Thèses sur le sujet « Galleria arte »
Créez une référence correcte selon les styles APA, MLA, Chicago, Harvard et plusieurs autres
Consultez les 50 meilleures thèses pour votre recherche sur le sujet « Galleria arte ».
À côté de chaque source dans la liste de références il y a un bouton « Ajouter à la bibliographie ». Cliquez sur ce bouton, et nous générerons automatiquement la référence bibliographique pour la source choisie selon votre style de citation préféré : APA, MLA, Harvard, Vancouver, Chicago, etc.
Vous pouvez aussi télécharger le texte intégral de la publication scolaire au format pdf et consulter son résumé en ligne lorsque ces informations sont inclues dans les métadonnées.
Parcourez les thèses sur diverses disciplines et organisez correctement votre bibliographie.
Lora, Alice <1995>. « Il deposito del museo di arte contemporanea come nuova ‘sfida’ per la didattica museale. Il caso della Galleria d’Arte Moderna e Contemporanea Achille Forti di Verona ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/17389.
Texte intégralLigorio, Giulia <1992>. « Il Mercato dell'Arte e il Ruolo delle Gallerie. La Galleria Alberta Pane ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/20690.
Texte intégralGollini, Serena <1994>. « Professione gallerista : la Galleria Alberta Pane, un caso di studio ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14368.
Texte intégralJarzebska, Aneta. « Transgressing the borders of gallery space : subversive practices of alternative art galleries in East Germany and Poland of the 1970s ». Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/transgressing-the-borders-of-gallery-space-subversive-practices-of-alternative-art-galleries-in-east-germany-and-poland-of-the-1970s(80cbed0c-10b9-4211-9ad2-3a0e19f94a30).html.
Texte intégralSilveira, Andrea Aparecida Capssa de Lima da. « CONSIDERAÇÕES SOBRE AS GALERIAS VIRTUAIS E SUAS RELAÇÕES COM O MERCADO DE ARTE ». Universidade Federal de Santa Maria, 2016. http://repositorio.ufsm.br/handle/1/5244.
Texte intégralEsta pesquisa no campo da História, Teoria e Crítica da Arte, com ênfase em Arte e Tecnologia, tem como objetivo um estudo teórico das galerias virtuais, a partir de questões pertinentes à arte contemporânea e ao ciberespaço. Visa compreender as funções das galerias e o papel do galerista enquanto empreendedor/estrategista para o mercado da arte. Neste estudo são selecionadas seis galerias de arte todas brasileiras e com características distintas que podem contribuir para o reconhecimento das estratégias dos galeristas que optam por trabalhar em ambiente exclusivamente online ou atuar simultaneamente em ambientes físicos e virtuais. De acordo com os dados encontrados, todas as galerias virtuais buscam legitimação através do público interessado, dos colecionadores e dos demais galeristas, estão constituídas de ambientes expositivo e informativo, mas apenas algumas seguem com e-commerce.
Arnett, Joanne. « Rogue gallery ». Thesis, Kent State University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1555301.
Texte intégralI seek to capture the ephemeral in a series of large-scale weavings that examine relationships between public and private, real and artificial, the mundane and the extraordinary.
I use mug shots as a device because they represent a perfect juncture between conflict and resolution. I assume the role of the accused in all the compositions. Rather than present the images as photographs I transform them into weavings. The zeros and ones that make up a digital image file become a code which translates as the over and under of warp and weft and embeds the image in the finished cloth. Matte yarn is used for the warp, shiny wire is used for the weft, transforming darks and lights in to rich tactile surfaces. The resulting image appears and disappears depending on the viewer's perspective.
The viewer is required to physically interact with the artwork in order to see the portrait, creating a dynamic between him and the person pictured. The image slips away as the viewer steps closer, shifting the viewer's focus to other aspects of the work, and as he circles the art work to recapture the portrait there is time for layers of information to be read. The luxurious weavings are enigmatic and inspire a sense of wonder. Content, materials, and form combine to create a moment where the viewer is taken out of the expected, suspending a fleeting exchange in time and resulting in an experience rather than just a viewing.
Domingue, Natalie. « New Orleans Auction Galleries : Sustaining Vitality in Shifting Auction Markets ». ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/aa_rpts/203.
Texte intégralGrappin, Benjamin. « An internship with Arthur Roger Gallery, LLC ». ScholarWorks@UNO, 2005. http://scholarworks.uno.edu/aa_rpts/6.
