the legal ownership of a valuable painting by Camille Pissarro that was appropriated by the Nazi regime during the 1930s when its Jewish owners fled to the United States. After World War II, the painting changed ownership several times, ultimately to be acquired by Baron Hans Heinrich who sold it to the Thyssen-Bornemisza Collection Foundation in the Kingdom of Spain. After sixteen years of litigation and four appeals to the Ninth Circuit, the Supreme Court vacated and remanded the case back to the Ninth Circuit. The opinion, written by Justice Kagan, contended that in a suit raising non-federal claims against a foreign state or instrumentality under the FSIA, a court should determine the substantive law by using the same voice of law rule applicable in a similar suit against a private party. This paper will introduce the facts of Cassirer, present its procedural history, and dissect its treatment before the United States Supreme Court. This analysis will conclude with a discussion of the potential implications of the Cassirer decision on future Nazi-looted art claims.
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Romanenkova, Julia V. "Archetypes of Boris Smotrov`s works as a tool for national self-identification of the individual in chaotic conditions of the turn of the 21st century." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 60 (2021): 237–48. http://dx.doi.org/10.37816/2073-9567-2021-60-237-248.

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The paper discusses the works of Moscow artist Boris Smotrov. It provides a general analysis of the tools of his artistic style as well as the data on his main vectors of creative activity (painting, poster graphics). The author dwells on the master’s works in the field of painting, focusing on national themes. The study distinguishes dominant blocks of the painter's works (landscape, thematic painting), detects specifics of the artistic language, methods of working with color, his mastering of the line and pays attention to the interaction of painting and graphics in B. Smotrov’s creative baggage and his decorative manner. The paper addressees the main archetypes in the works of Smotrov (firebird, cow, apple, spring, Maslenitsa, etc.). The propensity for allegorical language is explained by his competent use of artistic means of creating a poster. The author analyzes individual features of B. Smotrov’s work with color, the creation of his own author's “patchwork” style as a result of creative transformation and rethinking of the influence of various styles and manners of individual artists, from A. Matisse to K. Petrov-Vodkin. The art of the master acts as an effective tool for debunking myths about the cheap popular character of Russian national motifs, and for combating superficial perceptions of them. The paper highlights worldview universals in culture as well as main problems of the art of the turning periods, one of which includes the creative path of B. Smotrov. The author pays special attention to the works of B. Smotrov as a tool for national self-identification of a creative person in conditions of cultural chaos at the turn of the century since they are on display at personal and collective exhibitions not only in Russia, but also in Austria, China, Korea, the United States and stored not only in Russian museums (Moscow, Perm, Tula), but also in private collections in China, USA, Switzerland. The study comes to the conclusion that “patchwork style” by Boris Smotrov is a quintessence of the Russian in his works.
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Xu, Min. "Chinese art: A survey of collections and research materials in the United States." Art Libraries Journal 39, no. 2 (2014): 43–47. http://dx.doi.org/10.1017/s0307472200018319.

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During the 20th century a range of museums in the United States were engaged in acquiring Chinese art objects, developing major collections of painting and calligraphy, ancient bronze, Buddhist sculpture, ceramics and other decorative arts. Research materials on Chinese art have been collected by art libraries in major museums and the East Asian libraries of the main research universities. The author surveys significant Chinese art collections in museums and research libraries in the United States today.
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Pabich, Marek. "THE BEGINNINGS OF MUSEUM ARCHITECTURE IN THE UNITED STATES." Space&FORM 2020, no. 50 (June 30, 2022): 177–94. http://dx.doi.org/10.21005/pif.2022.50.b-06.

