Journal articles on the topic 'Regional art museums'
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Satubaldin, Abay, and Kunikey Sakhiyeva. "The Museum System of Modern Kazakhstan: Classification and Typology of Museums." Muzeológia a kultúrne dedičstvo 9, no. 2 (2021): 79–89. http://dx.doi.org/10.46284/mkd.2021.9.2.5.
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This article discusses the museum system of modern Kazakhstan and offers, for the first time ever, a classification and typology of the country’s museums.In recent years in independent Kazakhstan, on the basis of the Soviet system, a modern museum network has been formed which currently lists 250 museums. Among them are 17 national-level museums, 54 at the regional level, 73 at the provincial level, 103 branches of regional- and district-level museums and four private museums.The purpose of this article is to analyse the museum system of modern Kazakhstan and develop a classification and typology of the country’s museums.In the course of the study, conducted in 2017–2018, data was collected on the activities of museums at the national, regional and district levels over the past seven years. From the results of this investigation, the museums of Kazakhstan were systematized according to the subject or topic of the museum (e.g. history, art, scientific), its affiliation (national, regional district), and by size, measured by number of employees.
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Mikule, Stanislav. "Galerijní výstavy a vlastivědná muzea." Muzeum Muzejní a vlastivedná práce 58, no. 1 (2021): 38–43. http://dx.doi.org/10.37520/mmvp.2020.005.
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The paper is based on the author‘s practice in the Regional Museum in Žďár nad Sázavou. In many cities, museums and galleries are located side by side, and museums also hold gallery exhibitions. Museums of local history have considerable potential to supplement such an exhibition with the help of other museum collection objects of a non-artistic nature, such as the document of time of life and work of a given artist or related to the theme of the presented work. This makes the exhibition attractive to a wider range of visitors. The author describes art exhibitions in which collection items from various areas of human activity, realized in the Žďár Regional Museum, were connected and presents them as inspiration or a topic to reflect on colleagues from the field who do not yet use the potential of their collection items in a similar spirit.
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Шинковой, А. И. "Mongolian works of Buddhist art in the museums of Irkutsk: general characteristics of the collections." Iskusstvo Evrazii [The Art of Eurasia], no. 3(22) (September 30, 2021): 126–37. http://dx.doi.org/10.46748/arteuras.2021.03.011.
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В статье дается общая характеристика монгольских буддийских коллекций в Иркутском областном художественном им. В.П. Сукачёва и Иркутском областном краеведческом музее. Показана значимость и оригинальность монгольских коллекций в музеях; приведены краткие истории их формирования и способы комплектования фондов восточными произведениями искусства. Дается сравнительный анализ коллекций; в частности, отмечается, что предметы монгольских собраний Иркутского областного художественного музея, в отличие от коллекций Иркутского областного краеведческого музея, были освящены ламами. Приводятся описания наиболее значимых монгольских экспонатов, анализируются экспонаты религиозного культа. The article provides a general description of the Mongolian Buddhist collections in the Irkutsk Regional Art Museum named after V.I. Sukachov and the Irkutsk Regional Museum of Local Lore. The significance and originality of Mongolian collections in museums is shown; brief histories of their formation and methods of acquisition of funds with oriental works of art are given. Comparative analysis of the collections is given; in particular, it is noted that the items of the Mongolian collections of the Irkutsk Regional Art Museum, in contrast to the collections of the Irkutsk Regional Museum of Local Lore, were consecrated by lamas. Descriptions of the most significant Mongolian exhibits are given; the exhibits of the religious cult are analyzed.
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Rentschler, Ruth, Kerrie Bridson, and Jody Evans. "Exhibitions as sub-brands: an exploratory study." Arts Marketing: An International Journal 4, no. 1/2 (September 30, 2014): 45–66. http://dx.doi.org/10.1108/am-07-2014-0023.
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Purpose – The purpose of this paper is to explore the adoption of major exhibitions, often called blockbusters, as a sub-branding strategy for art museums. Focusing the experience around one location but drawing on a wide data set for comparative purposes, the authors examine the blockbuster phenomenon as exhibition packages sourced from international institutions, based on an artist or collection of quality and significance. The authors answer the questions: what drives an art museum to adopt an exhibition sub-brand strategy that sees exhibitions become blockbusters? What are the characteristics of the blockbuster sub-brand? Design/methodology/approach – Using extant literature, interviews and content analysis in a comparative case study format, this paper has three aims: first, to embed exhibitions within the marketing and branding literature; second, to identify the drivers of a blockbuster strategy; and third, to explore the key characteristics of blockbuster exhibitions. Findings – The authors present a theoretical model of major exhibitions as a sub-brand. The drivers identified include the entrepreneurial characteristics of pro-activeness, innovation and risk-taking, while the four key characteristics of the blockbuster are celebrity; spectacle; inclusivity; and authenticity. Practical implications – These exhibitions are used to augment a host art museum’s own collection for its stakeholders and differentiate it in the wider cultural marketplace. While art museum curators seek to develop quality exhibitions, sometimes they become blockbusters. While blockbusters are a household word, the terms is contested and the authors know little about them from a marketing perspective. Social implications – Art museums are non-profit, social organisations that serve the community. Art museums therefore meet the needs of multiple stakeholders in a political environment with competing interests. The study draws on the experiences of a major regional art museum, examining the characteristics of exhibition sub-brands and the paradox of the sub-brand being used to differentiate the art museum. This paper fills a gap in both the arts marketing and broader marketing literature. Originality/value – The use of the identified characteristics develops theory where the literature has been silent on the blockbuster sub-brand from a marketing perspective. It provides an exemplar for institutional learning on how to initiate and manage quality by popular exhibition strategies.
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Andžāne, Ieva. "MUSEUM AS AN OBJECT OF CHANGE." Culture Crossroads 11 (November 10, 2022): 68–80. http://dx.doi.org/10.55877/cc.vol11.132.
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Over the last decades the museum sector has experienced substantial changes. The need for change has been stressed by such well-known museologists and practi- tioners as Stephen E. Weil, David Flemming and others. Moreover, the change of and within museums has arisen as one of the most important topics of several professional networks and conferences, such as “We Are Museums”, which was cre- ated in 2013 as yearly event at the intersection of culture and innovation. Thus, we can speak about paradigm of change in contemporary museums that affects their performance and future strategies. This paradigm of change in museum sector seems especially interesting if we think about the symbolic role of a museum. Traditionally a museum is an institution that keeps our heritage intact and until recently this task has been perceived as its main function. Not without reason the museum has been used as symbol for standstill, unchangeable in art and literature. Yet now we are asking for museums to change themselves and their public offer. The aim of the article is to track the development of paradigm of change in museum sector and to outline the most important fields that had been affected by change during past decades. The change of museum sector has been viewed in regional context, marking the most important trends: 1) changes in the models of museum funding; 2) changes in museum’s strategic priorities; 3) changes in our perception of a museum. Still, it is important to remember that an organization can never change just one thing – in most cases museums are subjected to more than one of these trends. The results in almost all cases are similar – growing importance of museum management.
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Pushenkova, Sofia A., and Dmitriy E. Lavrov. "Avant-garde heritage of the regions: Use and development prospects in a museum context (on the example of the museums of Saratov and Smolensk)." Issues of Museology 13, no. 1 (2022): 110–20. http://dx.doi.org/10.21638/spbu27.2022.108.
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In the wake of the growing interest in the history of the Russian avant-garde, leading Russian museums become initiators, organizers and partners of large-scale exhibition projects dedicated to both individual personalities of the avant-garde era and iconic cultural institutions. In this regard, it is also important to understand how the museum community in Russia reacts to the given trend of turning to the heritage of the avant-garde era, and how regional museums are involved in this process. The artistic avant-garde was never limited to capitals, new trends penetrated all cities of the country, one way or another leaving a mark on the appearance of the city, its history and, of course, in museum collections. This is why researchers need to see the fullest possible picture of how regions are using their avant-garde heritage. The article is devoted to the study of the experience of using the avant-garde heritage in Russian regions on the example of the Saratov State Art Museum named after A.N.Radishchev and the Art Gallery of the Smolensk State Museum-Reserve. Based on sources of museum origin, electronic catalogs of museums, texts by regional authors, Internet sources (in particular, the State Catalog of the Museum Fund of the Russian Federation, and the Constructivist Project portal), as well as local news sources the article reviews the avant-garde collections of these museums, considers cultural and educational activity of urban cultural institutions and independent curatorial projects on this topic. An important part of this study is the assessment of the development prospects in the actualization of the avant-garde heritage of the regions, as well as the role of independent cultural institutions of cities in the actualization and use of the avant-garde heritage of these regions.
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Meegama, Sujatha Arundathi. "Curating the Christian Arts of Asia." Archives of Asian Art 70, no. 2 (October 1, 2020): 151–71. http://dx.doi.org/10.1215/00666637-8620357.
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Abstract This essay examines the transformation of the Asian Civilisations Museum (ACM) into a global art histories museum. An analysis of the new Christian Art Gallery and its objects that date from the eighth through the twentieth century illuminates the ways in which the ACM engages with global art histories in a permanent gallery and not only through special exhibitions. This essay begins with a history of the ACM and its transition from a museum for the “ancestral cultures of Singapore” to one with a new mission focusing on multicultural Singapore and its connections to the wider world. Hence, taking a thematic approach, the ACM's new galleries question how museums generally display objects along national lines or regional boundaries. This essay also brings attention to the multiple mediums and functions of Christian art from both the geographical locations that usually are associated with Asian art and also from cultures that are rarely taught or exhibited, such as Timor-Leste, the Philippines, Sri Lanka, and Vietnam. While showcasing the different moments that Christianity came to Asia, the museum also emphasizes the agencies of Asian artistic practitioners in those global encounters. Although appreciative of the ways in which the ACM's Christian Art Gallery reveal the various tensions within global art histories and break down hegemonic constructions of Christian art from Asia, this essay also offers a critique. Highlighting this unusual engagement with Christian art by an Asian art museum, the new gallery reveals that museums and exhibitions can add to the conversations on global art histories.