Texte intégralPrete, Elisa <1982>. « Incontenibili : nuove avanguardie e gallerie d'arte nel panorama italiano e francese degli anni Sessanta ». Doctoral thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3010.
Texte intégralThe following research offers an analysis of the artistic context in Italy and France during the sixties, when important neo-avant-garde trends developed (from Nouveau Réalisme to Pop Art, from Kinetic to Conceptual Art, from Poor Art to multimedia experiences and Happening). In this decade, the private galleries turn out to be the most appropriate and suitable places to host the new artistic experimentations and performances. The research is divided into three parts: the first one is about the private exhibition spaces of some of the most important Italian cities (Venice, Rome, Milan, Turin, Genoa, Bologna) and all the initiatives related to the production of the neo-avant-garde; the second part concerns the history of the Nouveau Réalisme and the relationships developed between France and Italy, recreated throughout the profile of the Parisian galleries more committed for supporting and promoting the members of the group; the third part is focused on the transformation of the traditional idea of artistic "object" in the course of the decade, that significantly changes both the way the public perceives the artwork and the relation between the artwork and the space, leading to a crisis of the gallery and the exposition space.
Lieberman, Christina Michele. « A handbook for developing an exhibition guide for a student union art gallery ». Thesis, The University of Arizona, 2002. http://hdl.handle.net/10150/278798.
Texte intégralPoletti, Alice <1993>. « L'attività espositiva della Galleria Mazzoli di Modena, 1977-2019 ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15210.
Texte intégralBerliner, Meghan. « The Role of the Viewer in the Gallery Space ». Scholarship @ Claremont, 2009. http://scholarship.claremont.edu/scripps_theses/12.
Texte intégralDoucette, Valerie Anne. « The art museum in code : display strategies of the National Gallery of Canada ». Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=97220.
Texte intégralLa présente thèse examine l'influence du musée d'art en tant que milieu culturel important sur la compréhension des objets d'art par le public et les répercussions des médias numériques sur ces œuvres quand le musée les affiche en ligne. Pendant l'analyse du Musée des beaux-arts du Canada (MBAC), je cherche à déterminer comment les objets d'art sont rencontrés et perçus dans leurs contextes physique et numérique en examinant trois contextes pertinents au musée : la mémoire, les renseignements et la narration. Je compare la manifestation des trois contextes dans l'espace physique du musée à leur traduction numérique, ce qui révèle que le MBAC reproduit de très près ses pratiques à communication unilatérale objectives et consignées dans l'espace numérique. J'examine également d'autres interfaces en ligne, notamment le projet steve.museum et le blog Art Matters du Musée des beaux-arts de l'Ontario, comme autres options à l'approche du MBAC pour leur usage plus ouvert, plus collaboratif et plus social rendu possible par les médias numériques.
Arnett, Joanne M. « Rogue Gallery ». Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1366636723.
Texte intégralHarvey, Melinda. « Art Center : Individual and Group in the Context of Galleries and Studios ». VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2714.
Texte intégralVicens, Rebeca. « Alley-Gallery ». Thesis, Virginia Tech, 2002. http://hdl.handle.net/10919/9660.
Texte intégralMaster of Architecture
Onsal, Basak. « Emergence Of Art Galleries In Ankara A Case Study Of Three Pionerring Galleries In The 1950s ». Master's thesis, METU, 2006. http://etd.lib.metu.edu.tr/upload/12608100/index.pdf.
Texte intégrals Gallery, and Society of Artlovers&rsquo
Gallery that were opened in Ankara during 1950s. To this aim, both the artistic movements and governmental policies regarding the artistic field are mentioned from a historical point of view. Interviews, analysis of relevant literature, examining periodical magazines, and daily newspapers constitute the main sources of data collecting. In conclusion, in the light of our findings it is decided that the formation of art market and emergence of art galleries in Turkey have quite different characteristics from the western example as a result of its own social, cultural and economic dynamics in the historical frame.
Tonetti, Ana Carolina. « Interseções entre arte e arquitetura. O caso dos pavilhões ». Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/16/16136/tde-04072013-115801/.
