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Letteratura scientifica selezionata sul tema "Artists' books – private collections"

Autore: Grafiati

Pubblicato: 29 luglio 2024

Ultima modifica: 30 luglio 2024

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Articoli di riviste sul tema "Artists' books – private collections"

Boer, Tanja de. "The Museum of the Book in the Hague". Art Libraries Journal 25, n. 1 (2000): 19–24. http://dx.doi.org/10.1017/s0307472200011408.

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Established in 1960, the Museum van het Boek is known for its holdings and exhibitions of Western book art from the last 110 years. Building on the starter collections of two donors, a private printer and a bibliophile, the Museum’s acquisitions now focus mainly on modern book art. More than 25,000 of the 450,000 objects in the Museum are books showing the development of standard Dutch publishing, the work of individual book illustrators, type designers and calligraphers, contemporary Dutch private presses and artists’ books. There is also considerable foreign material, notably from Germany and Great Britain.

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Pitenina, V. "Artistic and stylistic peculiarities of the graphic work of Petro Lapyn, illustrator of the children's books in the first third of the 20th century". Research and methodological works of the National Academy of Visual Arts and Architecture, n. 27 (27 febbraio 2019): 193–99. http://dx.doi.org/10.33838/naoma.27.2018.193-199.

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The beginning of the 20th century is a period of creative and printing experiments in the Ukrainian art. New generation of Ukrainian books was born in this period. The illustration of the children's books was a significant part of this process. Famous Ukrainian graphic artists, such as H. Narbut, M. Zhuk, O. Sudomora, V. Kononchuk, took part in the creation of a new Ukrainian children's book. Some little-known artists also worked with them, and their creativity was an important part of the artistic process. Petro Lapyn was one of those artists. From 1917 to 1929, he worked with the famous publishing houses, such as Vernyhora, Derzhavne Vydavnytstvo, Proliski, Knyhospilka and Rukh. Children's books, illustrated by P. Lapyn, are kept in the funds of the Pedagogical Museum of Ukraine, the National Library of Ukraine for Children, Ivan Fedorov Book Chamber of Ukraine and private collections. We have found about 30 of his projects. But the information about the artist himself and his life is quite limited. One of the first books he illustrated was the poem of S. Rudanskyi «Vovk, Sobaka ta Kit» («The Wolf, the Dog, and the Cat»), published in black and white in 1918. This early Petro Lapyn's work revealed his artistic outstanding peculiarities: vibrant linear drawing, harmonious combination of text and illustrations, variety of graphic techniques and skills in the representation of characteristic features. The high point of the artist's career is the illustration of «Crows and Owls», I. Franko’s fairy tale, printed in 1926 (Kharkiv, Rukh). It demonstrates the animalistic works of the artist. There are typical structural elements in fairy tale books: vignettes, drop caps. P. Lapyn uses decorative handwritten fonts and silhouette drawings for them. His graphic creations are full of emotions. Specific features of his work are: humour, emotionality, anthropomorphism, careful attitude towards literary material, and consistently high level of drawing.

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Jagersma, Rindert, e Joanna Rozendaal. "Female Book Ownership in the Eighteenth-Century Dutch Republic". Quaerendo 50, n. 1-2 (4 giugno 2020): 109–40. http://dx.doi.org/10.1163/15700690-12341463.

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Abstract This article analyses the private library book sale catalogue of paper-cutting artist (knipkunstenaar) Johanna Koerten (1650-1715), one of the most famous artists in the Dutch Republic. The study draws on data gathered for the ERC-funded MEDIATE project (Measuring Enlightenment: Disseminating Ideas, Authors and Texts in Europe, 1665-1830). The bibliometric approach of this digital humanities project uses book sale catalogues to study the circulation of books and ideas in eighteenth-century Europe. This article analyses the catalogue of Koerten, her background and professional interests, the ‘femininity’ of female book collections in general, and the problems and opportunities one faces when using bibliometric data on book sale catalogues.

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Di Benedetto, Claudio. "The Uffizi Library: a collection that documents collections". Art Libraries Journal 35, n. 2 (2010): 4–7. http://dx.doi.org/10.1017/s0307472200016321.

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The Biblioteca degli Uffizi acts as a documentary ‘black box’ for all the notable collecting that has taken place in Florence during the past 500 years. The Library’s collections stretch from the autograph 22-year diary of the 15th-century painter Neri di Bicci and the different editions of Vasari’s Lives of the painters, through the inventories and lists of objects acquired and held successively by the Medici, the House of Hapsburg-Lorraine and the new Italian united kingdom, and to all the memoirs and plans and catalogues of the directors and ‘royal antiquarians’ of the Uffizi Gallery. In addition it contains major works on art history, artists, public and private art collections, exhibitions and many related topics. The Library holds 77,000 printed books and more than 440 manuscripts; its catalogue is shared with the IRIS consortium of art history and humanities libraries and contributes to artlibraries.net through this shared bibliographic database. Several digitisation projects have already been completed or are currently in progress.