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BROWN, CHRISTOPHER. "The Renaissance of Museums in Britain." European Review 13, no. 4 (October 2005): 617–36. http://dx.doi.org/10.1017/s1062798705000840.
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In this paper – given as a lecture at Netherlands Institute for Advanced Study in the summer of 2003 – I survey the remarkable renaissance of museums – national and regional, public and private – in Britain in recent years, largely made possible with the financial support of the Heritage Lottery Fund. I look in detail at four non-national museum projects of particular interest: the Horniman Museum in South London, a remarkable and idiosyncratic collection of anthropological, natural history and musical material which has recently been re-housed and redisplayed; secondly, the nearby Dulwich Picture Gallery, famous for its 17th- and 18th-century Old Master paintings, a masterpiece of 19th-century architecture by Sir John Soane, which has been restored, and modern museum services provided. The third is the New Art Gallery, Walsall, where the Garman Ryan collection of early 20th-century painting and sculpture form the centrepiece of a new building with fine galleries and the forum is the Manchester Art Gallery, where the former City Art Gallery and the Athenaeum have been combined in a single building in which to display the city's rich art collections. The Ashmolean Museum in Oxford, of which I am Director, is the most important museum of art and archaeology in England outside London and the greatest University Museum in the world. Its astonishingly rich collections are introduced and the transformational plan for the museum is described. In July 2005 the Heritage Lottery Fund announced a grant of £15 million and the renovation of the Museum is now underway.
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Foshay, Susan M. "Grist to the mill: folk art in the Atlantic Region." Art Libraries Journal 22, no. 4 (1997): 8–11. http://dx.doi.org/10.1017/s0307472200010609.
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Literature on folk art of the Atlantic region, with few exceptions, would be nonexistent without the intervention of visual arts institutions and museums. The interest in folk art and folk art collecting by museums and galleries, and the institutions’ penchant for documentation, has generated a diversity of written and visual material on the subject, of both an historical and a contemporary nature, which unveils a regional portrait of artists and their work.
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Zakharchyn, Nataliia. "Legislative regulation of museums activity in the Second Rzechpospolita Polska." Law Review of Kyiv University of Law, no. 1 (April 15, 2020): 38–41. http://dx.doi.org/10.36695/2219-5521.1.2020.05.
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The article considers the creation of the legislative basis regarding the museums’ activity in interwar (1918-1939) Poland. Temporary organization of common government authorities in 1918 suggested subordination of museums of interwar Poland to the Ministry of religion andpopular education. It also describes changes in subordination of the museums and some features of law-making process. In April 1918, the Department of Art of the Ministry processed and offered the first project of temporary law on museums. According to the legislative proposal, state politics in the museum industry had to be implementedusing the special museum abstract within Department of Art. In the draft, there were a few types of museum identified: the main ones (national) and regional, educational and special.
It was necessary to legislate on determining andidentifying main directions of the activity, to organizationally form the framework of their functioning, for the sake of museum professional work activization, controlling their activity, help with creation of new collections and support of some old ones. It is stated that his fact was understood by the representatives of the organizations that were either connected to museum industry or played a catalytic role in museum reforms in the interwar period, for instance, The Union of Museums of Poland.It was the Union that the draft law “Onthe trusteeship for the public museums” was prepared by. Apart from the draft law, the project of the implementing regulation to the bill regarding establishment and activity of the Museum State Council was adopted. In the article, the process of establishing the draft law is considered.
The article reflects the representation of modified law “On the trusteeship for the public museums” in the Parliament of Second Rzechpospolita Polska. In the parliament, the draft bill was considered as a framework, which determines the concept of a public museum. According to the bill, Minister of religion and education implemented the trusteeship and control of the activity of the public museums and approved theirstatutes. The articlealso reviews the aims and tasks of the adopted law and further implementing regulations, particularly, on the establishment of Museum State Council.
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Adams, Kathleen M. "The Politics of Indigeneity and Heritage." Museum Worlds 8, no. 1 (July 1, 2020): 68–87. http://dx.doi.org/10.3167/armw.2020.080106.
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This article contributes to comparative museology by examining curation practices and politics in several “museum-like” heritage spaces and locally run museums. I argue that, in this era of heritage consciousness, these spaces serve as creative stages for advancing potentially empowering narratives of indigeneity and ethnic authority. Understanding practices in ancestral spaces as “heritage management” both enriches our conception of museums and fosters nuanced understandings of clashes unfolding in these spaces as they become entwined with tourism, heritage commodification, illicit antiquities markets, and UNESCO. Drawing on ethnographic research in Indonesia, I update my earlier work on Toraja (Sulawesi) museum-mindedness and family-run museums, and analyze the cultural politics underlying the founding of a new regional Toraja museum. I also examine the complex cultural, religious, and political challenges entailed in efforts to repatriate stolen effigies (tau-tau) and grave materials, suggesting that these materials be envisioned as “homeless heritage” rather than “orphan art.”
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Taskova, Miroslava. "Digital and Printed Teaching Aids of Kyustendil Regional History Museum Programmes for Children." Cultural and Historical Heritage: Preservation, Presentation, Digitalization 7, no. 2 (2021): 151–63. http://dx.doi.org/10.26615/issn.2367-8038.2021_2_014.
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It is presented teaching aids in digital and printed form used in non-formal educational programmes of the Regional History Museum, the town of Kyustendil, developed during the implementation of two projects in 2019 and 2020 with the financial support of Ministry of Culture in Bulgaria. They enrich the Museum’s workshops for children, monthly conducted since February 2015, informatively. These are twelve five-minute video presentations and thirteen interactive notebooks of four pages each, A4 paper format, illustrating and bearing information about the thematic fields of the workshops. The training aids aim at presenting to children cultural and historical heritage exhibited in museums in general and in the Kyustendil Museum in particular in a more accessible way – artifacts as a part of culture and art in the past, moments of national history crucial for the historical development of Bulgaria and popular customs preserved in traditional crafts. The topics they present introduce participants with the way of living of people in the past, pass through significant historical events and provide some knowledge about three crafts, which originate from the Stone Age. They are grouped in two programmes – Culture and Art in the Past and History and Traditions. Photoes of about 50 findings from Kyustendil and its region dating from Neolithic till Middle Ages are included in the training aids along with the messages they bear interpreted through the respective story. Photoes visually expressing the historical events and traditional crafts – an object of learning in the programme, are also included. Keywords: Non-formal Education; Training Aids; Museum Programmes for Children
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Dziuban, Roman. "Moving of the сollections of the Lubomirsky museum in 1940." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 13(29) (2021): 264–91. http://dx.doi.org/10.37222/2524-0315-2021-13(29)-16.
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Relevance and purpose. The purpose of the article is to include in the scientific circulation a collection of newly discovered acts and lists of individual collections of the Lubomirsky Museum, which since May 1940 have been submitted to the Lviv Museum Institutions. We believe that these documents deserve further scrutiny and will help identify individual exhibits in the collections of Lviv (and not only Lviv) museums, as well as help locate exhibits that are now considered lost. Research methodology. In order to achieve this, a descriptive method is generally employed. The historical source method and the comparative method were partly used. Historical principles are also especially emphasized. Keywords: Prince Lubomirsky Museum, Ossolineum, Lviv State Museum of History, Regional Art Gallery, Lviv State Art Gallery, Lviv Museum of Art Crafts, Lviv State Ethnographic Museum, collections, exhibits, archeological finds, archeological sites, paintings, carvings, orders, cameos, medallions, watches, furniture, collection weapons.
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Franklin, Adrian, and Nikos Papastergiadis. "Engaging with the anti-museum? Visitors to the Museum of Old and New Art." Journal of Sociology 53, no. 3 (June 6, 2017): 670–86. http://dx.doi.org/10.1177/1440783317712866.
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Hailed as the most important cultural event since the opening of the Sydney Opera House, the Museum of Old and New Art (Mona) in Tasmania seemingly made very substantial changes to visitor experiences of an art gallery, catalysed a significant cultural florescence in Hobart and achieved tourism-led urban and regional regeneration on a par with the Guggenheim Museum Bilbao. Drawing on a large survey of visitors this article illuminates the origins, social aims and impacts of successful attempts to push art museums beyond what Hanquinet and Savage call ‘educative leisure’. It contributes to our knowledge of the processes by which traditional forms of ‘highbrow’ cultural experience associated with the dominance of the classical and historical canon are being eclipsed by newer, performative, emotional and sensual forms of cultural taste.
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Kats, L. M. "Приморская государственная картинная галерея как центр художественного пространства Дальнего Востока." Iskusstvo Evrazii [The Art of Eurasia], no. 4(19) (December 30, 2020): 68–83. http://dx.doi.org/10.46748/arteuras.2020.04.006.
