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Letteratura scientifica selezionata sul tema "Decorative arts"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 31 luglio 2024

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Articoli di riviste sul tema "Decorative arts"

1

Gurzhii, I. "DECORATIVE CERAMICS AS A BRANCH OF MODERN ART". Aesthetics and Ethics of Pedagogical Action, n. 29 (14 giugno 2024): 100–111. http://dx.doi.org/10.33989/2226-4051.2024.29.306146.

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The article examines decorative arts as a type of visual arts that focuses on works of art creation, with the aim of decorating and giving them aesthetic appeal, as well as objects of a purely exhibition nature. Decorative ceramics are divided into the following types: exterior, interior, and exhibition, and have two directions of development: traditional and academic. Modern Ukrainian decorative ceramics is characterized as an essential branch of decorative arts that developed based on millennial traditions and has its territorial features. It has been found that the technique of making modern decorative ceramics can be divided into forming and decorating. Traditional decorative ceramics are formed by the method of sculpting by hand and on the potter’s wheel. Academic ceramics have broader possibilities of formation, such as sculpting, pottery, pressing or casting in plaster molds, layer formation, and 3D printing. The decoration of modern decorative ceramics is quite diverse, but the traditional techniques remain unchanged. They are engobe, ceremony, pasting, smearing with water. For academic decorative ceramics, a variety of decoration methods, both traditional and experimental, are used. The methods are the following: engobing, etching, pasting, coating with water, painting with metal oxides, painting with metal salts, painting under watercolor paints, painting over watercolor paints, painting with precious metal products and chandeliers It has been found that the artists do not limit their possibilities in academic ceramics. They are not bound by traditional decoration methods. Artists can do whatever they fantasize about, while in traditional ceramics, they must stick to regional features in the methods of decoration and formation.

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2

Tang, Xi Ya. "Decorative Arts of Gates Detail Components in Chinese Traditional Architecture". Advanced Materials Research 860-863 (dicembre 2013): 1237–43. http://dx.doi.org/10.4028/www.scientific.net/amr.860-863.1237.

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Gate decoration art is one of Chinese traditional architecture decoration. It not only has own structure form and material form of building passageway against with that of other nations in the world, but so is a cultural background miniature of Chinese nation, and it is a material carrier of folk culture and decorative pattern. Decorative arts of gates detail components in Chinese traditional architecture have contained abundant aesthetic value and cultural connotation, all of this endowed gate decoration art with secret oriental color.

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3

Heckscher, Morrison H., R. Craig Miller, Oswaldo Rodriguez Roque e Alice Cooney Frelinghuysen. "American Decorative Arts". Recent Acquisitions, n. 1985/1986 (1985): 52. http://dx.doi.org/10.2307/1513692.

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4

Heckscher, Morrison H., Oswaldo Rodriguez Roque, Frances Gruber Safford, Alice Cooney Frelinghuysen e Amelia Peck. "American Decorative Arts". Recent Acquisitions, n. 1986/1987 (1986): 62. http://dx.doi.org/10.2307/1513711.

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5

Roque, Oswaldo Rodriguez, Frances Gruber Safford e Amelia Peck. "American Decorative Arts". Recent Acquisitions, n. 1987/1988 (1987): 56. http://dx.doi.org/10.2307/1513731.

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6

Frelinghuysen, Alice Cooney. "American Decorative Arts". Metropolitan Museum of Art Bulletin 59, n. 1 (2001): 53. http://dx.doi.org/10.2307/3269173.

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7

Leidy, Denise P., Wai-fong Anita Siu e James C. Y. Watt. "Chinese Decorative Arts". Metropolitan Museum of Art Bulletin 55, n. 1 (1997): 1. http://dx.doi.org/10.2307/3269222.

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8

Safford, Frances Gruber, Alice Cooney Frelinghuysen e Catherine Hoover Voorsanger. "American Decorative Arts". Metropolitan Museum of Art Bulletin 49, n. 2 (1991): 58. http://dx.doi.org/10.2307/3258938.

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9

Frelinghuysen, Alice Cooney, e Peter M. Kenny. "American Decorative Arts". Metropolitan Museum of Art Bulletin 48, n. 2 (1990): 62. http://dx.doi.org/10.2307/3258958.