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Bolotova, Alexandra I. "The Tretyakov Gallery Library". Art Libraries Journal 17, n. 2 (1992): 24–26. http://dx.doi.org/10.1017/s0307472200007781.

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The Library of the Tretyakov Gallery in Moscow contains over 50,000 books on Russian and foreign art. The collections date back to the gift, in 1899, of the library of P. M. Tretyakov. From 1918, the Library and the Gallery received the benefit of State support; the Library gained books from private collections and as a result of the closure of other museums, and it continued to receive donations. From 1931, copies of Russian publications on art were received on legal deposit, and many publications are additionally acquired in exchange for copies of the Gallery’s own publications. As well as books, the Library contains collections of manuscripts, of press-cuttings, and of exhibition invitation cards and posters. The Library maintains several card indexes, on Soviet art and the participation of Soviet artists in exhibitions, and of journal articles, illustrations, illustrators, and exhibition catalogues. The Library has itself published several reference books.

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Velikodnaya, Irina L. "Collection of Autographs". Bibliotekovedenie [Library and Information Science (Russia)] 1, n. 1 (28 febbraio 2016): 55–59. http://dx.doi.org/10.25281/0869-608x-2016-1-1-55-59.

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The review considers two new editions, connected by the theme of autographs, - “The Bibliophile Garland to Anna Akhmatova. To the 125th Birth Anniversary: the Autographs in the Collection of M. Seslavinsky” and “The Art of Autograph. Inscriptions of Writers and Artists in the Private Collections of Russian Bibliophiles”, published in 2014-2015. Description and identification of the autograph, its introduction into scientific use, as well as its study are relevant problems of today, as the accumulated handwritten material of this kind requires samples of cataloguing. The Russian collectors propose to comprehend such material accumulated in private collections, publish previously unknown autographs, manuscripts, epistolary heritage of Russian poets, writers and artists. Peer-reviewed publications are required in the work of experts - literary critics, art historians, book historians, culturologists, students of specialized educational institutions, and all the interested in the history of the Russian culture.

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Ulemnova, Olga L. "A.F. Mantel’s Art Collection in Museums of the Volga Region: Reconstruction Experience". Observatory of Culture 16, n. 4 (13 settembre 2019): 386–405. http://dx.doi.org/10.25281/2072-3156-2019-16-4-386-405.

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A characteristic feature of the artistic life of Russia at the turn of the 19th—20th centuries was the growth in the number of private art collections and the expansion of the social composition of collectors due to the addition of industrialists, merchants and intellectuals. After the Russian Revolution of 1917, these collections became one of the important sources in the formation of art collections of metropolitan and provincial museums of Russia. The article is devoted to one of the most interesting private collections of the Kazan province — the collection of A.F. Mantel, formed at the beginning of the 20th century from paintings and graphics by the leading masters of the World of Art association: A.N. Benois, I.Ya. Bilibin, A.F. Gaush, B.M. Kustodiev, D.I. Mitrokhin, G.I. Narbut, N.K. Roerich and others. The article reveals the fates of once famous works of the artists from the World of Art association, which were shown at the association’s exhibitions and published in well-known books, magazines and almanacs such as Apollo, Libra, Rosehip, At Dawn and others. A.F. Mantel’s collection played an important role in the formation of museums in several cities of the Volga region — Kazan, Tetyushi, Kozmodemyansk — becoming one of the sources of contemporary national art collections. Due to various reasons, the most of the collection, including the part received by museums, was lost in the late 1910s — 1930s. Relying on archival and literary sources and museum collections, the author, for the first time, managed to restore, with a high degree of accuracy, the composition of the part of A.F. Mantel’s collection that was purchased for museums of Tetyushi and Kozmodemyansk, and to clarify the composition of the Kazan Museum’s collection.

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Batil qızı Sadıqova, Aytac. "Miniature art and its development characteristics in Azerbaijan". SCIENTIFIC WORK 15, n. 3 (24 marzo 2021): 87–90. http://dx.doi.org/10.36719/2663-4619/64/87-90.