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The article is devoted to the last decade of exposition and exhibition activity of the Primorye State Art Gallery. The focus is on art projects that have become the result of increasingly strong inter-Museum contacts: “guest”, exchange and joint exhibitions. They are born as a result of searches for interested partners and sponsors, agreements with the heads of various institutions at forums and seminars. The patronage of Central museums is of great importance: the State Hermitage Museum, the state Tretyakov Gallery, the State Russian Museum, and others. The Primorye State Art Gallery organizes international exhibitions in order to promote Far Eastern fine art in the countries of the Asia-Pacific region, to open new names for these territories in the artistic sphere of the region and the district. The experience of the the Primorye State Art Gallery can be useful for museum workers in the Far Eastern and Siberian regions, and the information obtained can become an incentive for establishing new inter-museum contacts. The Primorye State Art Gallery is a relatively young museum formed in 1966 on the basis of the art collection of the Primorsky Regional Museum of Local Lore (now the Museum of the History of the Far East named after V. K. Arsenyev). Over five and a half decades, the gallery's funds have grown immeasurably, and it has become a methodological center for art museums in the Far East: the State Hermitage Museum has held six master classes on restoration and conservation of works of art in the gallery, and specialists from the State Russian Museum have been conducting scientific and practical seminars for the Far Eastern Federal district in recent years here. Статья посвящена последнему десятилетию экспозиционно-выставочной деятельности Приморской государственной картинной галереи. В центре внимания — арт-проекты, ставшие результатом все более крепнущих межмузейных контактов: «гостевые», обменные и совместные выставки. Рождаются они как итог поисков заинтересованных партнеров и спонсоров, договоренностей с руководителями различных институций на форумах и семинарах. Большое значение имеет шефское внимание центральных музеев: Государственного Эрмитажа, Государственной Третьяковской галереи, Государственного Русского музея и других. Международные выставки Приморская картинная галерея организует с целью продвижения дальневосточного изобразительного искусства в страны Азиатско-Тихоокеанского региона, открытия для этих территорий новых имен в художественной сфере края и округа. Опыт Приморской государственной картинной галереи может быть полезным для музейных работников Дальневосточного и Сибирского регионов, а полученная информация — стать побудительным импульсом для установления новых межмузейных контактов. Приморская государственная картинная галерея — сравнительно молодой музей, образовавшийся в 1966 году на основе художественной коллекции Приморского краевого краеведческого музея им. В.К. Арсеньева (ныне Музей истории Дальнего Востока им. В.К. Арсеньева). За пять с половиной десятилетий неизмеримо выросли фонды галереи, она превратилась в методический центр для художественных музеев Дальнего Востока: Государственный Эрмитаж провел в стенах картинной галереи Владивостока шесть мастер-классов по реставрации и консервации произведений искусства, специалисты Государственного Русского музея в последние годы выезжают с научно-практическими семинарами для зоны Дальневосточного федерального округа.
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С.С., Акимов,. "Image and Sense: the exhibition of the 17th century Dutch paintings from Russian collections in the Serpukhov Historical and Art Museum." Iskusstvo Evrazii [The Art of Eurasia], no. 4(27) (December 29, 2022): 258–69. http://dx.doi.org/10.46748/arteuras.2022.04.020.
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В статье рецензируется выставка голландской живописи XVII в. из музеев и частных собраний России, состоявшаяся в ноябре 2021 – апреле 2022 г. в Серпуховском историко-художественном музее. В ней кроме Серпуховского музея приняли участие музеи Москвы, Поволжья, Курска, Рязани, Краснодара, а также московские коллекционеры. Собрание супругов В. и К. Мауергауз отличается целенаправленным интересом к голландской и фламандской живописи. Куратором выступил выдающийся знаток искусства Нидерландов конца XVI – XVII века В.А. Садков (ГМИИ им. А.С. Пушкина). Были представлены произведения как выдающихся (Я. ван Гойен, Я. ван Рейсдаль, А. ван Остаде, О. Марсеус ван Схрик), так и многих менее известных, но заслуживающих внимания специалистов и публики, мастеров. По разнообразию и высокому художественному качеству экспонатов, отражающих широту жанровой системы голландского искусства, по научной концепции, возможности сопоставления произведений друг с другом, это было значимое для отечественной нидерландистики событие, открывающее дальнейшие перспективы межмузейного сотрудничества в деле изучения и популяризации хранящегося в России наследия голландских мастеров. The study of the 17th century Dutch art has a 150-year history in Russia and remains an actively developing field of modern Russian art-historical science. This is largely predetermined by the abundance and variety of collections of Dutch art in Russian museums, including regional museums. At the present time the main achievements are associated with the development of the genre-thematic approach to the heritage of Dutch school, attribution researches and exhibition practice, in which interaction between museums and cooperation with collectors play a very important role. The article is a review on the exhibition of the 17th century Dutch painting from Russian museums and private collections in the Serpukhov historical and art museum, November 2021 – April 2022. The art museums of Serpukhov, Moscow, Volga region, Kursk, Ryazan, Krasnodar and some collectors took part in the exhibition. The curator was Prof. Vadim Sadkov, a great specialist in history of Netherlandish art of the late 16th and 17th centuries. There were demonstrated work of well-known masters as Jan van Goyen, Jacob van Ruysdael, Adriaen van Ostade, Otto Marseus van Schrieck and many paintings by lesser known authors, which deserve the attention of specialists and the public. In terms of the variety and high artistic quality of the exhibits, reflecting the breadth of the genre system of Dutch art, the scientific conception, the possibility of comparing works with each other it was the significant event in Russian art-historical science and museum practice, which opens up further prospects for cooperation between museums in the study and popularization of the heritage of Dutch masters stored in our country.
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Germana, Gabriela, and Amy Bowman-McElhone. "Asserting the Vernacular: Contested Musealities and Contemporary Art in Lima, Peru." Arts 9, no. 1 (February 7, 2020): 17. http://dx.doi.org/10.3390/arts9010017.
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This essay examines three museums of contemporary art in Lima, Peru: MAC (Museum of Contemporary Art), MALI (Lima Art Museum), and MASM (San Marcos Art Museum). As framed through curatorial studies and cultural politics, we argue that the curatorial practices of these institutions are embedded with tensions linked to the negotiation of regional, national, and international identities, coloniality, and alternate modernities between Western paradigms of contemporary art and contemporary vernacular art in Peru. Peruvian national institutions have not engaged in the collection of contemporary art, leaving these practices to private entities such as the MAC, MALI, and MASM. However, these three institutions have not, until recently, actively collected contemporary vernacular Peruvian art and its by-products, thus inscribing this work as “non-Western” through curatorial practices and creating competing conceptions of the contemporary. The curatorial practices of the MAC, MALI, and MASM reflect the complex and contested musealities and conceptions of the contemporary that co-exist in Lima. This essay will address this environment and the emergence of alternative forms of museality, curatorial practices, and indigenous artist’s strategies that continually construct and disrupt different modernities and create spaces for questioning constructs of contemporary art and Peruvian cultural identities.
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Kuzma, Victoria. "THE HISTORIOGRAPHY OF THE HISTORY OF THE MUSEUM WORK IN TRANSCARPATHIA OF THE 20TH CENTURY." Scientific Herald of Uzhhorod University. Series: History, no. 2 (47) (December 20, 2022): 181–91. http://dx.doi.org/10.24144/2523-4498.2(47).2022.267635.
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The article analysed the historiographical heritage of the history of museum work in Transcarpathia in the 20th century. The historical conditions of the creation and formation of the museums of Transcarpathia have been highlighted, and the museum's role as a public institution for the preservation and study of the region's cultural heritage has been revealed. The main stages of the research of the Transcarpathian Museum of the 20th century are highlighted according to the chronological principle of the pre-Soviet period (the 1920s and 1930s), the Soviet period (1945 – 1980s), and the modern Ukrainian period (since 1991). It's worth noting that the process of the historical development of museum construction in Transcarpathia is provided with sources of primary information unevenly, both quantitatively and substantively. Thus, the evidence regarding the stage of origin and formation of regional museum education is extremely limited. Only in the 20s and 30s of the 20th century, when the territory of Transcarpathia was part of the Czechoslovak Republic, the public increasingly began to show increased attention to national traditions, history, culture, and art. The first attempts to create a museum were made by public associations – T. Legotsky Museum Society (1919), Prosvita Society (1920), Regional Museum Society (1929), Society "Russian National Museum" (1930), Ethnographic Society of Subcarpathian Rus (1939). There were scientists, public figures, local historians, and members of cultural and educational societies who left their memories and dedicated their research to the museum work. However, these studies were mainly devoted to separate museums. After the establishment of Soviet power in the region, the network of museum institutions was constantly growing, as proved by the great scientific interest in this problem. In addition to descriptive works, generalizing ones also appear. The burst of interest in the problem occurred in the 1990s when Ukrainian historians got rid of the ideological limitations of Soviet historiography. The number of scientific studies in various contexts of the museum work is also increasing among Transcarpathian scientists. However, today it is possible to state the absence of a comprehensive scientific work that would consider the preconditions, stages of formation, and the first steps of developing the museum work in Transcarpathia in the 20th century. There are also no particular historiographical works or historiographical reviews of this problem.
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Galatioto, Alessandra, Salvatore Pitruzzella, Gianluca Scaccianoce, and Daniele Milone. "Regional Policies for Sustainability in the Mediterranean Countries: The Role of a Proper HVAC System Maintenance in Museums." Applied Mechanics and Materials 316-317 (April 2013): 1147–51. http://dx.doi.org/10.4028/www.scientific.net/amm.316-317.1147.