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Contrary to Europe, where museums were created from transformed collections, in America the first museums were founded on the basis of scientific institutions. Only in the second half of the nineteenth century, museums are formed based on private collections. Objects were erected to house the collections, which for a long time, almost until the middle of the 20th century, stylistically referred to the architecture of ancient Greece. From the mid-nineteenth century, museums began to be built, for which architects looked for inspiration in later styles. And although neo-gothic, neorenaissance and neo-baroque objects appeared, the Greek Revival dominated museum architecture in the United States, created by graduates of the Parisian École des Beaux-Arts.
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Akinsha, Konstantin. "Why Can't Private Art “Trophies” Go Home from the War?" International Journal of Cultural Property 17, no. 2 (May 2010): 257–90. http://dx.doi.org/10.1017/s0940739110000111.

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AbstractThis article is dedicated to the collection from the Bremen Kunsthalle, comprising 1715 drawings, 50 paintings, and about 3000 prints found by Soviet troops in castle of Karnzow near Berlin in May 1945. The collection was not seized by Soviet trophy brigades but was looted by soldiers and officers of the 38th Field Engineers' Brigade of the Red Army.After their return to the USSR and demobilization, some of the officers donated their loot to different museums around the Soviet Union. One of the most important parts of the collection, with 362 drawings and two paintings—among them works of Dürer, Rembrandt, Goya, and Van Gogh, was appropriated by Captain Viktor Baldin. In 1948 Baldin deposited his loot in the A. V. Shchusev State Research Museum of Architecture in Moscow. Later Baldin became the director of the museum and advocated return of the art to its rightful owners.Since the days of Gorbachev's perestroika, these art works have frequently attracted public attention and provoked fierce debates. The Federal Law on Cultural Valuables adopted in 1998 did not cover art works looted by private individuals. Rather, such conflicts have to be solved within the framework of Russian criminal law.In contrast, other works of art from the same Bremen Kunsthalle collection were restituted from the United States, Ukraine, and Estonia. Another 101 drawings and prints of the collection, seized by another member of Baldin's brigade, were returned from Russia to Bremen in 2000, but that was in “exchange” for an original mosaic from the legendary Amber Chamber. However, despite more than 20 years of efforts by German officials and endless negotiations, the Baldin Collection remains in the Russian Federation. The return of those stolen drawings any time soon now looks highly improbable. The case of the Baldin Collection became the most striking example of the Russian nonrestitution of cultural property looted during World War II.
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Volk, Gayle M., and Adam D. Henk. "Historic American Apple Cultivars: Identification and Availability." Journal of the American Society for Horticultural Science 141, no. 3 (May 2016): 292–301. http://dx.doi.org/10.21273/jashs.141.3.292.

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Apples (Malus Mill.) have been economically and socially important throughout the centuries in North America. Apple cultivar (Malus ×domestica Borkh.) collections that include historic cultivars are valued for their unique diversity, historical significance, and also as a resource to identify unknown trees; however, not all of the historically significant apple cultivars are currently included in these collections. We used historic books, publications, and nursery catalogs to develop an inventory of apple cultivars that were propagated and grown in the United States before 1908. We collected synonym, introduction date, and original source country information for 891 historic apple cultivars. Most of the historic American cultivars originated as seedlings first planted in the United States. Some cultivars were brought to the United States from the United Kingdom, France, Russia, Germany, and other European countries. We classified historic apple cultivars based on their availability over time and popularity in nursery catalogs. Ninety percent of the most popular historic apple cultivars in the United States were available in 2015 in the U.S. and U.K. national collections and within several commercial and private collections. This work identified high priority historic cultivars that are not currently protected within genebanks that could be added to genebank collections in the future.
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Краснова, И. В. "An Electronic Сatalogue of Slobozhanshchina Icons of the Late 18th – Early 20th Centuries: Prerequisites for Creation, Purposes, Functions." Nasledie Vekov, no. 1(25) (April 22, 2021): 109–17. http://dx.doi.org/10.36343/sb.2021.25.1.009.