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The history of miniature art dates back to ancient times. This art in itself combines many fields of art. One of the main characteristics of miniature art is the ability to describe the events in the books in the form of plots. In this field, more Tabriz artists have managed to create unique pearls of art. The unique specimens created by the masters of Tabriz are now kept in various museums and private collections around the world. Each of these preserved specimens has its own aesthetic and artistic value. The article thoroughly analyzes their general artistic characteristics. Key words: Miniature, development, formation, color, shape, effect, composition

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Editorial, Article. "M. Seslavinsky’s Gift to the Russian State Library". Bibliotekovedenie [Library and Information Science (Russia)], n. 2 (1 aprile 2009): 130. http://dx.doi.org/10.25281/0869-608x-2009-0-2-130.

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Head of the Federal Agency for Press and Mass Media Communications of the Russian Federation M. Seslavinsky (Rospechat) presented albums and collection of books to the Russian State Library on February, 4, 2009. These interesting examples of bookbinding and series of ex-librises were created by known artists for his private library.

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Silverman, Willa Z. "Esthetic Languages of the Book in Fin-de-Siècle France: Japonisme, Symbolism, and Art Nouveau in the Private Library of Henri Vever". Quaerendo 48, n. 3 (22 ottobre 2018): 179–205. http://dx.doi.org/10.1163/15700690-12341410.

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Abstract The private diaries written between 1898 and 1901 by the French jeweler, art collector, and bibliophile Henri Vever (1854-1942) provide fresh evidence about how important late-nineteenth century esthetic ‘languages’ (japonisme, Symbolism, Art Nouveau) were appropriated by artists committed to renewing the decorative arts; the diaries also address the meaning and status of books. For Vever, his extensive collection of Japanese pattern albums served, above all, a utilitarian function, as design primers and sources of information about printing and engraving techniques for craft modernizers. At the same time, included in the physical space of his ‘Japanese library’ and in line with Symbolist esthetics, Japanese books were, to Vever, suggestive bibelots, whose evocative powers were enhanced through inclusion in harmonious decors. Vever’s experiments in Art Nouveau book design, finally, reveal his additional conception of the book as both surface to be decorated and space of artistic collaboration underscoring the equality of all arts.

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Più fonti

Tesi sul tema "Artists' books – private collections"

Meyerhöfer, Dietrich. "Johann Friedrich von Uffenbach. Sammler – Stifter – Wissenschaftler". Doctoral thesis, 2020. http://hdl.handle.net/21.11130/00-1735-0000-0005-13B0-E.

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Libri sul tema "Artists' books – private collections"

collector, Ginsberg Jack M., University of Johannesburg. FADA Gallery e Johannesburg Art Gallery, a cura di. Booknesses: Artists' books from the Jack Ginsberg collection. Johannesburg: University of Johannesburg, South Africa, 2017.

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M, Ginsberg Jack, Paton David M e Johannesburg Art Gallery, a cura di. Artists' books in the Ginsberg collection: An exhibition at the Johannesburg Art Gallery from 25th August to 27th October, 1996 : (with some South African books from other collections). Johannesburg: J. Ginsberg, 1996.

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Sandro, Parmiggiani, e Mingardi Corrado, a cura di. Parole disegnate, parole dipinte: La collezione Mingardi di libri d'artista. Milano: Skira, 2005.

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Kraus, Stefan. Denken: Künstlerbücher : Sammlung Missmahl. Köln: Kolumba, 2011.

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Paolo, Della Grazia, a cura di. Archivio Della Grazia di nuova scrittura. Milano: [s.n.], 1989.

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National Gallery of Art (U.S.). The Patricia G. England Collection of fine press and artists' books. Washington [D.C.]: National Gallery of Art, 2000.

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Italy) Labirinto della Masone (Fontanellato. Delacroix, Manet, Picasso, Matisse...: Pagine da collezione : i libri d'artista della Fondazione Cariparma : Donazione Corrado Mingardi. Fontanellato (Parma): Franco Maria Ricci, 2018.

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Gloria, Bianchino, Parmiggiani Sandro, Tavola Michele e Palazzo Bossi-Bocchi (Parma Italy), a cura di. Allo! Paris!: Il libro d'artista da Manet a Picasso nella collezione Mingardi. Milano: Skira, 2008.

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Peterlini, Patrizio. Fluxbooks: Fluxus artist books : from the Luigi Bonotto collection : from the Sixties to the future. Milano: Mousse Publishing, 2015.

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Berardelli, Fondazione. I libri d'artista e libri oggetto: La donazione di Lamberto Pignotti alla Fondazione Berardelli. Brescia: Fondazione Berardelli, 2012.

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Capitoli di libri sul tema "Artists' books – private collections"

Weis, Joëlle. "“Fait à mes heures de loisir”: Women’s Private Libraries as Spaces of Learning and Knowledge Production". In Women’s Private Practices of Knowledge Production in Early Modern Europe, 105–28. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-44731-0_5.