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Italy, like several Mediterranean countries, holds a very large number of cultural artifacts that are often exhibited and saved inside museums. Museums are usually part of historical buildings that, not rarely, originally had a different intended use and that have been currently transformed in place for conservation and for exhibition of works of art. The use of historical buildings as museums leads to limitations in the management and distribution of exhibition space, in design and managing HVAC systems and in the achievement of targets relating to the continuous monitoring of the microclimate for people comfort and for preservation of works of art. Moreover, the costs of the operation and maintenance of the HVAC system for this particular type of confined environment are often very expensive and the proper optimization of the required operations plays a main role. In this paper, authors propose a new decision support tool for curators regarding the operation and maintenance management of HVAC systems in museums especially in the case of their belonging to cultural heritage buildings.
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Hanula, Justyna. "THE POLISH COMMITTEE’S OF NATIONAL LIBERATION POLICY TOWARDS MUSEUMS." Muzealnictwo 59 (June 22, 2018): 86–92. http://dx.doi.org/10.5604/01.3001.0012.1368.
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After World War II museums in Poland were bound to serve political purposes. The aim of new government was to shape citizens’ awareness according to the Stalinist ideology. 21 July 1944, the Polish Committee of National Liberation (further PKWN) was created in Moscow under the patronage of Joseph Stalin. From 1 August 1944, it was located in Lublin together with its Arts and Culture Department. The period from 21 July 1944 to the end of December 1944 on the so-called liberated territories is discussed herein in the context of museums’ formation. It was the time when new institutions were created (e.g. Museum of Majdanek Concentration Camp) and those existing prior to WWII were re-established, such as the Lublin Museum or the National Museum of Przemyśl. In 1944, museums were facing many problems, inter alia, war damages, plunder by the People’s Army that quartered here, financial difficulties, personnel shortage. The lack of professionals in museums was the result of the PKWN strategy at the time, which first of all required propaganda specialists in culture institutions. The land reform initiated in 1944 affected museums to some extent; they were receiving works of art which had been confiscated from parcelled out landed properties. The only reason for it was the ideological one, however – from the historical point of view – they are regarded as unjust and immoral persecution and harassment against groups of society held by the communists in contempt, i.e. landowners. Sources on which the article has been based: reports of the PKWN and Culture Divisions of Regional Offices (Lublin, Rzeszów, Białystok, and Warsaw), which are in the possession of the Archives of Modern History Records (Archiwum Akt Nowych) in Warsaw.
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Терновая, Ирина Ивановна. "“Irkutsk annals” as a source for studying the history of the Irkutsk Regional Art Museum at the end of 19th – the first third of the 20th century." Искусство Евразии, no. 2(17) (June 27, 2020): 278–90. http://dx.doi.org/10.25712/astu.2518-7767.2020.02.018.
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В 2020 году Иркутский областной художественный музей им. В.П. Сукачева празднует свое 150-летие. По богатству и разнообразию своих коллекций он стал одним из крупнейших музеев не только в Сибири, но и России в целом. В данной статье автор представляет «Иркутские летописи» в качестве источника изучения истории Иркутского художественного музея, опираясь на хронологическую точность приведенных фактов. В результате введены в научный оборот и систематизированы обширные документальные материалы об организации музея, становлении его коллекции и выставочной деятельности, уточнены некоторые факты. Сведения, полученные в ходе изучения «Иркутских летописей», значимы для искусствоведов и историков. In 2020, the Sukachev Irkutsk Regional Art Museum celebrates its 150th birthday. In terms of the richness and diversity of its collections, it has become one of the largest museums not only in Siberia, but also in Russia as a whole. In this article, the author presents “Irkutsk annals” as a source for studying the history of the Irkutsk Regional Art Museum, based on the chronological accuracy of the facts contained in it. As a result, extensive documentary materials about the organization of the museum, the establishment of its collection and exhibition activities were introduced and systematized, some facts were clarified. The information obtained during the study of the “Irkutsk annals” is significant for art historians.
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Arriaga, Amaia, and Imanol Aguirre. "Museum-university collaboration to renew mediation in art and historical heritage. The case of the Museo de Navarra." Arte, Individuo y Sociedad 32, no. 4 (July 23, 2020): 989–1008. http://dx.doi.org/10.5209/aris.66295.
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We present an action research project in which a university and a regional museum of art and historical heritage collaborate. The objective of this project has been to design and develop a mediation plan and its interpretation resources. First, a description is provided of the historical context of the debate regarding the educational function of the museum and mediation actions for the interpretation of art. Next, we present the theoretical principles on which our approach to mediation in museums is based and explain the two phases of the action research project. Initially, an investigation of the mediation tools offered by the museum is carried out. Next, a description is provided of how the conclusions drawn are materialized in the “All Art is Contemporary” project that renews part of the permanent exhibition and that offers accessible, rigorous, pluralistic and stimulating mediation/interpretation resources (gallery text, museum labels, etc.) that allow visitors to participate in the discourse that the museum proposes, turning it into a site of social interaction, a negotiation of meaning and an encounter between different sensibilities and identities. In short, it is a tool for continuous and critical civic education.
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Fedorak, Volodymyr. "Ethnographic and Artistic Museums of the Galician Gutsulshchyna in Ethno-Tourism Sphere: State and Prospects of the Development." Науковий вісник Чернівецького національного університету імені Юрія Федьковича. Історія 2, no. 46 (December 20, 2017): 105–11. http://dx.doi.org/10.31861/hj2017.46.105-111.
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The activity of ethnographic and artistic museums of the Galician Hutsulshchyna, their contribution to the development of the ethno-tourism sphere of Ivano-Frankivsk oblast are described in the article. The development of museologyin the Precarpathian region in the context of ethno-tourism activity is regulated by the regional comprehensive program “Culture of Ivano-Frankivsk region”. Priority directions in museum work are: preservation of historical monuments of the region; the latest information technologies introduction into the activity of museums; enlargement of the material, technical and restoration bases; promotion of the international cooperation of museums; realization of repair and restoration work; provision of scientific acquisition of museum funds; activization of publishing activity: albums, catalogs, booklets, guides, scientific collections; usage of new information technologies in accounting and cataloging.
The Hutsul topicality is leading in the museology of the Precarpathian region. The network of museums on the territory of the Galician Hutsulshchyna is the most important for ethno-tourism in Ivano-Frankivsk region. In most cases, they are included in the tour operator's activity and constitute logical chains of tourist excursions and routes and are centers for providing services in the region. There are over thirty state and public museums that attract visitors in this region. Employees of these establishments carry out excursions providing ethnographic information about the region.
The focus is on the characteristics of work of the most famous museums in the Galician Hutsulshchyna. Particularly noticeable is the activity of the National Museum of Folk Art of Hutsulshchyna and Pokuttia named after Yo. Kobrynsky in Kolomyia, which is the only Ukrainian institution of this type, listed in the Royal Encyclopedia of Great Britain as a museum of world masterpieces.
The author states that the authentic color of life of local inhabitants is brightly represented in the museum institutions of this historical and ethnographic region. A number of museums of the Galician Hutsulshchyna provide high-quality cognitive tourism services, because they have preserved customs and traditions of crafts and handicrafts and everyday ritual activity.
Keywords: museum, ethno-tourism, Galician Hutsulshchyna, exposition, exhibition
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Syrtypova, S. K. D. "Interpretation of the image of the Goddess Tara by Zanabazar compared to that by his predecesors and followers (from Sri Lanka to Siberia)." Orientalistica 3, no. 2 (May 31, 2020): 348–78. http://dx.doi.org/10.31696/2618-7043-2020-3-2-348-378.
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In continuation of the study of the art heritage of Zanabazar (1635–1723), we have traced the connection between the textual and art systems of the Buddhist cult ofTaragoddess. This goddess was of particular importance for the master Zanabazar. In his turn, Zanabazar was recognized as the incarnation of the great Tibetan scholar Jetsun Taranatha (1575–1634), whose name means “Protected byTara”. Undur-Gegen Zanabazar had deep spiritual relationship with the Savior Goddess both from his previous incarnations as well as directly transmitted by his teachers, especially the IV Panchen Lama Lobsan Choiky Gyaltsen (1570–1662). The article deals with outstanding sculptural images of Tara by Dzanabazar and also by the artists of earlier times and by the followers of his style who came fromSri Lanka,Nepal,Tibet,Mongolia, Buryatia. The actual objects are currently preserved in various collections throughout the world. Among them that of the British Museum in London, the Metropolitan and the Rudin Museums in the United States, the Potala in Lhasa, the State Hermitage and the Russian Ethnographical Museum in St. Petersburg and Mongolian museums of Ulaanbaatar. Specific examples show how the canonical Buddhist standards of iconography were implemented under the influence of different regional ethnic craft traditions. The works by famous Buddhist artists, such as Sonam Gyaltsen (16th cent.), Choiing Dorje (1604–1664) as well as little-known Buryat masters of the late 19th century were used to compare with the masterpieces by Zanabazar.
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Гончаренко, Наталья Михайловна. "Images of Belgorod from the collection of the Belgorod State Art Museum: from depictions of architectural environments to their symbolic representation." Искусство Евразии, no. 2(17) (June 27, 2020): 173–201. http://dx.doi.org/10.25712/astu.2518-7767.2020.02.012.