Texte intégralThis dissertation is focused on the study of pavilions and their relationship with the three-dimensional production - understood as installation and sculpture. Therefore, the concept of \"expanded field\", elaborated by Rosalind Krauss in the 1979 essay to encompass the transformation of sculpture from the 60\'s, is articulated with the recent shift of this same concept into the realm of architecture by some authors, namely Antony Vidler. The research is not just an investigation on the contribution of the architectural space for sculpture or, on the other hand, from sculpture to architecture, but focuses especially the line that separates them, understood as a disposition of convergence by the two disciplines which dissolves the reciprocal bonds in a interstitial production, performed by artists, architects or even both together. The pavilion has always been understood as an experimental field for architects, especially during the twentieth century when it helped consolidate the assumptions of modern architecture. Today it has gained great visibility through several programs that offer specific conditions by commissioning and assuming a unique architecture design that sets up a production untied from the binomial form-function, resulting in a self referent building whose subject is the architecture itself. From the point of view of the arts, it represents an expansion of the installation configuring a spatial whole that also implicate the building and, when taken as meta architecture, also operates as a platform for critical confrontation. The opposition on theory about the ramifications of the expanded field, as well as a research on the essential characteristics to a malleable term, are faced with a critical analysis of selected cases in three institutions gathering rather distinct characteristics - the Venice Biennale, the Institute of Contemporary Art Inhotim and the Serpentine Gallery -, and allow conclusions on this contemporary production in a disciplinary threshold.
Vitale, Raffaela <1958>. « Michelangelo Antonioni:schedatura e analisi del fondo pittorico custodito presso le Gallerie di Arte Moderna e Contemporanea di Ferrara ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4477.
Texte intégralMoore, Catlin F. « An analysis of the adaptive contemporary art gallery model in Culver City following the 2008 global recession ». Thesis, California State University, Long Beach, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1523296.
Texte intégralThe purpose of this thesis is to explore how the contemporary art gallery model has been adapted in order to suit a post-2008 global recession marketplace. Using Culver City as a case study, I have analyzed how three local gallerists have changed their business practices made in response to a rapidly changing economic environment as well as the demands of the current "Knowledge Age" and also demonstrated how these adaptations follow from historical developments in American gallery culture. My findings suggest the degree to which socioeconomic changes inspired shifts within the design of the current gallery business model, which enabled galleries in Culver City to survive the most challenging economic recession of their time. Findings from this study can benefit future gallerists, collectors, artists, or historians engaging in the contemporary art marketplace.
Fasoli, Lyn, et n/a. « Young children in the art gallery : excursions as induction to a community of practice ». University of Canberra. Communication & ; Education, 2002. http://erl.canberra.edu.au./public/adt-AUC20060710.095714.
Texte intégralSchubauer, Allison. « From Screen to Paper to the Gallery Walls : Comic and Confessional Drawing in the Digital Age ». Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/581.
Texte intégralOrler, Cesare <1997>. « Carlo Cardazzo e La Galleria del Cavallino. Le mostre dal 1942 al 1963 ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21735.
Texte intégralEsteves, Wyatt Matthew. « Cole Pratt Gallery : An Internship Academic Report ». ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/aa_rpts/193.
Texte intégralNeeriemer, Ann Louise. « Modern vernacular : Arts Link Education Center and Gallery in Asheville, NC ». College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3640.
Texte intégralThesis research directed by: School of Architecture, Planning and Preservation Architecture. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
Grutzius, Heather L. « The Nature of Building A Public Arts Complex in Washington, DC ». Thesis, Virginia Tech, 2003. http://hdl.handle.net/10919/9656.
Texte intégralMaster of Architecture
Romano, Cara L. « Gallery 66 selling the Southwest / ». Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1194999497.
Texte intégralBaker, Erin L. « Arts interventions in dementia care ». Thesis, Canterbury Christ Church University, 2014. http://create.canterbury.ac.uk/12839/.
Texte intégralMachado, Ana Méri Zavadil. « REATANDO OS NÓS : ARTE & ; FATO GALERIA, MUSEU DE ARTE CONTEMPORÂNEA DO RIO GRANDE DO SUL- MAC/RS E TORREÃO ESPAÇOS DE LEGITIMAÇÃO EM PORTO ALEGRE (1985-1997) ». Universidade Federal de Santa Maria, 2011. http://repositorio.ufsm.br/handle/1/5200.