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AbstractThe Duchesses Elisabeth Sophie Marie (1683–1767) and Philippine Charlotte of Brunswick- Wolfenbüttel (1716–1801) both owned substantial collections of several thousand books. Elisabeth’s library primarily contained theological literature, including 1200 Bibles and a unique collection of texts by Martin Luther, which she used to compose theological pamphlets. In addition, she granted access to her collection to selected scholars who, in turn, used the holdings for their research. Although more diversified, Philippine Charlotte’s library functioned as a similar meeting place for scholars of the region and beyond. Moreover, her papers offer an insight into the interaction between her book use and the writing that she did in her free time. In contrast to the usage practices of the neighbouring ducal library, Philippine Charlotte was free to consult the books she wanted in the privacy of her chambers for as long as she wanted to and, most importantly, without fear of being judged. It is certain that, in both cases, the privacy of the library gave the women the freedom to pursue intellectual interests, which were hard to combine with their public role as Duchesses. The fact that both women expanded their libraries considerably after becoming widows only supports the observation that private and “leisure” time could take more space. Based on these findings, this chapter argues that women’s learning and knowledge production in the early modern period both benefitted from and, in many cases, needed privacy.

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Lucius, Wulf D. ν. "Artists' Books since 1990 from a private German collection". In The Artist Book in a Global World, a cura di Wulf D. von Lucius e Gunnar A. Kaldewey. Berlin, Boston: De Gruyter, 2003. http://dx.doi.org/10.1515/9783110506143-009.

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Woods, Naurice Frank, e George Dimock. "American Masters Reclaimed". In Race and Racism in Nineteenth-Century Art, 215–16. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496834348.003.0005.

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Robert Seldon Duncanson, Edward Mitchell Bannister, and Mary Edmonia Lewis were exceptions in an age of oppressive racism. In their pursuit of cultural equality, they refused to become victims of societal restrictions and abandon their dreams of parity with celebrated white artists. They ultimately succeeded based on the quality of their work, which was, on many occasions, extraordinary. Despite their considerable accomplishments as nationally and internationally acclaimed artists, the lasting reputations of these artists suffered greatly when major American art museums excluded them from their collections. Presently, much in the name of political correctness, Duncanson, Bannister, and Lewis enjoy secure places in leading museums, galleries, and private collections—deservedly so. This book has demonstrated that Duncanson, Bannister, and Lewis long ago deserved inclusion among their more illustrious and acclaimed peers—the historical record is extensive enough to verify that. They are, as much as any other distinguished artist of their era, a vital part of our proud collective heritage in the visual arts—true American masters.

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Jules-Rosette, Bennetta, e J. R. Osborn. "Remixing the Results and Looking Ahead". In African Art Reframed, 266–78. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043277.003.0008.

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Theories and ideologies of museum culture are collaboratively created by directors, curators, artists, and their audiences. This book examines these processes through the frameworks of five transformational nodes and dialogues with artists and curators. Based on these materials, nine guideposts emerge: creating transparency in curatorial networks; expanding south-north connections and exchanges; (3) reworking and blending artistic genre classifications; marketing and permeability of artworks; connecting museums with other multicultural institutions and frameworks; linking public and private collections; reconfiguring archives and databases; developing new museum learning strategies; and opening up new avenues of connectivity with diverse communities. By adopting and following these strategies, museums may display new works, showcase changing curatorial directions, and attract broader museum audiences.

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Haduch, Bartosz. "Biblioteka Wyspiańskiego". In O miejsce książki w historii sztuki. Część III: Sztuka książki około 1900. W 150. rocznicę urodzin Stanisława Wyspiańskiego, 217–24. Ksiegarnia Akademicka Publishing, 2022. http://dx.doi.org/10.12797/9788381386548.15.