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Являясь до установления советской власти уездным городом, а в 1934–1954 годах – районным центром в составе Курской области, Белгород становился объектом изображения в единичных случаях. Лишь с конца 1950-х годов, уже в статусе областного центра, он стал привлекать художников-профессионалов, которые в 1968 году основали здесь региональную организацию Союза художников РСФСР. В Белгородском государственном художественном музее, открывшемся в 1983 году, собрана наиболее представительная коллекция произведений художников Белгородчины, которая может изучаться как в контексте общего развития отечественного искусства второй половины ХХ – начала XXI века, так и с точки зрения региональных особенностей. Значительный массив произведений из фондов музея посвящен образу Белгорода. Здесь представлены как панорамные и ретроспективные его виды, так и «городские интерьеры», которые предполагают способы художественного восприятия, связанные с изображениями отдельных зданий, фрагментов среды, конкретных человеческих типов. В статье представлена систематизация и анализ изображений Белгорода в живописи и графике на примере произведений из фондов Белгородского государственного художественного музея и других музейных и частных собраний. Being a small provincial town within the Kursk region till 1954, Belgorod was not very often depicted by artists. Only since the late 1950s, while already becoming itself a regional center, it began to attract professional artists. In 1968 they had found here the regional organization of the Union of artists. The Belgorod State Art Museum was founded in 1983. Nowadays it has the most representative collection of works by artists of the Belgorod region, which can be studied in the context of the development of Russian art in the 2nd half of the 20th – 21st centuries. A significant array of works from the Museum's collections is dedicated to the image of Belgorod. These works represent both panoramic and retrospective views of it, as well as “urban interiors”, which suggest ways of artistic perception associated with images of single buildings, fragments of the environment, and specific human types. The article presents the systematization and analysis of images of Belgorod in painting and graphics with the examples of works from the funds of the Belgorod State Art Museum and other museums and private collections.
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hudgins, sharon. "Edible Art: Springerle Cookies." Gastronomica 4, no. 4 (2004): 66–71. http://dx.doi.org/10.1525/gfc.2004.4.4.66.
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Edible Arte: Springerle Cookies Springerle are white, anise-flavored cookies with a picture or design imprinted on the tops by specially carved rolling pins or flat molds. Sometimes the raised designs are also painted to enhance their appearance. A regional specialty of German Schwabia, Springerle are also baked in Alsace, Switzerland, Bavaria, and Bohemia. With roots in the pre-Christian era, Springerle are among several kinds of cookies shaped, molded, or decorated to depict animate or inanimate objects. The designs embossed on the tops of Springerle include religious figures, plants and animals, secular motifs, and symbolic images. The carving of wooden Springerle molds is an art in itself, and many European museums have collections of historical cookie molds. Today Springerle are traditionally baked for the Christmas season, although the motifs on historical molds indicate that these cookies were also made for religious holidays and secular events throughout the year in northern Europe.
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Bubenok, O. B., and M. V. Tortika. "Hypological Artifacts of the CopperBronze Age in the Archeological Collections of the Museums of Dnipropetrovska and Kharkivska Regions." Culture of Ukraine, no. 75 (March 21, 2022): 120–33. http://dx.doi.org/10.31516/2410-5325.075.16.
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The actual meaning of this topic is due to the fact that the museum collections of Ukraine contain a lot of material monuments created by the peoples of the Steppe during the Copper-Bronze Age, which were studied only in fragments. The reason for it is that these finds came to museums by accident and as a result were not reflected in reports and publications. Therefore, we do not have a clear information about the situation in the regional and district museums of Ukraine containing the artifacts of the oldest pastoral population in Ukraine. Long ago the need exists to create the qualified catalogs with a description of the monuments of material culture of the early pastoralists, which are stored in the museums of the South and East of Ukraine. Therefore, the purpose of this study is creation of such catalog.
The methodological basis of the work is the modern post-neoclassical museological, so-called object methodology, the emphasis of which is focused on the study of material culture and material museums as fundamental elements of cultural and natural heritage.
The results. Materials from four museums of the South and the East of Ukraine were involved for processing: D. I. Yavornytsky Dnipropetrovsk National Historical Museum, Museum of Archeology of V. N. Karazin Kharkiv National University, Cultural Institution “I. O. Repin Art Memorial Museum” in Chuguev city of Kharkivska region, Museum of local lore in Zmiiv city Kharkivska region. The territories of Dnipropetrovska and Kharkivska regions were chosen for the study not by accident, because its reflect the gradual change of natural landscapes in the projection on the economy of the population. The study was able to observer the history of the formation of archaeological collections of these museums. A significant achievement for the authors of this article was the creation of a special Catalog of objects in the funds of museums of Dnipropetrovska and Kharkivska regions, which testify to the acquaintance of ancient people with the horse. As a result, it was possible to establish of horse breeding of the local population in the Late Bronze Age.
The scientific novelty. A significant amount of unpublished material was introduced into scholar circulation.
The practical significance. It gives reason to believe that in the Late Bronze Age only the first stage of domestication of the horse took place in the steppes of Ukraine. But other issues remain unresolved. It is a topic for future researches. The collections of museums in the South and East of Ukraine should play an important role in it.
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Jasiński, Artur, and Anna Jasińska. "THREE MUSEUMS OF THE ART OF THE PACIFIC AND THE FAR EAST – POSTCOLONIAL, MULTICULTURAL AND PROSOCIAL." Muzealnictwo 60 (March 4, 2019): 16–32. http://dx.doi.org/10.5604/01.3001.0013.0764.
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Three museums of the art of the Pacific and the Far East are described in the paper: Singapore National Gallery, Australian Art Gallery of South Wales in Sydney, and New Zealand’s Auckland Art Gallery Toi o Tāmaki. The institutions have a lot in common: they are all housed in Neo-Classical buildings, raised in the colonial times, and have recently been extended, modernized, as well as adjusted to fulfill new tasks. Apart from displaying Western art, each of them focuses on promoting the art of the native peoples: the Malay, Aborigines, and the Maori. Having been created already in the colonial period as a branch of British culture, they have been transformed into open multicultural institutions which combine the main trends in international museology: infrastructure modernization, collection digitizing, putting up big temporary exhibitions, opening to young people and different social groups, featuring local phenomena, characteristic of the Pacific Region. The museums’ political and social functions cannot be overestimated; their ambition is to become culturally active institutions on a global scale, as well as tools serving to establish a new type of regional identity of postcolonial multicultural character.
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Põllo, Helgi. "Toidukultuur Hiiumaa Muuseumis: kogumine, uurimine, vahendamine." Eesti Rahva Muuseumi aastaraamat, no. 60 (October 12, 2017): 116–35. http://dx.doi.org/10.33302/ermar-2017-005.
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Alimentary Culture at Hiiumaa Museum: Collection, Research, Exhibition and Outreach We have reached an age when museums’ collections, having rapidly increased in size, require substantive discussion on the need to continue acquisitions. Increasingly often we also encounter the question of whether cultural history museums that chronicle everyday life should devote more attention to aspects that affect practically all people, such as the topic of food and eating. We would do well to consider Maslow’s hierarchy of needs. To this point, museums’ focus has been more on art, achievements or decidedly material aspects. The article provides a concise overview of what the Hiiumaa Museum has been up to in the context of food and eating over its 50-year history. In the years following the establishment of the museum, attention in both exhibitions and collections was focused mainly on the tableware and utensils used for consumption or preservation of food, most of which originated in the 19th century. As time went on, activities were characterized by an increasing element of play enriched with knowledge (Soviet-era New Year’s exhibitions, “baron’s days”, Christmaslands and other visitor-oriented programmes). The exhibitions themselves grew and changed, even if their titles remained simple: Millest räägivad nõud? (What does tableware have to say? 2000) or Köök (Kitchen, 2015). Over the years, the museum became a place to spend free time in, but also turned into a centre of expertise for the small local community on the matter of regional food traditions. This need for better knowledge on the subject also spurred the development of the museum’s own research, surveys, and documentary efforts. As one example, we can cite the recorded responses to the question “What foods were on your Christmas table?”, around the time of the first free Christmas celebrations in 1990. A problem related to the food topic, revealed during the preparation of the Hiiumaa compilation in 2015, was the paucity (or at least the one-dimensional nature) of images in the museum’s collections. As the museum grew and life changed, new programmatic events such as salon evenings and café days were devised. All these major undertakings required volunteer assistance, because the museum’s own small team was not capable of covering the staffing needs of all these events. Outreach with students took place in all age groups – from nursery school to secondary school. Some of the assignments in the popular cooperation project involving upper secondary schoolers, “Becoming a Hiiumaa islander through tradition”, also tied in with food. The more stringent food safety codes of more recent years have reduced the museum’s possibilities for actually handing food or serving it to visitors. Still, a thing or two has changed over time, and in 2015, we organized a black pudding and white pudding preparation workshop in the museum’s classroom. As interest in the food topic has risen among the locals and Estonia-wide, new topics keep on accruing in the museum’s research sphere: e.g., drying of sheepshanks, making of head cheese. The best and most characteristic examples make their way, with the museum’s help, on to the UNESCO list of intangible heritage, but above all, they end up in the local museum’s collections. Certainly many important topics require much analysis within the museum to make better sense of acquisition policies as well as the museum’s mission and role in society as a whole. Once again, taking up the topic of food and eating has given impetus for this process.
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Tkachev, V. V. "INCLUSION IN THE COMPOSITION OF SCIENTIFIC EXPEDITIONS OF THE ARTISTIC INTELLIGENTSIA OF THE IRKUTSK PROVINCE FOR THE STUDY OF BAIKAL SIBERIA AND THE NORTH IN THE SECOND HALF OF THE 19TH — EARLY 20TH CENTURIES." Northern Archives and Expeditions 6, no. 1 (March 30, 2022): 263–71. http://dx.doi.org/10.31806/2542-1158-2022-6-1-263-271.