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10

Frelinghuysen, Alice Cooney, e Amelia Peck. "American Decorative Arts". Metropolitan Museum of Art Bulletin 47, n. 2 (1989): 56. http://dx.doi.org/10.2307/3259902.

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Più fonti

Tesi sul tema "Decorative arts"

1

Mok, Kar-wing Maria. "Guangdong decorative arts of the Qing dynasty its characteristics and regional features = Qing dai Guangdong gong yi de te se ji qi di yu xing yin su/". Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B31987734.

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2

Bird, Jennifer J. "Designs for the decorative arts by Francesco Salviati". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ63271.pdf.

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3

Jordanov, Iliana H. "Decorator or narrator: A contextualisation of Slavic and Australian pattern making and its relationship to my painting practice". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/844.

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Abstract (sommario):

In this thesis, I will examine pattern making in art practice from two cultural perceptions, Slavic and Australian. Existing differences between the two cultural backgrounds will be used to debate how pattern is understood by the viewer or practiced by an artist in a particular chosen environment. The central argument focuses on pattern as a decorator and/or a narrator. I will examine the outcomes and changes in narrative pattern according to cultural context and exchange. By introducing Slavic pattern into contemporary (Australian) art practice, I examine how traditional cultural values and functions change. In discussing the processes of changes that occur in intercultural exchange, I will draw my opinions and observations from writers, critics and artists such as William Morris, Lucien Henry, Stuart Hall, Jean-Francois Lyotard, Grace Cohrane, Nicolas Pevsner, Faith Ringgold, Joan Snyder, Miriam Schapiro and Cynthia Carlson. My final conclusion will be drawn from my personal visual practice that uses pattern

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4

Raksadeja, K. "Digital and interactive media analysis of myths and traditions expressed in Thai fairground art". Thesis, Liverpool John Moores University, 2018. http://researchonline.ljmu.ac.uk/8604/.

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The core themes in Thai art have traditionally been didactic Buddhist ethical works and popular folkloric beliefs. Both are permeated with a cosmology and worldview that is supernatural but which is pervaded with ethical implications for people’s daily lives. Buddhist art aims to encourage selfless acts for the good of others, including other individuals, society, the country and the natural world. Such abstract themes have been rendered accessible to ordinary people by means of fantastical creatures and supernatural myths that insinuate moral values and demonstrate a coherent Theravada worldview that is uniquely Thai. This thesis explores the popular manifestations of such phenomena at the intersection of traditional folk beliefs and practices, popular entertainment, Thai official/ royal high culture and confessional Buddhist ethical instruction by analysing the art forms associated with temple fairgrounds at major festivals. Based on a review of related literature and analysis of Thai artists, it concludes that the renaissance of traditional Thai culture is reciprocal with authentic grassroots activities such as temple fairs fostered and supported by traditional patronage and cultural resources from the royal court culture and Buddhist ethics. Based on this analysis, my own work offers a modern rendering in the spirit of traditional forms utilising modern multimedia methods to create an immersive and interactive artistic experience.

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5

Bostwick, David. "Decorative plasterwork of the Yorkshire region, 1570-1670". Thesis, University of Sheffield, 1993. http://etheses.whiterose.ac.uk/1895/.

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Duckworth, Chloë N. "The created stone : chemical and archaeological perspectives on the colour and material properties of early Egyptian glass, 1500-1200 B.C". Thesis, University of Nottingham, 2011. http://eprints.nottingham.ac.uk/13935/.

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Abstract (sommario):

The Late Bronze Age in Western Asia and Egypt witnessed an explosion in the production of so-called 'vitreous materials', in particular the earliest glass. From its outset, this material appeared in an enormous variety of colours and colour combinations, the manufacture of which demanded a high degree of technological know-how. The unique properties of glass also rapidly came to the fore, most notably the potential of glass to be worked while hot. Archaeometric research into early Egyptian glass has tended to focus on chemical and isotopic analysis as a means to assign provenance to its raw ingredients. To this end, the use of a technique new to archaeology, ToF-SIMS, is developed here in order to investigate the origin of the colorant opacifiers used in glass production. But questions about manufacturing technology and stages of production are also vital to an understanding of the role and perception of glass, and the aforementioned technique is complemented by electron microprobe analysis, revealing a surprising complexity of production, primarily related to coloration. Furthermore, it has been argued that the terms used to refer to glass in epigraphic sources indicate that it was primarily produced in order to imitate, or substitute for, precious stones of value in Late Bronze Age Egypt and Mesopotamia (primarily lapis lazuli, carnelian and turquoise). Recent research into the archaeological and ethnographic understanding of colour naming and classification is applied to these sources along with an investigation of the material properties of glass itself. It is suggested that, far from being an imitation, the artificiality of glass - as a man-made material - was deliberately, sometimes spectacularly, proclaimed. Central to this is the use of colour, in particular in terms of transformation, and the aforementioned complexity of production. It is argued that only through combining the numerous approaches to the evidence taken here - scientific, linguistic-historical, and archaeological - can the perception of glass, and the motivations behind its production, be determined.