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The exhibition entitled Wyspiański Unknown, opened at the beginning of 2019 to celebrate the 150th anniversary of the birth of the artist is both a supplement to the earlier Wyspiański exhibition and its culmination. The last hall houses a two-level library holding nearly 600 titles from Stanisław Wyspiański’s book collection. The smooth lines of the walls of this ‘library’ are a spatial continuation of the pastel drawing Apollo (System Copernicus) hanging along the main axis. The colours used in the two joined interiors, blue and yellow, are another allusion to the design of the famous stained-glass window topping the composition. The formal inspirations for this space included Renaissance and Baroque masterpieces, but also more modern edifices. In the blue and yellow room with Wyspiański’s books, the designers wanted to make visitors feel surrounded by the books and the pictures placed within a ‘ribbon’ going across the walls at the eye level. The ‘organic’ interior of the library is arranged in a cuboidal block filled with various display cases and single windows that allow seeing the interior from different levels. In the centre of the mezzanine there is a cosy area arranged to display one artefact – a diary. This last journal written by Wyspiański, placed inside a double glass showcase, seems to be levitating above the floor. The spaces enclosing the library are arranged in a more synthetic way, which continues the minimalist convention of the previous part of the exhibition and is in line with the neutral character of the white cube gallery model. On the white walls the visitors can see paintings and pastels loaned from other museums or private collections. Some of them were shown to the public for the first time at the Wyspiański Unknown exhibition. The vision of ‘Wyspiański’s library’ presented here is a combination of the historical library canons (both architectural and theoretical ones) and the contemporary aesthetics. It is an attempt to dress space with words.

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Harconiţa, Elena. "The Second Life of Books from Private Collections". In Book Power in Communication, Sociology and Technology. Trivent Publishing, 2018. http://dx.doi.org/10.22618/tp.pcms.20181.156015.

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"Dispersed Collections of Scientific Books: The Case of the Private Library of Federico Cesi (1585–1630)". In Lost Books, 386–99. BRILL, 2016. http://dx.doi.org/10.1163/9789004311824_019.

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Rossenova, Lozana, e Karen Di Franco. "Iterative Pasts and Linked Futures: A Feminist Approach to Modeling Data in Archives and Collections of Artists’ Publishing". In Perspectives on Data. The Art Institute of Chicago, 2022. http://dx.doi.org/10.53269/9780865593152/05.

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Taking the artists’ books of Carolee Schneeman as its case study, this article applies feminist theory to data practice, demonstrating how embracing linked open data (LOD) will enable museums and other cultural institutions to increase the visibility of those parts of their collections that do not fit neatly in standard categories.

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Jules-Rosette, Bennetta, e J. R. Osborn. "Personal Journeys and Reflections on African Art". In African Art Reframed, 279–92. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043277.003.0009.

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Museum visits are highly personal. In this chapter, the authors share their personal journeys of museum worlds in order to inspire readers to embark on their own explorations. There are many channels through which African art reaches the rest of the world, including museum imports, private markets, catalogues, book publications, and tourist photographs. All of these outlets contribute to personal discoveries of African art. The book began with a focus on official museums, but, as the sample grew, the researchers moved beyond the walls of museums into personal collections and outdoor venues of artistic performances and festivals. The chapter discusses the authors’ interdisciplinary conversations along the way and the researchers’ reflexivity at the surprise of discovering oneself as a museum subject.

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Tardi, Mark. "Vernacular Architecture: Posthumanist Lyric Speakers in Elizabeth Willis’s Address". In The Woman Artist: Essays in memory of Dorota Filipczak, 121–30. Wydawnictwo Uniwersytetu Łódzkiego, 2024. http://dx.doi.org/10.18778/8331-397-9.08.

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American poet Elizabeth Willis’s award-winning fourth book of poetry Address is a collection inhabited by poisonous plants and witches, tornados and forecasts, bees and blacklists. The opening title poem foregrounds a poetic landscape of diffuse and impalpable lyric subjectivity as Willis writes, “I is to they . . . / the sun belongs to I / once for an instant / The window belongs to you.” These slurry and slippery pronouns in Willis’s poems not only aim to complicate and critique (historical) representations of women, but may also be giving voice to ghosts, hills, months or shoes. Working within the posthumanist framework of thinkers such as Donna Haraway (When Species Meet), Rosi Braidotti (Nomadic Subjects), and others, this essay seeks to examine Willis’s authorial strategy in presenting the lyric subjects of her poems that toggle between the micro- and macro-scales of human and nonhuman, self and world, invisible and imaginary, biological and alchemical, and private vs. political. Willis’s disruptions of voice and syntax offer a poetics of becoming and undoing where “When the ghost is on you, / you don’t even see it happen.” How does Willis’s animate the invisible in her poems, and, as Michael Palmer wonders, “from what site––or address––can [the poem] possible speak in the profoundly unstable currents of our time?”

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Atti di convegni sul tema "Artists' books – private collections"

Moldovanu, Anastasia. "The Scientific Value of the Collection of “Tudor Arghezi” art Library. Heritage Documents". In Simpozionul Național de Studii Culturale, Ediția a 2-a. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/9789975352147.01.