Texte intégralThis research aims investigate three spaces of exhibitions, where each one guards its specificity: The Art & Fact Gallery, a commercial space; the Contemporary Art Museum of Rio Grande do Sul MACS/RS, a institutional space and the Torreão, a collective initiative of artists, in a meaningful time covering the years of 1985 and 1997, in Porto Alegre City. What interested us searching, mainly, was the feature common on all three, that is, the extent to which each contributed as a space of legitimation of artists who were beginning their careers in the mid 80's and 90's. From the historiography did the analysis of the performances of such spaces in relation to production, distribution and consumption of art in that period, despite the relationships between spaces, the artists and arts system in force, noting the changes that promoted into the field of art in Porto Alegre. The survey, regarding the methodology, procedures relating to research combines theoretical and field. The first will have its foundation in important authors who wrote about the period as Iclaia Cattani, Blanca Brites, Marilene Burtet Pieta, Anna Maria Albani de Carvalho and Maria Amelia Bulhões, like Gomes and Paulo Tadeu Chiarelli, and other influential theorists different areas such as Anne Cauquelin, Nathalie Heinich, Pierre Bourdieu, Sonia Saltztein, Ricardo Basbaum and Ligia Canongia. To reach our goals the field research was fundamental because the interviews with officials, directors and managers, was instructive, because understanding its dynamic presentation of art, we understand them as spaces of legitimation.
A presente pesquisa tem por objetivo investigar três espaços de exposições, em que cada um guarda a sua especificidade: a Galeria Arte & Fato, espaço de cunho comercial; o Museu de Arte Contemporânea do Rio Grande do Sul MAC/RS, espaço institucional; o Torreão, iniciativa coletiva de artistas, em um recorte temporal que abrange os anos entre 1985 e 1997, na cidade de Porto Alegre. O que interessou pesquisar, principalmente, foi a característica comum aos três, ou seja, em que medida cada um deles contribuiu como espaço de legitimação de artistas que estavam iniciando as suas trajetórias em meados dos anos 80 e na década de 90. A partir da historiografia, realizou-se a análise das atuações dos referidos espaços no que tange à produção, à divulgação e ao consumo de obras de arte no citado período, estabelecendo relações entre os espaços, artistas e sistema de artes vigente, constatando as mudanças que promoveram para o campo da arte em Porto Alegre. A pesquisa, no que diz respeito à metodologia empregada, conjuga procedimentos referentes à pesquisa teórica e à de campo. A primeira tem o seu embasamento em autores importantes que escreveram sobre o período, como Icleia Cattani, Blanca Brites, Marilene Burtet Pieta, Ana Maria Albani de Carvalho e Maria Amélia Bulhões, assim como Paulo Gomes e Tadeu Chiarelli, além de outros teóricos influentes de áreas diferenciadas, dentre eles, Anne Cauquelin, Nathalie Heinich, Pierre Bourdieu, Sonia Saltztein, Ricardo Basbaum e Ligia Canongia. Para atingir os objetivos, a pesquisa de campo revelou-se fundamental, pois as entrevistas com os responsáveis, os diretores e os gestores mostraram-se elucidativas; assim, entendendo as dinâmicas de apresentação da arte, compreende-se tais locais como espaços de legitimação.
Medeossi, Giulia <1993>. « Le gallerie d'arte private di Trieste dal 1946 al 1956 ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14106.
Texte intégralHolm, Flach Eva-Lotta. « Konstens olika horisonter : Ett möte med bildkonst från Senegal, Mali och Moçambique ». Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-28755.
Texte intégralThe following essay, Different horizons - Encounters in visual arts from Senegal, Mali and Mozambique, discusses how to encounter what is unknown and unfamiliar within art in my role as a gallerist and curator. The essay refers to encounters with art and artists from Senegal, Mali and Mozambique. The text is partly based on my experiences at the biennial in Dakar, partly from working experiences with two exhibitions at Galleri Flach in Stockholm. On the basis of my role as curator, I am reflecting on the situation when art appears unfamiliar. How do I act? What do I learn in these situations and what do they bring to my curatorial work in the gallery space? With support from hermeneutics and philosophers such as Hans-Georg Gadamer and Marcia Sa Cavalcante Schuback, I describe a learning process that takes the geographical and cultural distance into consideration. The text reflects also on the so-called hermeneutical gap (a room in between) that occurs in the joint between the familiar and the unfamiliar. The discussion incorporates thoughts on how standards in the Western art history affect my encounters with the art object and what I perceive as artistic quality. I note in the essay how these meetings and confrontations with the unknown in the art are important. It sets in motion a process towards greater knowledge in which I see myself more clearly, not the least my conscious and unconscious beliefs. The text describes how I use the gallery space to put my reflections into practice, in a dialogue between myself and the artists with whom I work. I emphasize the dialogue and the importance of an internal reflection in creating an exhibition. The exhibition offers a room within a room, a limited context, where dialogues and reflections take shape.
Eekelaar, Catherine. « Art gallery-based interventions in dementia care ». Thesis, Canterbury Christ Church University, 2011. http://create.canterbury.ac.uk/10460/.