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В статье обосновывается необходимость создания виртуального каталога слобожанских икон и ставится цель разработки основных характеристик проектируемой электронной коллекции. Проведен анализ документальных источников, использованы результаты исследований российских и украинских ученых. Исследована история музеев Слободской Украины, собиравших произведения иконописи, изучено влияние событий ХХ в. на иконописное наследие Слобожанщины, которое вследствие атеистической кампании 1930-х гг. и действий оккупантов в период Великой Отечественной войны утратило единство и оказалось раздробленным между многочисленными музейными и частными коллекциями. Данный фактор, а также несомненная уникальность региональной иконописной традиции стали предпосылками к разработке концепции электронного каталога, который призван объединить все сохранившиеся на сегодняшний день произведения слобожанской иконописи. The article substantiates the need to create a virtual catalogue of Slobozhanshchina (Sloboda Ukraine) icons and sets the aim of developing the main characteristics of the projected electronic collection. Based on the use of systemic-historical and historical-genetic methods, documentary sources were analysed, the results of research of Russian and Ukrainian historians and culture scientists were studied. The history of museums in Sloboda Ukraine, which collected works of icon painting, is considered; special attention is paid to the Historical and Church Museum. Until the revolutionary events of 1917, this museum’s collections were constantly replenished with new exhibits. The history of the creation of the Museum of Ukrainian Art and the Central Art and History Museum named after Gregory Skovoroda (Museum of Sloboda Ukraine) is analysed. The influence of the events of the twentieth century on the icon-painting heritage of Sloboda Ukraine is considered. This heritage, as a result of the atheistic campaign of the 1930s and the actions of the occupiers during the Great Patriotic War, lost unity and was fragmented between numerous museum and private collections. The consequences of the German fascist invaders’ plunder of the museums of Sloboda Ukraine were especially grave: hundreds of thousands of exhibits were destroyed or taken out of the country. The fact of huge and often irreparable losses in the cultural heritage of Sloboda Ukraine by the middle of the twentieth century is stated. At present, the museums of Sloboda Ukraine have already collected a significant part of icon-painting works (about 500), but this number is not comparable with the richest heritage of Sloboda Ukraine of the beginning of the twentieth century. The author emphasises that a certain number of Slobozhanshchina icons continue to remain in churches and private collections in both Ukraine and Russia. Information about icons received from individuals is insufficient for attribution and museum documentation compilation, so many of the icons have not yet been fully introduced into museum circulation. The way out of this situation, according to the author, is to create an electronic catalogue of Slobozhanshchina icons, which will be a database of icon-painting works from museum and private collections with texts and images. The concept of the electronic catalogue has been developed. The catalogue is designed to unite all the works of Slobozhanshchina icon painting that have survived to date.
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Vinson, Emily. "Applying an Established Format to the Houston Archives Bazaar." Preservation, Digital Technology & Culture 48, no. 1 (March 26, 2019): 46–53. http://dx.doi.org/10.1515/pdtc-2018-0034.

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AbstractRegional archival organizations across the United States have been bringing out the archives in free events designed to showcase collections in public spaces, and connect communities to local history resources. Called archives bazaars or crawls, these outreach events showcase the vibrant spectrum of archives from private collections, community organizations, municipal archives, and public and academic libraries. This short paper explores the history of these community archives events, and describes the creation, challenges and outcomes of hosting the inaugural 2017 Houston Archives Bazaar.
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Gwara, Scott. "Collections, Compilations, and Convolutes of Medieval and Renaissance Manuscript Fragments in North America before ca. 1900." Fragmentology, no. 3 (December 2020): 73–139. http://dx.doi.org/10.24446/dlll.