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The written culture of a people is impressive in terms of heritage documents. These include books, the press, old prints and manuscripts, maps. According to their scientific importance, the Library’s collection includes current books, old books, books that, regardless of the year of publication, have special graphic qualities of the cover, title page, valuable content, atypical format, illustrations by well-known artists, and books with special bibliophile value with the signature or autograph of the author/donor. In libraries, such documents come from private donations and libraries; they are collected by professional people who activated in a certain period of time. These donations are managed in the form of special collections at the Arts Branch. In this context, the question of managing this special fund appears, i.e. the inventory, cataloging and preservation of the fund, the elaboration of a common Bibliography for all branches of “B. P. Hasdeu” Municipal Library, which would be permanently completed and therefore become everybody’s common good.

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Rocaciuc, Victoria. "Book graphics in the creation of the plastic artist Liudmyla Kozhokar". In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.11.

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The fine arts artist Liudmyla Kozhokar had professional studies in Ukraine: the Arts Studio in Kherson (1975–1978) and the Ukrainian Polygraphic Institute „I. Fyodorov” in Lvov (1978–1983). Since 1984, Liudmyla Kozhokar participates in fine art exhibitions in Chisinau and abroad. Since then, the artist has collaborated with various Moldovan publishing houses, combining publishing with teaching in the field of fine arts. Since 1999 Liudmyla Kozhokar is a full member of the UAP of the Republic of Moldova, and since 2001 – a member of the A.I.A.P. UNESCO, Paris, France. Liudmyla Kozhokar’s works are in the collections of the National Art Museum of Moldova and in private ones in Romania, the Republic of Moldova, France, USA, Iraq, Italy, Germany, Japan, England, etc. The graphic designer illustrated books of different kinds: ABC books, textbooks, children’s stories, encyclopedic literature, etc. Liudmyla Kozhokar perceives each graphic book separately, finding new plastic formulas and stylistic methods, delving into the text and studying it to the last sentence.

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Strizhkova, Natalia. "Museum as an Institutional Form of Personal & Social Experiments: Project of Russian Avantgardism Artists". In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-10.

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Museums as cultural institutions certainly reflect the sociocultural transformations of the new era and are changing with the new reality. Except for that, a museum is, by definition, an institution of memory, a keeper of history, it is based on adoption: the collection, successiveness and actualisation of past experience. What is perceived as innovation by contemporary society may have historical roots and be an actualisation of innovations of a bygone era. Modern museum development recalls a global project undertaken by Russian avant-garde artists in the early 20th century, and implying the institutional modernisation of museums. This study addresses a project taken on by avant-garde artists for the modernisation of museums in the context of general cultural construction, in cooperation with the Soviet Government. The research methodology is based on a conjunction of a historical study and culturological analysis, primarily the concept of the institutional approach. The study consisted in looking through archival documents: The Fund of the People’s Commissariat for Education and its departments (declarations, provisions, resolutions, decrees, minutes of meetings, correspondence, protocols and statements of estimates, inventory books of the State Museum Fund etc.), personal funds of artists and cultural figures, their theoretical works, articles, correspondence. A holistic inter-disciplinary approach combining historical and culturological analysis with prospects for contemporary sociocultural development and the role of museums is seen as a promising novelty of the research. Russian avantgardism as an artistic and sociocultural phenomenon has remained of great interest for a century. Different studies shed light only on separate aspects of this vast topic in different scientific contexts. The examination of the museum project by avant-garde artists under this study allows us to conclude that they were the first to undertake the institutional modernisation of museums by considering them in the focus of new demands of time and society, innovative programmes as forms of personal initiatives and experiments expressed in the broad public space of artistic culture.

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Kravcenko, Vladimir. "Bookplates from the archives of the National Library of Romania and the National Library of the Republic of Moldova: some profiles from the big collections". In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.06.

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The paper is focused on the bookplates in original and in reproductions kept in the large collections of the Romanian cultural space. Data on the stylistic elements of the signs of possession from the old books and from the engraving and drawing collections are provided. Important data is offered on the ex-libris types, on the creative traditions and rules of making, on the origin of the signed books and of the artworks made in Romania, Republic of Moldova and other states in different years. Also, there are highlighted original bookplates made by Leonid Nikitin and Valeriu Herţa, the well-known artists and engravers of the Republic of Moldova. The author has described and analyzed graphic works, stressing their technical and decorative account, and evidencing common features of bookplates – general somber appearance, free and also refined grotesque drawing, sophisticated play with the text and images.

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Melnikov, Ilya A. "Collections of Old Believers Books of the Novgorod eological Seminary and the “Brotherhood of St. Sophia” in the Context of “Internal Mission”". In Лихудовские чтения — 2022. НовГУ им. Ярослава Мудрого, 2023. http://dx.doi.org/10.34680/978-5-89896-832-8/2023.readings.11.