Texte intégralWolters, Erika. « A mobile art gallery ». Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-223739.
Texte intégralCox, Margaret. « Social Media in the Arts : Designing for Meaningful Participation in Museums and Galleries ». Research Showcase @ CMU, 2011. http://repository.cmu.edu/theses/12.
Texte intégralLee, P. C. « Inspiring creativity : creating edge effects through partnerships with museums, galleries and arts practitioners ». Thesis, University of Wolverhampton, 2007. http://hdl.handle.net/2436/90242.
Texte intégralDEGRAAF, NATHAN MARK. « MILIEU, MEANING AND ARCHITECTURE : CONTEMPORARY INSTALLATION ART GALLERY DESIGN ». University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148191782.
Texte intégralMegera, Sebastiano <1997>. « I disegni di Egidio Dall’Oglio presso le Gallerie dell’Accademia di Venezia ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21776.
Texte intégralJaekel, Paola de Oliveira. « Pavilhões e o campo ensaístico da arquitetura : o caso da Galeria Serpentine em Londres ». Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/16/16138/tde-27062017-152844/.
Texte intégralThis paper aims to provide analysis of a typology - the pavilions, more specifically the case of the Serpentine Gallery Summer Pavilions in London. In favor of comprehending the typology as well as the developed program in London, this research was based on a selected bibliographical survey on the subject-matter and other Serpentine Gallery projects, additionally to a visit to one of the pavilions and other works by the same architect, the Chilean Smiljan Radíc. It has been used, as starting point, the reference of the author Moisés Puente and his book \"100 anos de pavilhões de exposição\", subsequent to publications on architecture history and monographs by other architects. Regarding the Serpentine Gallery, the research began with the 10-year commemorative publication of the event: \"Serpentine Gallery Pavilions\", from author Philip Jodidio, along with other publications about each pavilion. Lastly, monograph publications were gathered on the architect Smiljan Radíc, as well as on the 2014 pavilion. Therefore, it was possible to draw a panorama on these buildings throughout history, likewise some of its emblematic works for the discipline of architecture, and ther after, analyse the propositions that have been made by this gallery since the 2000s. As a result, the pavilion visited in 2014 is presented along with the author\'s work in an examination of the rehearsal field of the architect, the same field is further analysed in some of the most significant pavilions in history.
McCredie, Athol. « Going public : New Zealand art museums in the 1970s : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Museum Studies at Massey University ». Massey University. School of Maori Studies, 1999. http://hdl.handle.net/10179/250.
Texte intégralJun, Jinhee. « Perceived constraints to art museums/galleries participation ». Texas A&M University, 2003. http://hdl.handle.net/1969.1/1173.
Texte intégralReilly-Brown, Elizabeth. « Dialogue in the Galleries : Developing a Tour about Contemporary Art for the Virginia Museum of Fine Arts ». VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/198.
Texte intégralLiu-Devereux, Pauline Carol. « Galleries and drift : mapping undermined landscapes ». Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3283.
Texte intégralHiggins, Sean Joseph. « Thomas Macklin's Poet's Gallery : consuming the sister arts in late eighteenth century London ». Thesis, Courtauld Institute of Art (University of London), 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.539282.
Texte intégralAndreoni, Fulvia <1992>. « Autoritratti del Novecento. La collezione di Raimondo Rezzonico alle Gallerie degli Uffizi ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14649.
Texte intégralCacciola, Giulia <1995>. « Gallerie, Fondazioni e Case d'asta : un'analisi del mercato dell'arte contemporanea a Venezia ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/17022.
Texte intégralBergman, John. « IMMERSIVE GALLERY OF DIGITAL ART ». Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-223228.
Texte intégralRovee, Christopher Kent. « Imagining the gallery : the social body of British Romanticism / ». Stanford : Stanford university press, 2006. http://catalogue.bnf.fr/ark:/12148/cb40161689c.
Texte intégralCausadias Domingo, Isabel. « Mercat primari de l’art contemporani a Catalunya ». Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/380896.
Texte intégralSchönfeld, Susanne, et Andreas Reinstaller. « The effects of gallery and artist reputation on prices in the primary market for art : a note ». Inst. für Volkswirtschaftstheorie und -politik, WU Vienna University of Economics and Business, 2005. http://epub.wu.ac.at/342/1/document.pdf.
Texte intégralSeries: Department of Economics Working Paper Series
Tolley, Rebecca. « Review of Art Museum Image Gallery ». Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/etsu-works/5631.
Texte intégral