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Using evidence drawn from S. de Ricci and W. J. Wilson’s Census of Medieval and Renaissance Manuscripts in the United States and Canada, American auction records, private library catalogues, public exhibition catalogues, and manuscript fragments surviving in American institutional libraries, this article documents nineteenth-century collections of medieval and Renaissance manuscript fragments in North America before ca. 1900. Surprisingly few fragments can be identified, and most of the private collections have disappeared. The manuscript constituents are found in multiple private libraries, two universities (New York University and Cornell University), and one Learned Society (Massachusetts Historical Society). The fragment collections reflect the collecting genres documented in England in the same period, including albums of discrete fragments, grangerized books, and individual miniatures or “cuttings” (sometimes framed). A distinction is drawn between undecorated text fragments and illuminated ones, explained by aesthetic and scholarly collecting motivations. An interest in text fragments, often from binding waste, can be documented from the 1880s.
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Attar, Karen. "Rare Book and Special Collections in Overview: Producing a National Directory." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 19, no. 1 (May 17, 2018): 14. http://dx.doi.org/10.5860/rbm.19.1.14.

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Describing library collections by location is nothing new. In the mid-nineteenth century, Luther Farnham published A Glance at Private Libraries, about libraries in the Boston area of the United States. Reginald Arthur Rye produced his highly praised Students’ Guide to the Libraries of London in England just over fifty years later. That we, no less than our forebears, value such discovery tools collocating collections is evident from their continued publication, whether in print or, more recently, electronic form. National, annual library directories still produced include The American Library Directory. In Britain, the Chartered Institute of Library and Information Professionals (CILIP)’s Libraries and Information Services in the United Kingdom and the Republic of Ireland, a list of libraries by sector with contact details, remains available.
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Dissertations / Theses on the topic "Painting – Private collections – United States"

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GENNARI, SANTORI Flaminia. "The melancholy of masterpieces : the creation of an American social space for European old master paintings 1900-1914." Doctoral thesis, 2001. http://hdl.handle.net/1814/5765.

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Defence date: 5 April 2002
Examining board: John Brewer, California Institute of Technology (supervisor) ; Neil Harris, University of Chicago ; Luisa Passerini, European University Institute ; Pat Rubin, Courtland Institute of Art
PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017
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Books on the topic "Painting – Private collections – United States"

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Gerdts, William H. American Impressionism: Masterworks from public and private collections in the United States : exhibition catalogue. [Lugano-Castagnola]: Thyssen-Bornemisza Foundation, 1990.

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Goswamy, B. N. Domains of wonder: Selected masterworks of Indian painting. San Diego: San Diego Museum of Art, 2005.

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Caron, Smith, San Diego Museum of Art., and Museum of Fine Arts, Boston., eds. Domains of wonder: Selected masterworks of Indian painting. San Diego: San Diego Museum of Art, 2005.

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Henry, Adams. The Arvin Gottlieb collection: Painters of Taos and Santa Fe. Kansas City, Mo: Nelson-Atkins Museum of Art, 1992.

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Max, Benavidez, Cortez Constance 1958-, and Romo Terecita, eds. Chicano visions: American painters on the verge. Boston, MA: Bullfinch Press, 2002.

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Chang, Joseph. In pursuit of heavenly harmony: Paintings and calligraphy by Bada Shanren from the estate of Wang Fangyu and Sum Wai. Washington, DC: Freer Gallery of Art, 2003.

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1705, Zhu Da 1626-ca, Bai Qianshen, and Allee Stephen D, eds. In pursuit of heavenly harmony: Paintings and calligraphy by Bada Shanren from the estate of Wang Fangyu and Sum Wai. Washington, D.C: Freer Gallery of Art, Smithsonian Institution in association with Weatherhill, 2003.

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Michael, Conforti, Sterling and Francine Clark Art Institute., and Metropolitan Museum of Art (New York, N.Y.), eds. The Clark brothers collect: Impressionist and early modern paintings. Williamstown, Mass: Sterling and Francine Clark Art Institute, 2006.

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American impressionists: Painters of light and the modern landscape. New York, N.Y: Rizzoli, 2007.