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e article introduces the history of the formation of collections of handwritten and old printed books that were kept among the Old Believers, which then were transferred in the libraries of the Novgorod eological Seminary and the missionary Brotherhood of St. Sophia. As in other regions, these collections arose in the second half of the XIX century due to the need to conduct polemics with representatives of the Old Believers and sectarianism, which was an important part of the so-called “internal mission” of the Greek-Russian Church. ey were based on manuscripts con scated in the Old Believers communities of the Novgorod province, as well as from private collections in the course of government persecution of religious dissidents. At present, some of the books have been preserved in the funds of the National Library of Russia, as well as the Novgorod State Museum-Reservation. ese collections, which include manuscripts and early printed books of the XVI–XIX centuries, are an important source base characterizing the book culture of the Old Believers in the Novgorod region, which in many respects was a continuation of the traditions of Medieval Russia.

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Polak, Yuri Еvgenievich. "Digital Libraries as Information Source on the Evolution of Telegraph". In 23rd Scientific Conference “Scientific Services & Internet – 2021”. Keldysh Institute of Applied Mathematics, 2021. http://dx.doi.org/10.20948/abrau-2021-4.

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The century before last saw revolutionary changes in the transmission of information. For the functioning of the optical telegraph, which appeared at the end of the 18th century, cumbersome towers were necessary for the line of sight of the semaphore signals. One hundred years later, telegraph lines were hundreds of thousands of kilometers long; at the turn of the century, the first experiments with the use of a wireless telegraph began. This is reflected in numerous brochures, books, periodicals of that time. A hundred years later, many of these materials became publicly available thanks to the development of the Internet and electronic libraries, which made the appearance of this work possible. Its goal is to trace the evolution of technologies and processes of information transfer in the 19th century using a wide variety of electronic libraries - from the grandiose projects of the Library of Congress and Google Books with their millions of digitized books to modest private collections dedicated to local topics. Used materials from 20+ electronic libraries.

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Vladetić, Srđan. "Biblioteka Asinija Poliona (bibliotheca asini pollionis): prva javna biblioteka u starom Rimu". In XVI Majsko savetovanje. University of Kragujevac, Faculty of Law, 2020. http://dx.doi.org/10.46793/upk20.367v.

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Thanks to Greek influence, firstly through some individuals, and after that through conquests, Romans have come to contact with books and libraries. The first Roman libraries were private collections that belong to the military commanders and to the members of higher social class. Development of public libraries starts at the end of the 1st century BC with founding of Library of Asinius Pollio. In this work it would be pointed out on when, how and where this particular library was found. In addition, it would present overview of library collection and library staff. At the end in the article services that library has provided to its clients will be presented, as well as its influence and importance for the work of other public libraries in Ancient Rome.

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Lendvay, Miklós. "Országos Könyvtári Platform – központi könyvtári szolgáltatások együttműködő rendszere". In Networkshop. HUNGARNET Egyesület, 2020. http://dx.doi.org/10.31915/nws.2020.10.

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In 2020/21, the collaborative distributed Hungarian library platform will be completed and introduced, revolutionizing library services with state-of-the-art IT solutions. The Hungarian National Library Platform (HNLP) puts the national library services, the common catalog and interlibrary loan, the services of the ISBN office, the digitization cooperation on a new foundation, and integrates the Hungarian National Namespace and opens up entity-based data connections beyond the library world. It expands the range of services provided to readers, providing legitimate digital content to both library visitors and remotely logged in online users. It provides modern interfaces for publishers and authors to expand the range of information about their publications with relevant data. It is open to libraries to replace, in part or in full, their existing IT solutions and, moving into the cloud-based system, use it as their own integrated library platform. The parameterdriven HNLP allows connected libraries to create a unique brand image, deliver their collections in the most diverse way, while becoming an integral part of an entity-based data model-based metadata repository and digital object repository. The collaboration between libraries, which began in 2016 with the design of the new platform, has now entered a new phase: our partners review the specifications, the libraries provide their data for the developed modules, test the system elements, and then the entire platform in an integrated way. The first module of the HNLP, the “old and rare books” module, was launched in October 2019, followed by the launch of the Library Science Library in 2020, and in 2021 the operation of the National Széchényi Library in this modern environment will follow. What are the main pillars of this platform? What secures the required flexibility? What makes it capable of accommodating any type of metadata and serving any type of library? How can all types of libraries be connected, small and large libraries, university and church, public and private libraries alike? How is the system open to the processing of archival and museum materials? What has been achieved so far and what are the next steps until the full transition?