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The study analyzes archival documents that reveal the life and work of individual representatives of the artistic intelligentsia in the context of their inclusion in scientific expeditions to explore Baikal Siberia and the North in the second half of the 19th — early 20th centuries. It is confirmed that the active work of R.S. Prorokov, A.N. Turunov, M.Ya. Leibovich, N.A. Andreev, F.M. Belkin influenced the process of forming their own, unique collections of paintings, drawings, sketches, sculptures and books in museums and galleries of the Irkutsk province. Also, public figures participated in the organization of public art events, where rare and valuable exhibits based on the results of scientific work were demonstrated. In the State Archives of the Irkutsk Region and the archives of the Irkutsk Regional Art Museum. V. P. Sukacheva found constituent and accompanying documents, reports and plans, posters and announcements, sources of periodicals, letters and correspondence, which confirm the participation of collectors and artists in scientific expeditions. The work allows, on the basis of sources of personal origin, to consider the history of the development of contacts between art collectors, the features of holding art events, both international and regional levels. An integrated approach is used in the analysis of letters, correspondence of collectors, which helps to determine the value orientations of urban society in art. As a result of the study, it was proved that the activities of the intelligentsia influenced the process of introducing citizens to the cultural heritage and the formation of collections of art objects in the Irkutsk province of the second half of the 19th — early 20th centuries.
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Снытко, Людмила Николаевна. "The fate of the painting “Dinner of Tractorists” (1951) by A.A. Plastov." Искусство Евразии, no. 2(17) (June 27, 2020): 306–19. http://dx.doi.org/10.25712/astu.2518-7767.2020.02.020.
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Статья посвящена одному из самых замечательных произведений советской эпохи – картине выдающегося советского художника Аркадия Александровича Пластова «Ужин трактористов» (1951 года), которая с 1952 года хранится в Иркутском областном художественном музее имени В.П. Сукачева. Судьба этой картины складывалась драматично. В сталинское время она была подвергнута критике как не соответствующая идейным канонам социалистического реализма и, отвергнутая столичными музеями, оказалась в собрании Иркутского областного художественного музея. Ее триумф пришелся на времена хрущевской «оттепели», когда картина прославилась не только на выставках в нашей стране, но и далеко за рубежом. Возросшая оценка живописного полотна стала причиной претензий на него со стороны Третьяковской галереи. Сотрудникам сибирского музея удалось вернуть картину в свою коллекцию. А для Государственной Третьяковской галереи А.А. Пластов в 1961 г. создал ее повторение. На основе документов автор статьи опровергает возникшие в искусствоведческой литературе неточности в толковании судьбы этой картины. The article is about one of the most remarkable works of the Soviet epoch – the painting “Dinner of Tractorists” (1951) by the outstanding Soviet artist Arkady Plastov. This painting is kept in the Sukachev Irkutsk Regional Art Museum. The fate of this picture was dramatic. In Stalin's time, it was criticized as not corresponding to the ideological canons of socialist realism and, rejected by the capital's museums, ended up in the collection of the Irkutsk Regional Art Museum. The triumph for the painting came in the mid-1950s – 1960s, when it became famous not only at Russian exhibitions, but also far abroad. The increased appreciation of the painting became the reason for pretension on it from the Tretyakov Gallery. The staff of the Irkutsk museum managed to return the painting to its collection. And Arkady Plastov created the replay for the State Tretyakov Gallery in 1961. Based on the documents, the author of the article refutes the inaccuracies in the interpretation of the fate of this picture that arose in the literature of art history.
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Bryol, Radek. "In the Shinkansen Country: Life from Open-air Museums in Japan." Muzeum Muzejní a vlastivedná práce 55, no. 1 (2017): 42–47. http://dx.doi.org/10.1515/mmvp-2017-0024.
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Historical wooden buildings can be seen not only in Japanese open-air museums and in the Japanese countryside, but also in the largest metropolises. On the individual Japanese islands we can find almost ten open-air museums, all of a different character. They include local, regional and national museums - thereby presenting several areas at the same time. Most of them are rural buildings that are primarily related to agricultural subsistence, while some of them also exhibit urban life. In addition to exhibitions of real life and thematic exhibitions, the museums also prepare such programmes as traditional festivities and handicraft courses. Numerous information boards in the museums that are visited, however, are already obsolete in terms of their technical workmanship and their graphics while at the same time they display a lot of information, which also makes the exhibitions chaotic. An interesting concept for using historic buildings is The Art House Project, where endangered buildings were offered to leading Japanese artists and architects for their up-to-date adjustment. A brief encounter with Japanese architecture at the same time confirms that the practical implementation of basic needs to ensure living is similar across the world.
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Кирьянова, О. Г. "Representation of icon painting in the expositions of church museums." Iskusstvo Evrazii [The Art of Eurasia], no. 2(25) (June 30, 2022): 86–93. http://dx.doi.org/10.46748/arteuras.2022.02.008.
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Статья посвящена особенностям репрезентации иконописи в экспозициях музеев, созданных при религиозных организациях Русской православной церкви. За два последних десятилетия значительно возросло число музейных учреждений при религиозных организациях Русской православной церкви. Сегодня они представляют собой отдельный, активно развивающийся сегмент отечественной музейной сети. Реализация совместных с церковными институциями выставочных и просветительских проектов предполагает знакомство с существующими в этой среде практиками и принципами формирования экспозиций, которые во многом нестандартны. Эти практики касаются и вопроса экспонирования иконописи, особенно в конфессиональных музеях комплексного тематического профиля, а также военно-исторических и мемориальных. Данная проблематика ранее привлекала внимание искусствоведов и музеологов (Н.П. Железниковой, Е.А. Поляковой, П.С. Коваленко, Л.С. Алексеевой, Е.В. Волковой и других). Однако упомянутые исследования или отражают сугубо региональный опыт, или рассматривают всю совокупность экспонатов церковных музеев без обособления изобразительных памятников, или фиксируют экспозиционно-выставочные решения музеев светских. В данной статье впервые предпринята попытка охарактеризовать принципы включения иконописи в предметный ряд церковных экспозиций исходя из их тематического профиля. В основу работы лег метод включенного наблюдения, а также анализ информации на сайтах церковных музеев. Как констатирует автор, в музеях РПЦ нехудожественного профиля значение иконы как произведения изобразительного искусства вторично; иконопись презентуется как памятник религиозной культуры, вещественное свидетельство событий церковной истории, а также используется в качестве вспомогательных материалов для миссионерско-просветительской работы. The article is an analysis of the conceptual features of the exposition of works of religious painting in the expositions of museums of the Russian Orthodox Church. Over the past two decades, the number of museum institutions attached to religious organizations of the Russian Orthodox Church has increased significantly. Today they represent a separate, actively developing segment of the national museum network. The implementation of joint exhibition and educational projects with church institutions involves familiarization with the practices and principles of the formation of expositions existing in this environment, which are largely non-standard. These practices also relate to the issue of displaying iconography, especially in confessional museums of a complex thematic profile, as well as military-historical and memorial ones. This problem has previously attracted the attention of art historians and museologists (N.P. Zheleznikova, E.A. Polyakova, P.S. Kovalenko, L.S. Alekseeva, ets.). Among the latest research E.V. Volkova carried out the classification of modern ways of exhibiting church art, depending on its interpretation. However, the mentioned studies either reflect purely regional experience, or consider the totality of exhibits of church museums without isolating pictorial monuments, or fix the exposition and exhibition solutions of secular museums. In the proposed work, for the first time, an attempt is made to characterize the principles of including icon painting in the subject range of church expositions, based on their thematic profile. The work is based on the method of included observation, as well as the analysis of information on the websites of church museums. As the author states, in the museums of the Russian Orthodox Church of non-artistic profile, the significance of the icon as a work of fine art is secondary; iconography is presented as a monument of religious culture, material evidence of events in church history, and is also used as auxiliary materials for missionary and educational work.
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Hua, Sue. "Disruption, Digitalization and Connectivity: Asia’s Art Market in Transformation." Arts 11, no. 3 (May 13, 2022): 57. http://dx.doi.org/10.3390/arts11030057.
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This study investigates the ongoing transformation in galleries, auctions, and museums in Hong Kong, Shanghai, Taipei, and Singapore, where new models for art transactions and exhibiting practices lead to unprecedented evolution in the global art market. While the pandemic hit the art market unprecedentedly, art organizations in Asia are seeing the light at the end of the tunnel as the digitalization of online auctions and virtual art-viewing technology has made up for the cancellation of art events. We are also seeing increased cross-regional and cross-national collaborations in marketing and exhibiting activities. Whether or not it is part of their active strategy, to keep up with the rapid market changes, galleries and auctions must now devote more resources to their digital platforms. Affluent art collectors in this region see art consumption not only as a socially conditioned, symbolic mechanism manifesting wealth and cultural capital but also as an attractive investment vehicle with an increased appetite for the financialization of artworks. What are the benefits and complications of the digitalization of online art transactions and art viewing? How do multi-sited auctions and exhibitions indicate the increased demand for collaboration between commercial art organizations and art institutions? Based on fieldwork and semi-structured interviews with actors in the art markets and secondary Chinese resources, this research generates insights into organizational behaviors in Asia’s art scene and how the art market players actively adapt and persevere via taking on new, entrepreneurial models of operation and speeding up trans-regional and trans-national connectivity with their Western counterparts.
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Floré, Fredie. "The Open-Air Museum of Bokrijk: Staging Pre-Modern Architecture in the Margins of the 1958 World Fair." Architectural History 53 (2010): 295–315. http://dx.doi.org/10.1017/s0066622x00003956.