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United States. Congress. Senate. United States Senate catalogue of graphic art. Edited by Skvarla Diane K. 1957-, Ritchie Donald A. 1945-, United States. Congress. Senate. Office of the Curator, and United States. Congress. Senate. Commission on Art. Washington, D.C: U.S. G.P.O., 2006.

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Book chapters on the topic "Painting – Private collections – United States"

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Erickson, Donald A. "Choice and Private Schools: Dynamics of Supply and Demand." In Private Education. Oxford University Press, 1986. http://dx.doi.org/10.1093/oso/9780195037104.003.0010.

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In this chapter an attempt is made, in the light of evidence from the United States and Canada, to explain in general terms the ebb and flow of private school options. Both public and private school growth and decline are affected by demography. Thus, a massive drop in Catholic school enrollment from 1966 to 1981 reflects, in part, a birthrate decline and a migration of Catholics from central cities, where many Catholic schools existed, to suburbs, where there were few Catholic schools. But unlike public school attendance, which rarely involves user fees and is considered normal if not laudatory in the United States and parts of Canada, private school attendance generally occurs when parents decide to depart from normal practice, incurring extra cost, extra effort (many private school patrons must drive their children considerable distances to school), disruption of their children’s friendships (many private school students are not in the schools which most of their neighborhood friends attend), and sometimes social disapproval. To a far greater extent than public school enrollment, then, private school enrollment depends on patron motivations. To return to the Catholic example: Even if the Catholic birthrate were high and Catholic schools were universally accessible, those schools would soon collapse unless many Catholic parents considered them worth extra expense and effort. Also, while public schools are everywhere available, parents often cannot find the private schools they prefer. Some schools exist primarily for certain religious and ethnic groups. Schools of some types are available only in a few major cities. Some schools are beyond the fiscal reach of most people. It is no accident, in this regard, that religious options are more plentiful in private schools than curricular or pedagogical options. Most religiously oriented schools enjoy subsidies from religious groups. Many schools open in the facilities of churches and synagogues, thus avoiding major expense. Sometimes churches and other denominational agencies directly sponsor schools. Even when they do not, they often assist by taking special collections, or their members provide free labor. Many Jewish day schools are subsidized through Jewish community funds.
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Adams, Jonathan S., and Dennis H. Grossman. "More than the Sum of the Parts: Diversity and Status of Ecological Systems." In Precious Heritage. Oxford University Press, 2000. http://dx.doi.org/10.1093/oso/9780195125191.003.0013.

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On July 5, 1803, Captain Meriwether Lewis of the First Infantry left Washington, D.C., and headed west. His destination was St. Louis, Missouri, where he was to take command, with his good friend William Clark, of the aptly named Corps of Discovery. President Thomas Jefferson had long dreamed of exploring the West, and on the day before Lewis set out from the capital, Jefferson doubled the size of the country, purchasing 820,000 square miles from France for 3 cents an acre. Jefferson planned the expedition partly to expand commerce in the young nation—he sought the “Northwest Passage,” a water route from coast to coast—but, just as important, to further scientific understanding. Lewis shared with his commander in chief a deep curiosity about the natural world, and the expedition set out with a presidential charge to discover the flora and fauna of the United States. Jefferson, as talented a scientist as has ever held the office of president, introduced Lewis to the leading natural scientists of the day, and they trained him to collect samples of plants and animals. Jefferson instructed the two commanders to record everything they could about the countryside—“the soil and face of the country, its growth and vegetable productions . . . the animals of the country . . . the remains and accounts of any which may be deemed rare or extinct,” he said. And so they did, plainly but accurately. Jefferson’s personal library, one of the largest collections in the country and later the nucleus of the Library of Congress, included copies of works by Linnaeus and John Bartram, along with many other scientific texts. Meriwether Lewis served as Jefferson’s private secretary for two years before leading the expedition west, and Jefferson undoubtedly introduced his protégé to those works. The Corps of Discovery, like the Bartrams and Peter Kalm, played an important role in the ongoing effort to document the natural heritage of the United States.
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