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Rapporti di organizzazioni sul tema "Artists' books – private collections"

Parallel Realities: Five Pioneering Artists from Barbados. Inter-American Development Bank, maggio 1999. http://dx.doi.org/10.18235/0006427.

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Sixty-four pieces executed in a variety of media: sculpture, painting, pastel and pencil drawing, watercolor, linoleum and metal engraving, monotype and stencil, by two generations of Barbadian artists considered pioneers in 20th century Barbadian art: Golde White, Aileen Hamilton, Katherine Hawkins, Karl Broodhagen, and Ivan Payne; from the collections of the Barbados Gallery of Art, the Barbados Museum and Historical Society, and private collectors. Upon the exhibition¿s return to Barbados, it was reenacted at the Barbados Gallery of Art and the Barbados Museum and Historical Society in Bridgetown.

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In Search of Memory: Seventeen Contemporary Artists from Suriname. Inter-American Development Bank, giugno 1998. http://dx.doi.org/10.18235/0006411.

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Forty-five works by Surinamese painters, sculptors, draftsmen, printmakers and ceramicists, representing an eclectic artistic community comprising Amerindian, African, Indian, Indonesian, Jewish, Dutch and other European cultures, concentrated mainly in the Surinamese capital of Paramaribo. Works were drawn from public and private collections, including Suriname's State Collection, the Suriname Bank, the Suriname Museum Foundation, and the EBS Power Company, among others. The show was reenacted upon its return to Suriname.

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The Arts of Guyana: A Multicultural Caribbean Adventure. Inter-American Development Bank, giugno 2006. http://dx.doi.org/10.18235/0005951.

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More than fifty objects made by the Amerindian population as well as painting and sculpture representing contemporary artists drawn from several private and public collections, pay tribute to Guyanese artists and culture. This exhibition joined in the 2006 celebrations of Guyana's 40th year of independence and the commemoration of Caribbean American Heritage Month, which was declared for June by the U.S. Congress.

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A Legacy of Gods: Textiles and Woodcarvings. Inter-American Development Bank, ottobre 1998. http://dx.doi.org/10.18235/0006397.

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Fifty-six 20th century Mayan objects in fabric and wood from private collections and the permanent collection of the IDB, including photo enlargements of watercolors of indigenous costume by Carmen de Lind Pettersen on permanent exhibition at the Ixchel Museum of Indigenous Clothing in Guatemala City. Textiles included huipiles for daily and ceremonial use, sashes and wraps. Woodcarvings by anonymous artists included masks, toys and religious figurines.

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Masterpieces of Canadian Inuit Sculpture. Inter-American Development Bank, dicembre 2000. http://dx.doi.org/10.18235/0005924.

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46 sculptures by male and female indigenous artists executed over the last 15 years, depicting Inuit people, animals and legends, among other themes, made this show the most extensive and complete exhibition of Canadian Inuit sculpture of the last 15 years presented in Washington. All works come from private collections in the United States and Canada. Dr. John Burdick acted as Associate Curator for this exhibition which was hailed by The Washington Post as, sculpture that captures a culture.

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Points of Departure in Contemporary Colombian Art. Inter-American Development Bank, febbraio 1998. http://dx.doi.org/10.18235/0006428.

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Twenty-seven paintings, sculptures and graphics by Colombian masters Alejandro Obregón (1920-1992), Enrique Grau (1920), Edgar Negret (1920), and Eduardo Ramírez Villamizar (1923), complemented with eight works by artists from a previous generation, made this one of the most important presentations of 20th century Colombian artists offered in Washington in the last three decades, and the opening paid a special tribute to Maestro Enrique Grau. The exhibit was in honor of the city of Cartagena de Indias, site of the 39th Annual Meeting of the IDB Board of Governors. Lenders to the exhibition included the National Museum of Colombia in Santafé de Bogotá, the Museum of Antioquia and the Pedro Nel Gómez Foundation, both in Medellín, as well as private collections and the permanent collection of the IDB.

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Honduras: Ancient and Modern Trails. Inter-American Development Bank, giugno 2001. http://dx.doi.org/10.18235/0006409.

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The exhibition displayed 50 pieces, comprising three types of work: (1) prehispanic-Mayan reliefs from Copán, (2) Lenca ceramics, and (3) paintings by three artists and various other objects. The works were chosen from a number of public and private collections in Honduras, including the Honduran Institute of Anthropology and History (IHAH), PROPAITH, Galería Portales, the President of the Republic of Honduras, His Excellency Carlos Roberto Flores Facusse, Atlántida Bank, Honduran Central Bank, and ACTA. Dr. Olga Joya, General Director of the IHAH acted as Curator for the prehispanic Maya-Copán section.

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