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At many late nineteenth- and twentieth-century World Fairs architecture was an important tool in the representation of national identities. Pavilions at these Fairs offered telling ‘scenery’, against which to display old and new objects, machines, art collections, interior designs and social customs. They formed architectural settings that contributed to the staging of the nation’s vision of its own past, present or future. Furthermore, as the architectural historian Edward N. Kaufman has pointed out, the late nineteenth-century World Fairs were important forerunners of the first open-air museums. In these more permanent exhibition settings, architecture also often played a crucial role in the representation of national or regional identities. In many open-air museums buildings were conceived as important exhibits providing visitors, sometimes implicitly, with information about the nation or region’s past: information considered fundamental to its present or future identity.
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Franklin, Adrian. "Art tourism: A new field for tourist studies." Tourist Studies 18, no. 4 (December 2018): 399–416. http://dx.doi.org/10.1177/1468797618815025.
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This article argues the case for art tourism as a new field of tourist studies. At present, art tourism is currently obscured under cultural tourism’s voluminous bounds – which are as inappropriate as they are unwieldy and overloaded. More specifically, it cannot adequately contain art tourism’s distinctive origins, forms of experience and articulation between art worlds, cities and regions and tourism industries. In part, a more dedicated research field is also needed to keep track of its rapid growth and development as a primary driver of regional and urban regeneration and for the much expanded exhibitionary complex it encompasses. As a place-changing vehicle for city life, art tourism also needs separate forms of data collection to assist in its effective planning and design. Museums that have historically catered for local art publics now need to relate increasingly to growing touring art publics. The article sets out the historical and contemporary significance of art tourism in order to identify the breadth of a new tourism agenda, as well as its connections to other disciplines including art, architecture, social anthropology, cultural economy, urban studies, museology, aesthetics and the sociology and geography of art.
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Guseva, Anna V., and Viktoria V. Demenova. "Regarding the History of Asian Art Collecting: Tracking Collections of the Tea Traders in Russian Regional Museums." Actual Problems of Theory and History of Art 9 (2019): 778–88. http://dx.doi.org/10.18688/aa199-6-69.
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Revko, Alona, Mykola Butko, and Olha Popelo. "Methodology for Assessing the Influence of Cultural Infrastructure on Regional Development in Poland and Ukraine." Comparative Economic Research. Central and Eastern Europe 23, no. 2 (June 30, 2020): 21–39. http://dx.doi.org/10.18778/1508-2008.23.10.
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The aim of the article is to characterize the level of the region’s diversification according to the cultural component of social infrastructure based on grouped statistical indicators. This paper uses Perkal’s synthetic ratio method to characterize the level of cultural infrastructure development in Ukrainian and Polish regions. The analysis, conducted between 2010 and 2017, concerned cultural organizations such as libraries, theaters, concert organizations, museums, cinemas, art and sports schools, and was based on regional data of Polish and Ukrainian public statistics. It was found that the primary barriers to access to cultural infrastructure are inadequate funding, disability, geographic remoteness, disparities in education, and material living conditions. The determinants of modernizing cultural infrastructure in the region are defined.
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Tatarenkova, Natalia Andreevna. "The fate of cultural and historical values of Russia at the crossroads of eras (1917-1927)." Samara Journal of Science 8, no. 1 (February 28, 2019): 182–86. http://dx.doi.org/10.17816/snv201981209.
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The paper deals with the problems of preserving objects of Russian history and culture in 1917-1927. The author analyzes contradictory processes in the cultural life of the Soviet state in the first post-revolutionary decade. Based on archival sources, she shows the activities of the departments for protection of art monuments and antiques, the role of creative intelligentsia in saving and museumification of cultural and historical values. For example, she describes the first state inventory of art and historical values, as well as realization difficulties of their protection policy in some provinces. There are also some wreck and ruin examples of nobilitys country estates. The author emphasizes the role of creative intelligentsia in saving and museumification of cultural values and characterizes some cultural workers of the designated era accentuating that they have corrected, to a certain extent, revolutionary nihilism of the authorities concerning the cultural heritage. Due to this fact, the 1920s became the Golden age in the history of museum business. During this period, public and private repositories replenished countrys museums with works of art and antiquities. The author concludes that the museumification of Church buildings and objects relating to divine worship was a way to save them for total destruction. The author uses new dates, gathered in the central and regional archives of Russian Federation.
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McGill, Lyndsay. "Scottish heart brooches." Proceedings of the Society of Antiquaries of Scotland 151 (November 30, 2022): 223–34. http://dx.doi.org/10.9750/psas.151.1342.
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This article presents a study of Scottish heart brooches, primarily from the 18th century, using the collections of the National Museums Scotland, Inverness Museum and Art Gallery, the Highland Folk Museum and those reported to the Treasure Trove Unit. By researching over 350 heart brooches it has been possible to gain a fuller understanding of their purpose and meaning, their various styles and their production centres. A re-evaluation of these objects is important because an understanding of them exists that may not be wholly accurate, such as their connection to Edinburgh through the locked booths in the High Street which has given rise to their more commonly known name, ‘luckenbooth brooches’. However, the reality from the study is that more were produced in northern Scotland, particularly from the mid-18th into the early 19th centuries. There is also a deeply ingrained romantic notion of them, and while this is certainly true in many cases, other meanings exist such as protection, religion and health. Furthermore, by studying a quantity of brooches from the 13th to early19th centuries, it has also been possible see regional variations between Inverness and Aberdeen and how the heart form changed through time.
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ТИМОФЕЕВА, Людмила, Liudmila TIMOFEEVAa,, Фирдуас Вагапова, Firduas Vagapova, Алиса АХМЕТОВА, and Alisa AKHMETOVA. "THE MUSEUM-RESERVE AS A CENTER OF TOURISM DEVELOPMENT IN A HISTORIC TOWN (the case of Elabuga State Historical, Architectural and Art Museum-Reserve)." Service & Tourism: Current Challenges 11, no. 2 (June 28, 2017): 111–17. http://dx.doi.org/10.22412/1995-0411-2017-11-2-111-117.
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The article discusses the experience of existence the historical cities as centers of tourism development through the example of Elabuga. The Elabuga is one of the historical cities of Russia. A crucial role in the city’s development as a tour-ism center plays Elabuga state historical-architectural and art museum-reserve. The article is focused on the Elabuga as a medium-size historic city. The subject of study is the work of the museum-reserve, contributing to the preservation and development of the city’s historical character and improving its tourist attractiveness. Tourist attraction of the city is determined primarily by the presence of well-preserved historic city center with neighborhoods of holistic development of the XIX century. Elabuga state historical-architectural and art museum-reserve was found in 1989. Currently it is the object of historical and cultural heritage of federal importance. The museums with their large territories and rich historical, cultural and natural heritage have unique resources for the implementation of major partnership projects. Such projects are aimed not only at attracting a wide range of tourists, but also stimulating interest of the business elite, municipal and regional authorities to the reserve. The most famous example is the revival in 2008 of Elabuga Spasskaya fair. It was held in the city since the second half of the XIX century and was widely known throughout Russia. The process of the revival and the successful development of the fair can be seen as the creation of special tourist events, contributing to the creation of new tourism products.
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Fox, Claire F. "The Documentary Films of José Gómez Sicre and the Pan American Union Visual Arts Department." ARTMargins 7, no. 3 (November 2018): 34–56. http://dx.doi.org/10.1162/artm_a_00217.
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During the 1960s and 1970s, the Visual Arts Department of the Pan American Union, headquarters of the Organization of American States (OAS) in Washington, D.C., produced nearly fifty 16mm documentary short films on topics ranging from contemporary art to heritage sites and OAS member countries. This article focuses on a cluster of three titles about Peru directed by curator and critic José Gómez Sicre between approximately 1964 and 1968. Produced with funding from an international affiliate of Esso Standard Oil, the films were shot on location and demonstrate careful attention to the contexts of art production within an emerging cultural policy framework that cast art and heritage as engines of regional cultural development. The films further assert that the antiquities and modern art markets might be synchronized to become a generational taste formation, insofar as they identify classes of affordable artifacts that were finding their way to collectors relatively recently, and which had also inspired the work of postwar Peruvian artists. As an ensemble, the films reveal unexplored interactions between contemporary art movements, the development of heritage districts and site museums, and emergent cultural policies that continue to impact hemispheric American locations.
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Magio, Kennedy Obombo, Lilia Lucia Lizama Aranda, Laureano González, and Christian Alpuche. "Analysis and Identification of Sustainable Public Policy for Management of Cultural and Natural Heritage in the Maya Region in Line with the Sustainable Development Goals." Heritage 4, no. 4 (November 2, 2021): 4172–83. http://dx.doi.org/10.3390/heritage4040229.
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The present study identifies suitable sustainable public policy for the administration of archaeological zones in Mexico, particularly in the states of Yucatán, Campeche and Quintana Roo (Maya region). Given the rapid economic growth of the Southeastern region of Mexico, it is necessary to implement a comprehensive and sustainable form of administration for the cultural and archaeological heritage. Key components of the ideal policy are aligned to the Sustainable Development Goals (SDGs). Data is based on researchers’ own experiences on how these SDGs can act as a base for the much needed change in the management of Mexico´s archaeological zones. We are looking at a policy that has clear goals, objectives, concrete strategies and actions including: (1) Comprehensive plan, (2) Regional plan, (3) Land use plan—master plan, (4) Cultural tourism plan which covers ecotourism and nature based tourism, art centers, museums and monuments. The resource management plan should cover aspects like: (1) disaster planning, (2) operations and marketing, (3) interpretation, (4) budgetary issues and (5) financing. Success in the implementation of such a policy requires the strengthening of regional and local federalism, transparency, accountability, corporate governance and planning for sustainable cultural tourism development.