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7

Parkerson, Sarah Lawrence. "Variations in gold : the stylistic development of the picture frames used by James McNeill Whistler". Thesis, University of Glasgow, 2007. http://theses.gla.ac.uk/4471/.

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Abstract (sommario):

The picture frames used by the American painter James McNeill Whistler developed stylistically throughout his career. This thesis identifies these developments, defines the characteristics indicative of each design, and contextualises their creation within Whistler’s larger body of work. First-hand examinations of over a hundred frames, in both the United Kingdom and the United States, resulted in challenging the generic understanding that a ‘Whistler frame’ is characterised only by reeded ornamentation. These physical examinations are cross-referenced with the significant amount of correspondence existing between Whistler and his contemporaries, thanks in large part to the publication of the on-line edition of The Correspondence of James McNeill Whistler. This thesis argues that the stylistic developments present in Whistler’s frames are directly linked to his understanding and perception of the frame’s function. Chapter 1 outlines that a picture frame can serve one of three functions: (1) as a decorative art object linking the painting to the environment, (2) as a decorative art object dividing the painting from the environment, or (3) as an extension of the painting. This thesis also applies the additional approach that the picture frame functions as an indicator of the provenance for both the painting and frame. Chapter 2 explores this method of provenance by examining Whistler’s reframing habits. Chapter 3 explores Whistler’s friendship with Dante Gabriel Rossetti and his early designs from 1864. These frames are observed as extending the painting to become a cohesive whole. Chapter 4 documents Whistler’s earliest attempt at painted frames and their development into incised ornament. Chapter 5 explores the effect that Whistler’s interior designs (including the Peacock Room) had on his frames. Chapter 6 focuses on the frame created during the 1880s and addresses the framing of Whistler’s works on paper. Chapter 7 examines Whistler’s working relationship with Fredrick Henry Grau and the preparations made for the 1892 Goupil Gallery exhibition Nocturnes, Marines and Chevalet Pieces.

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8

Beats, Kate A. "Size, surface and shape : experiencing the Athenian vase". Thesis, University of Warwick, 2012. http://wrap.warwick.ac.uk/50045/.

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Abstract (sommario):

This study provides an alternative framework for the interpretation of the painted and plain Athenian vase during the Late Archaic and Classical period. The primary focus is on the way in which the vase came to interact with society. As a commodity with a practical use, the vase was permitted to circulate in social spaces in Athens. As a consequence of this contact, the accumulated meaning became more symbolic than practical. For instance, due to its use within the domestic sphere, the vase became a symbol of domesticity. This development of symbolism involves a transformation in the perception of the vase as something more than a practically functioning thing. The functions that the vase performed were meaningful in themselves. For the purposes of exploring the manifestation of this transformation, this study draws upon an anthropological theory of art as well as theories which interpret the experience of viewing. Although the painted vase is discussed alongside plain vessels, its decorative component is considered as a further expression of communication between the vase and society, Athens in particular. The manifestation of this communication between the vase, context and user is isolated to three characteristics in this study; size, surface and shape. Alterations in these components reduce the practical function of the vase in favour of its symbolic qualities. These factors are discussed over five chapters. In so doing, this study offers a radically revised interpretation of the vase as an object which is entirely context dependent and came to represent the communication between commodities and society.

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9

Clay, E. S. "A material-led investigation into the creative potential of British 'waste' wools for fine craft felt-making". Thesis, Bath Spa University, 2013. http://researchspace.bathspa.ac.uk/1734/.

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This thesis describes the practical investigation and analysis of traditional materials and processes used in the production of hand made felt. Specifically, the research examines the potential of certain British wool types that are currently undervalued (and often overlooked in the production of fine craft felt). These wools are frequently referred to as ‘waste’ wools. The research further explores aspects of the UK’s wool economy and the problematic issue of waste wool. The aim being to locate and articulate the creative potential of a selection of these wools within the field of fine felt craft practice, and in so doing raise an awareness of their potential diversity and relevance. The investigation questions felt’s marginal status within the textile hierarchy, and problematizes notions of the familial and self-conscious attributed to felt craft by some of its makers. By examining distinctions between craft and industrial felt production, the research considers both the opportunities and limitations of these relationships within the context of designer maker practice. The purpose and focus of this material-led examination is to develop inventive, progressive methods in fine felt craft and couture application seeking material currency with appropriate use of waste wools for handwork production. The practical experimentation was conducted using a practice-led research approach through which materials and sampling methods emerged within a studio-based environment. The study focuses on the use of carding, wet and dry felting and post felting manipulation of surface design using hand-pleating applications. Whilst not specifically suggesting new techniques in felt-making, the modification of existing processes has formed a central part of the contribution to new knowledge created within the work. Therefore the qualitative nature of the research methodology establishes a new perspective on both the value and integrity of British waste wools for the production of fine craft felt-making. The portfolio of fabrics produced confirmed the suitability of materials for fine craft felt-making and further suggested their appropriateness for product development and use. The fabric prototypes and exposition collection evidence new design concepts, situating the practical investigations in a cultural and critical context and in so doing reposition the material in a more valuable and original light. The sampling process identified key areas for innovation and aesthetic appeal suggesting that further research could be developed using other wools and wool blends. From this thesis emerges a vibrant platform for fresh interpretation and potential for British waste wools in fine craft felt-making, further strengthening the creative interplay between material and technique.

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10

White, Andrew J. "Post medieval pottery in Lincolnshire 1450-1850". Thesis, University of Nottingham, 1989. http://eprints.nottingham.ac.uk/28497/.

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This thesis investigates the manufacture and use of ceramics over four centuries in Lincolnshire, and considers the evidence for date and function of the pottery itself and for the social standing and economy of the potters, late survivors of the medieval peasant craftsman tradition. Documentary and physical evidence are both searched to produce the most comprehensive possible list of sites and potters names, and to highlight the areas of doubt where neither type of source can give sufficient proof. The methods of pottery production are also examined and two specific types of vessels are discussed in detail as examples of the search for -=origins. From this point the search widens to consider the importation principally by sea of pottery from other parts of the country and from Europe, and the prices of such wares are compared with prices of local products. This leads to certain conclusions about the economic pressures on local potters and their adjustments to deal with new problems and changing expectations. Contemporary sources, depositional evidence and context are next used to study the names and function of pottery, and finally the principles of dating are discussed, and a series of pottery groups are analysed to test the reliability and transferability of dating. Throughout pottery making is compared with comparable trades and Lincolnshire's position with that of the wider ceramic world.

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Più fonti

Libri sul tema "Decorative arts"

1

National Gallery of Art (U.S.). Decorative arts. Washington, D.C: National Gallery of Art, 1998.

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2

Sotheby, Parke-Bernet, London. Decorative arts. Amsterdam: Sotheby's, 1986.

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3

Kensington, Ltd Christie's South. Asian decorative arts. London: Christie's, 2002.

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4

National Gallery of Art (U.S.). Western decorative arts. Washington, D.C: National Gallery of Art, 1993.

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5

Kensington, Ltd Christie's South. Decorative Asian arts. London: Christie's, 2001.

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6

Kensington, Ltd Christie's South. Asian decorative arts. London: Christie's, 2004.

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7

Bordeaux (France). Musée des arts décoratifs. Decorative Arts Museum. Bordeaux: Mairie de Bordeaux, 1990.

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8

Glasgow, University of, e Christie's Scotland Ltd, a cura di. Decorative arts programme. Glasgow: University of Glasgow in Association with Christie's Scotland, 1987.

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9

Thiébaut, Philippe. Orsay: Decorative arts. Paris: Scala, 2003.

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10

Leidy, Denise Patry. Chinese decorative arts. New York, N.Y: Metropolitan Museum of Art, 1997.