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Adams, Christa. ""Splendid and Remarkable Progress" in the Midwest: Assessing the Emergence and Social Impact of Regional Art Museums, 1875–1925." Middle West Review 7, no. 1 (2020): 85–92. http://dx.doi.org/10.1353/mwr.2020.0009.
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Ébli, Gábor. "Will Hungarian Private Collectors Turn International? Private Engagement in Contemporary Art in East Central Europe." Hungarian Cultural Studies 5 (January 1, 2012): 1–16. http://dx.doi.org/10.5195/ahea.2012.65.
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The recent spectacular surge in private collecting in Hungary – which began around the fall of Communism and abated only with the current financial crisis – can be seen as part of the steady expansion of private involvement in the art scene, with some of these developments pointing beyond local significance. This paper examines the historical roots and the current structural characteristics of this spread by looking at the motifs and the choices of collectors, their co-operation with commercial galleries and public museums, as well as the advantages and side-effects of blossoming art patronage. Based on ten years of research, including close to two-hundred interviews with the actors in the art world in Hungary, I argue that private collecting, which had already strongly benefitted from the cultural thaw of the last decades of the Communist regime in the country, has earned over the past quarter-century high social status, the promise of lucrative investment and the liberty of creative self-expression for buyers of modern and, subsequently, contemporary art. The paper aims briefly to place these multiple factors in an international context; further research into art collecting in Eastern Europe will be needed to yield a more complete comparative regional study.
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Kinanti, Lintang Anis Bena. "Formulating Strategies to Develop Jember Historical Tourism Marketing." International Journal of Scientific Research and Management 8, no. 05 (May 12, 2020): 1781–88. http://dx.doi.org/10.18535/ijsrm/v8i05.em04.
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Jember has a long history since prehistoric times, and is evidenced by the diversity of relics from prehistoric times to the colonial period. Historical heritage objects become important regional assets that can generate profits and have a significant effect on economic development. One idea that can be initiated is the presence of an ancient museum. Because of that, an effective marketing strategy is needed to increase the people's visit to the museum and other historical tourism. This study aims to explore how the condition of ancient sites and objects in Jember, explore how the potential of building a museum as a location for storing ancient objects in Jember, and formulating marketing strategies on historical tourism and museums as part of Jember tourism programs. This research adheres to the positivist paradigm using qualitative research methods, using a case study approach by exploring the condition of ancient objects in the Jember area in detail. The results showed that the collection of ancient objects from Jember's history varied greatly with a total of more than 600. A number of collections have been placed in the Antiquities Collection Room, with very limited maintenance, and the room conditions that are not yet representative. For this reason, museum is an alternative solution as a place to store ancient art collection, as well as a part of historical tourism in Jember. The formulation of marketing strategy departs from the concept of SWOT Analysis which is then synergized with the concept of Tourism Marketing Mix.
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Kinanti, Lintang Anis Bena, Dr. Bambang Irawan, M.Si., and Dr. Novi Puspitasari, S.E., M.M. "Strategies Model of Jember Historical Tourism Marketing." International Journal of Scientific Research and Management 8, no. 12 (December 27, 2020): 2058–68. http://dx.doi.org/10.18535/ijsrm/v8i12.em06.
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Jember has a long history since prehistoric times, and is evidenced by the diversity of relics from prehistoric times to the colonial period. Historical heritage objects become important regional assets that can generate profits and have a significant effect on economic development. One idea that can be initiated is the presence of an ancient museum. Because of that, an effective marketing strategy is needed to increase the people's visit to the museum and other historical tourism. This study aims to explore how the condition of ancient sites and objects in Jember, explore how the potential of building a museum as a location for storing ancient objects in Jember, and formulating marketing strategies on historical tourism and museums as part of Jember tourism programs. This research adheres to the positivist paradigm using qualitative research methods, using a case study approach by exploring the condition of ancient objects in the Jember area in detail. The results showed that the collection of ancient objects from Jember's history varied greatly with a total of more than 600. A number of collections have been placed in the Antiquities Collection Room, with very limited maintenance, and the room conditions that are not yet representative. For this reason, museum is an alternative solution as a place to store ancient art collection, as well as a part of historical tourism in Jember. The formulation of marketing strategy departs from the concept of SWOT Analysis which is then synergized with the concept of Tourism Marketing Mix.
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Eremeeva, Anna N., and Timofey V. Kovalenko. "Preserving the Memory of the Great Patriotic War: Regional Practices (1941–1945)." Izvestia of the Ural federal university. Series 2. Humanities and Arts 23, no. 1 (2021): 25–39. http://dx.doi.org/10.15826/izv2.2021.23.1.002.
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The perpetuation of the feat of the Soviet people during the Great Patriotic War through monuments, museum displays, and artistic texts has been going on for three-quarters of a century now. Perpetuation strategies at various stages have been determined by official interpretations of events, processes, and commemorative practices. Referring to the analysis of the situation in Krasnodar Krai, this article reconstructs the initial stage of war commemoration and the mechanisms of historical memory production that were formed synchronously with the events of 1941–1945. The sources for the reconstruction are various documents of central and local Soviet bodies and the Communist party, creative unions, cultural institutions, periodicals, memoirs, and artistic texts. The main directions of the war commemoration were the combination of all-Union recommendations as well as regional peculiarities. The work was developed mainly after the liberation of the region in 1943. Military and labour exploits of the Kuban population were actualised. The merits of the Cossack formations were specially highlighted, while information about the facts of collaboration was minimised. Resistance to fascism during the occupation of Kuban was represented by the partisan theme. The main print source of the partisan movement in the region was the books by P. K. Ignatov, commander of the partisan detachment, that were promptly published and replicated in the USSR and abroad. The exploits of his dead sons, Heroes of the Soviet Union, became a classic example. Memorial spaces, a system for recording military monuments were formed. The artistic chronicle of the war was created as a set of victorious stories. The theme of the ongoing war was added to the repertoire of professional and amateur art groups, as well as exhibitions of local museums. The calendar of holiday dates included anniversaries of the liberation of territories from the Nazis. The memory of the war was reflected in the local toponyms.
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Vorobiova, Olga Y. "Updating of cultural memory in provincial museum activities." Yaroslavl Pedagogical Bulletin 1, no. 118 (2021): 195–201. http://dx.doi.org/10.20323/1813-145x-2021-1-118-195-201.
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The article presents understanding of the cultural memory phenomenon in the context of museum activity. Special attention is given to the mainstreaming of memory in provincial museum activities. Cultural memory is interpreted by the author as «history recreated in memory», appealing not to a specific event of the past, but to his image, formed in the minds of people. The work highlights the key characteristics of the museum as an institute of memory, determining its special role in the process of forming, broadcasting and updating cultural memory: working with genuine sources of information – museum objects; attractiveness and expressiveness of museum objects – the ability to attract the attention of the audience and have emotional impact; special atmosphere that allows the visitor to «plunge into the era» (this is especially characteristic of memorial, environmental museums and exhibitions built on the ensemble principle). The specificity of the provincial museum in the process of updating cultural memory is due to its special functions, primarily the function of identifying the local population. Based on the analysis of empirical material (the practice of the Uglich State Historical Architectural and Art Museum), the levels of memory updating in the activities of the provincial museum were revealed: national, regional and local, as well as forms of updating. Key and at the same time traditional forms of memory updating in the provincial museum are expositions, exhibitions, lectures, local history meetings. New forms of memory updating include educational (interactive) programs and festivals (museum holidays). The author concludes that the issue of the formation and updating of cultural memory by the provincial museum itself remains insufficiently conscious.
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Tkachev, V. V. "EXPEDITIONARY WORK OF ARTISTS TO COLLECT MATERIALS TO CREATE TYPES OF LOCALITIES AND SETTLEMENTS IN THE VICINITY OF LAKE BAIKAL IN THE SECOND HALF OF THE 19TH — EARLY 20TH CENTURIES." Northern Archives and Expeditions 6, no. 3 (September 30, 2022): 120–29. http://dx.doi.org/10.31806/2542-1158-2022-6-3-120-129.
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The study is aimed at restoring the main stages of the expeditionary work with the participation of famous artists in collecting materials to create types of localities and settlements in the vicinity of Lake Baikal in the second half of the 19th – early 20th centuries. Archival documents about the activities of E.E. Meyer, S.E. Vronsky and B.I. Lebedinsky as part of research groups. It is proved that the plots of the paintings of Western travel artists differed from those similarly made by local masters. This phenomenon is due to the fact that foreign and metropolitan artists lacked deeper knowledge in determining localities, highlighting the features of the region, thereby they missed many important details. The work of artists focused on the creation of works that presented the surroundings of Baikal extensively and from different angles. The artists showed the completed canvases to the residents at public exhibitions, in the future, many works remained in the funds of local museums. In the archives of the Irkutsk Regional Art Museum. V.P. Sukachev and the State Archives of the Irkutsk Region, personal files and materials on the activities of such artists as E.E. Meyer, S.E. Vronsky and B.I. Lebedinsky. The collections preserved detailed correspondence between museum staff and relatives of the painters, impressions and reviews of contemporaries, exhibition visitors, clippings of articles from pre-revolutionary periodicals, which must be presented in this article. The study confirmed that in the process of organizing and conducting expeditionary work by the scientific community, new types of neighborhoods of settlements in the Irkutsk province and the Trans-Baikal region were created. The activities of scientists and artists focused on studying the cultural and natural heritage, replenishing the museum's funds with paintings that depicted the region, highlighted its features and development prospects.