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Capitoli di libri sul tema "Decorative arts"

1

Mazzeo, Tilar J. "William Blake and the Decorative Arts". In The Regency Revisited, 63–80. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/9781137504494_5.

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2

Ruta, Anna Maria. "11. Decorative Arts, Furniture and Interior Design". In Handbook of International Futurism, a cura di Günter Berghaus, 175–92. Berlin, Boston: De Gruyter, 2018. http://dx.doi.org/10.1515/9783110273564-011.

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3

Dietrich, R. V. "Tourmaline as a Gemstone and in the Decorative Arts". In The Tourmaline Group, 191–201. Boston, MA: Springer US, 1985. http://dx.doi.org/10.1007/978-1-4684-8085-6_10.

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4

Noor, Mohd Yusri Mohamad, Tengku Intan Suzila Tengku Sharif e Liza Marziana Mohamad. "Culture and Ethnic Impressions: Decorative Arts of Batek Tembeling, Pahang". In Proceedings of the Regional Conference on Science, Technology and Social Sciences (RCSTSS 2016), 541–51. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-0203-9_50.

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5

Wells, Francis. "The Role of Architecture and the Decorative Arts in Renaissance Medicine". In Cursor Mundi, 203–28. Turnhout, Belgium: Brepols Publishers, 2021. http://dx.doi.org/10.1484/m.cursor-eb.5.121931.

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Lim, Amy. "World of Interiors: Mary II, the Decorative Arts, and Cultural Transfer". In Queenship and Power, 175–201. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-38813-2_8.

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"Decorative Arts". In Encyclopedia of Quality of Life and Well-Being Research, 1476. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-007-0753-5_100899.

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Wells-Cole, Anthony. "Decorative Arts". In The Cambridge Guide to the Worlds of Shakespeare, 448–56. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781316137062.058.

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"Decorative Arts". In Encyclopedia of Quality of Life and Well-Being Research, 1635. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-17299-1_300976.

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10

"Decorative Arts: Catalogue Entries". In "The Arts in Latin America, 1492–1820". Philadelphia Museum of Art, 2006. http://dx.doi.org/10.37862/aaeportal.00264.009.

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Atti di convegni sul tema "Decorative arts"

1

Ullrich, Anna. "The decorative arts of the mariner". In ACM SIGGRAPH 97 Visual Proceedings: The art and interdisciplinary programs of SIGGRAPH '97. New York, New York, USA: ACM Press, 1997. http://dx.doi.org/10.1145/259081.259157.

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2

Zeng, Jing, e Chunling Gu. "The Application of Decorative Jinsha Gold Decoration on the New Chinese Style Furniture". In 2017 2nd International Conference on Education, Sports, Arts and Management Engineering (ICESAME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icesame-17.2017.220.

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3

Mokina, A. Y. "MASTER CLASS AND EXHIBITION ACTIVITIES AS AN INCREASE IN THE MOTIVATION OF STUDENTS ' TRAINING IN THE DIRECTION OF DECORATIVE AND APPLIED ARTS AND CRAFTS". In INNOVATIVE TECHNOLOGIES IN SCIENCE AND EDUCATION. DSTU-Print, 2020. http://dx.doi.org/10.23947/itno.2020.226-229.

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The article examines the issues of modern pedagogical science in the field of art education, namely, in the preparation of artists of decorative and applied arts. The actual issue of students ' motivation to the educational process and further creative professional activity is considered in the article through the formation and organization of the educational environment on the example of the Department of Decorative and applied arts of the Southern Federal University.

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Высоцкая, Х. И. "ASPECTS OF ARTISTIC DESIGN OF TEXTILES AT THE BELARUSIAN STATE ACADEMY OF ARTS IN THE EARLY 2020s". In КОДЫ. ИСТОРИИ В ТЕКСТИЛЕ. Crossref, 2024. http://dx.doi.org/10.54874/9785605162971.2024.3.08.

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Учебная дисциплина «Художественное проектирование» предусматривает последовательное изучение особенностей ведения концептуальной проектной работы и является одной из ключевых в процессе подготовки художников декоративно-прикладного искусства и дизайнеров текстиля. Материалы статьи выявляют отличительные черты авторского курса, разработанного Х. И. Высоцкой, доцентом кафедры декоративноприкладного искусства и костюма Белорусской государственной академии искусств для направления специальности «ДПИ (изделия из текстиля)». The Artistic Design academic discipline provides a consistent study of the features of conducting conceptual design work and is one of the key ones in the process of training artists of decorative and applied arts and textile designers. The materials of the article reveal the distinctive features of the author’s course developed by Kh. I. Vysotskaya, associate professor of the Department of Decorative and Applied Arts and Costume of the Belarusian State Academy of Arts for the specialty “Decorative and Applied Art (Textile Products)”.

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Pei, Yan. "Image Study of Decorative Color in Visual Context". In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.196.

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Wen, Peng. "On the value of decorative vocabulary in the oil painting arts". In 2016 International Forum on Management, Education and Information Technology Application. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/ifmeita-16.2016.166.

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Li, Yiqing. "Study of Xi'an Islamic Architecture Decorative Patterns". In 4th International Conference on Management Science, Education Technology, Arts, Social Science and Economics 2016. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/msetasse-16.2016.393.

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"The Application of Traditional Architectural Decorative Art in Modern Architecture". In 2019 International Conference on Arts, Management, Education and Innovation. Clausius Scientific Press, 2019. http://dx.doi.org/10.23977/icamei.2019.060.

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Liu, Fang, e Wei Peng. "Re-design of decorative pattern of Kirgiz nationality". In 2016 International Conference on Advances in Management, Arts and Humanities Science (AMAHS 2016). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/amahs-16.2016.53.

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NTH, Nguyen. "THE ART OF DECORATIVE EMBROIDERY ON AO DAI IN HO CHI MINH CITY". In International Conference on Arts and Humanities. The International Institute of Knowledge Management, 2023. http://dx.doi.org/10.17501/23572744.2022.9110.

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Rapporti di organizzazioni sul tema "Decorative arts"

1

Hernández Benítez, Andrea, e Belén Ruiz Garrido. Creación feminista y experiencias de trabajo en el ámbito de las altas capacidades. Hacia un modelo de superación de categorías. Fundación Avanza, maggio 2024. http://dx.doi.org/10.60096/fundacionavanza/3432024.

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El artículo explora la creación femenina en las artes decorativas, centrada la obra de Mrinalini Mukherjee en la Bienal de 2022. Trata cómo las artistas desafían estándares tradicionales, invitando a reflexionar sobre su impacto en la cultura y arte

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Hunter, Fraser, e Martin Carruthers. Iron Age Scotland. Society for Antiquaries of Scotland, settembre 2012. http://dx.doi.org/10.9750/scarf.09.2012.193.

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The main recommendations of the panel report can be summarised under five key headings:  Building blocks: The ultimate aim should be to build rich, detailed and testable narratives situated within a European context, and addressing phenomena from the longue durée to the short-term over international to local scales. Chronological control is essential to this and effective dating strategies are required to enable generation-level analysis. The ‘serendipity factor’ of archaeological work must be enhanced by recognising and getting the most out of information-rich sites as they appear. o There is a pressing need to revisit the archives of excavated sites to extract more information from existing resources, notably through dating programmes targeted at regional sequences – the Western Isles Atlantic roundhouse sequence is an obvious target. o Many areas still lack anything beyond the baldest of settlement sequences, with little understanding of the relations between key site types. There is a need to get at least basic sequences from many more areas, either from sustained regional programmes or targeted sampling exercises. o Much of the methodologically innovative work and new insights have come from long-running research excavations. Such large-scale research projects are an important element in developing new approaches to the Iron Age.  Daily life and practice: There remains great potential to improve the understanding of people’s lives in the Iron Age through fresh approaches to, and integration of, existing and newly-excavated data. o House use. Rigorous analysis and innovative approaches, including experimental archaeology, should be employed to get the most out of the understanding of daily life through the strengths of the Scottish record, such as deposits within buildings, organic preservation and waterlogging. o Material culture. Artefact studies have the potential to be far more integral to understandings of Iron Age societies, both from the rich assemblages of the Atlantic area and less-rich lowland finds. Key areas of concern are basic studies of material groups (including the function of everyday items such as stone and bone tools, and the nature of craft processes – iron, copper alloy, bone/antler and shale offer particularly good evidence). Other key topics are: the role of ‘art’ and other forms of decoration and comparative approaches to assemblages to obtain synthetic views of the uses of material culture. o Field to feast. Subsistence practices are a core area of research essential to understanding past society, but different strands of evidence need to be more fully integrated, with a ‘field to feast’ approach, from production to consumption. The working of agricultural systems is poorly understood, from agricultural processes to cooking practices and cuisine: integrated work between different specialisms would assist greatly. There is a need for conceptual as well as practical perspectives – e.g. how were wild resources conceived? o Ritual practice. There has been valuable work in identifying depositional practices, such as deposition of animals or querns, which are thought to relate to house-based ritual practices, but there is great potential for further pattern-spotting, synthesis and interpretation. Iron Age Scotland: ScARF Panel Report v  Landscapes and regions:  Concepts of ‘region’ or ‘province’, and how they changed over time, need to be critically explored, because they are contentious, poorly defined and highly variable. What did Iron Age people see as their geographical horizons, and how did this change?  Attempts to understand the Iron Age landscape require improved, integrated survey methodologies, as existing approaches are inevitably partial.  Aspects of the landscape’s physical form and cover should be investigated more fully, in terms of vegetation (known only in outline over most of the country) and sea level change in key areas such as the firths of Moray and Forth.  Landscapes beyond settlement merit further work, e.g. the use of the landscape for deposition of objects or people, and what this tells us of contemporary perceptions and beliefs.  Concepts of inherited landscapes (how Iron Age communities saw and used this longlived land) and socal resilience to issues such as climate change should be explored more fully.  Reconstructing Iron Age societies. The changing structure of society over space and time in this period remains poorly understood. Researchers should interrogate the data for better and more explicitly-expressed understandings of social structures and relations between people.  The wider context: Researchers need to engage with the big questions of change on a European level (and beyond). Relationships with neighbouring areas (e.g. England, Ireland) and analogies from other areas (e.g. Scandinavia and the Low Countries) can help inform Scottish studies. Key big topics are: o The nature and effect of the introduction of iron. o The social processes lying behind evidence for movement and contact. o Parallels and differences in social processes and developments. o The changing nature of houses and households over this period, including the role of ‘substantial houses’, from crannogs to brochs, the development and role of complex architecture, and the shift away from roundhouses. o The chronology, nature and meaning of hillforts and other enclosed settlements. o Relationships with the Roman world

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3

Norwegian Alternatives: Decorative and Applied Arts. Inter-American Development Bank, dicembre 1999. http://dx.doi.org/10.18235/0006420.

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Abstract (sommario):

Fifty-two contemporary craft, decorative and applied art objects by thirty-one members of the Norwegian Association for Arts and Handicrafts, made in wood, fiber, clay, glass and as jewelry, from the collections of the Kunstindustrimuseet in Oslo, the Vestlandske Kunsindustrimuseum in Bergen, the Nordenfjeldske Kunstindustrimuseum in Trondheim, the Hadeland Glassverk in Jevnaker, and from independent artists who loaned their pieces for the exhibition.

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What a Time It Was: Life and Culture in Buenos Aires. Inter-American Development Bank, febbraio 1996. http://dx.doi.org/10.18235/0006437.

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Eighty-four works from the collections of the City Museum of Buenos Aires, the Isaac Fernández Blanco Museum, the Eduardo Sívori Museum, the National Museum of Decorative Arts, and the National Museum of Fine Arts in Buenos Aires, Argentina. The exhibition honored the 37th Annual Meeting of the IDB Board of Governors in Buenos Aires.

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Design in 20th Century Barcelona: From Gaudí to the Olympic Games. Inter-American Development Bank, febbraio 1997. http://dx.doi.org/10.18235/0006404.

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Fifty objects, from original bronzes and maquettes by Antoni Gaudí, to modern furniture and appliances, and Cobi, Javier Mariscal's design adopted for the mascot of the Olympic Games in 1992. The exhibit was developed with Barcelona architects Juli Capella and Quim Larrea, and presented in honor of the 38th Annual Meeting of the IDB Board of Governors held in March, 1997 in Barcelona. Most of the important 20th century Catalonian designers were represented, including Monegal, Sert, Bonet, Ricard, Tusquets, Lluscà, and Tresserra. Works were loaned from the Gaudí Museum at the Temple of the Holy Family, the Museum of Decorative Arts; the Museum of Arts, Industries and Popular Traditions; the National Museum of Catalonian Art, the Catalonian College of Architects, and the private collection of Juli Capella.

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