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Artykuły w czasopismach na temat "Bardo museum"
Fekih-Romdhane, Feten, Leila Chennoufi i Mejda Cheour. "PTSD and Depression Among Museum Workers After the March 18 Bardo Museum Terrorist Attack". Community Mental Health Journal 53, nr 7 (7.02.2017): 852–58. http://dx.doi.org/10.1007/s10597-017-0085-z.
Pełny tekst źródłaKebir, Ahlem, Sabrina Kacher i Daniel Meneveaux. "PRADO: An Education Tool for Moorish Architectural Heritage through Virtual Reality". Digital Presentation and Preservation of Cultural and Scientific Heritage 10 (13.09.2020): 195–204. http://dx.doi.org/10.55630/dipp.2020.10.14.
Pełny tekst źródłaHøigilt, Jacob, i Kjetil Selvik. "Debating terrorism in a political transition: Journalism and democracy in Tunisia". International Communication Gazette 82, nr 7 (10.01.2020): 664–81. http://dx.doi.org/10.1177/1748048519897519.
Pełny tekst źródłaMoumni, Ridha. "Archaeology and Cultural Policy in Ottoman Tunisia Part II: Muhammad Khaznadar (1871–99)". Muqarnas Online 38, nr 1 (6.12.2021): 223–52. http://dx.doi.org/10.1163/22118993-00381p08.
Pełny tekst źródłaBugeja, Norbert. "Five Years and Count(er)ing: Memoir after Memoir". CounterText 6, nr 1 (kwiecień 2020): 26–32. http://dx.doi.org/10.3366/count.2020.0180.
Pełny tekst źródłaBonadio, Maria Claudia. "“Traje: um objeto de arte?”: Pietro Maria Bardi, o wearable art e o museu fora dos limites". Visualidades 15, nr 2 (19.12.2017): 163. http://dx.doi.org/10.5216/vis.v15i2.41187.
Pełny tekst źródłaCossio, Gustavo, i Alexandre Schiavoni. "As exposições do IAC/MASP (1951-1953) e do IDI/MAM-RJ (1968-1978): institucionalização do design e industrialização". História Unicap 3, nr 6 (31.12.2016): 463. http://dx.doi.org/10.25247/hu.2016.v3n6.p463-481.
Pełny tekst źródłaCardoso de Mello, Janaina. "MUSEOGRAFIA DO TRABALHO E ENSINO EM UM BARCO MUSEU:". História e Cultura 12, nr 1 (22.07.2023): 83–113. http://dx.doi.org/10.18223/hiscult.v12i1.3812.
Pełny tekst źródłaBieczyński, Mateusz Maria. "Muzea w internecie w odpowiedzi na „kulturowy szok” pandemii COVID-19". Ochrona ludności i dziedzictwa kulturowego 2 (30.05.2023): 121–44. http://dx.doi.org/10.4467/29563763.oldk.23.008.17766.
Pełny tekst źródłaBardi, Lina Bo. "Museu de Arte de São Paulo no Brasil". Risco: Revista de Pesquisa em Arquitetura e Urbanismo (Online), nr 20 (12.07.2014): 32. http://dx.doi.org/10.11606/issn.1984-4506.v0i20p32-34.
Pełny tekst źródłaRozprawy doktorskie na temat "Bardo museum"
Almeida, Carolina Barros de. "O Museu de Arte Moderna da Bahia e suas contemporaneidades: de Lina Bo Bardi a Solange Farkas". INSTITUTO DE HUMANIDADES, ARTES E CIÊNCIAS, 2018. http://repositorio.ufba.br/ri/handle/ri/26722.
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A presente dissertação analisa o Museu de Arte Moderna da Bahia (MAM-BA) e sua gestão no contexto das recentes mudanças e avanços ocorridos nas políticas culturais baianas. O recorte temporal está concentrado no período entre 2007 a 2010, quando o Estado passou a ter uma Secretaria de Cultura autônoma, independente do turismo. Nesse período a curadora de arte Solange Farkas esteve à frente do museu e buscou dinamizá-lo com uma intensa programação de atividades, com o objetivo de inseri-lo no sistema nacional e internacional de arte contemporânea. A investigação leva em consideração a concepção original do MAM-BA, conforme idealizada pela arquiteta italiana Lina Bob Bardi, como um importante elemento legitimador da instituição na cena das artes visuais. Nesse sentido, confrontam-se aspectos entre as gestões Farkas (2007-2010) e a gestão Bo Bardi (1959-1964), visando identificar aproximações e diferenças. Para compreender diferentes aspectos da gestão, as influências das políticas culturais implementadas e a referência ao pensamento de Lina, foram realizadas entrevistas com gestores, artistas, curadores e pesquisadores atuantes no cenário cultural baiano.
This dissertation analyses the Museum of Modern Art of Bahia (MAM-BA) in its contemporary context and the relationship that existed between its management and the recent changes and advances in the cultural policies of the state of Bahia. The temporal cut is concentrated in the period between 2007 and 2010, when the State of Bahia reorganized its administration to have an autonomous Secretariat of Culture, independent of Tourism activities. During this period the curator Solange Farkas took over the management of the museum and sought to energize it with an intense activity, with the objective of inserting it into the national and international scenario of the contemporary art. The research considers the original MAM-BA, as originally designed by the Italian architect Lina Bo Bardi as a legitimating element of the institution in the scene of the visual arts. In this sense, aspects are confronted between the Farkas administration (2007-2010) and the Bo Bardi management (1959-1964), to identify approximations and differences. To understand the different management aspects, the influences of cultural policies and the reference of the Lina’s thought, interviews were carried out and a questionnaire was applied with managers, artists, curators and researchers in the Bahia’s cultural scene.
Pintado, Ricardo Luis Sampaio. "A imaginação museal de Lina Bo Bardi: expografias (1947-1968)". Universidade Federal de Pelotas, 2018. http://guaiaca.ufpel.edu.br:8080/handle/prefix/4198.
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Esta tese trata da museografia desenvolvida pela arquiteta italiana Lina Bo Bardi no período de 1947 a 1968, a partir da instalação do Museu de Arte de São Paulo até a transferência para a sede na Avenida Paulista. Trata também da museografia desenvolvida neste ínterim para o Museu de Arte Moderna da Bahia. Especificamente, analisa a expografia, suas referências e desdobramentos nos museus enfocados. Ao tratar da expografia aproxima-se da arquitetura dos espaços expositivos e dos museus que projetou e instalou. A partir de fontes escritas e registro fotográfico descreve a expografia, seus dispositivos e os locais onde foram utilizados. Pretende-se assim, contribuir para a compreensão das práticas museográficas no Brasil a partir da análise da expografia desenvolvida por Lina Bo Bardi como contribuição para a expansão da imaginação museal no Brasil
This thesis pertains to the museography developed by the italian architect Lina Bo Bardi in the time period of 1947 through 1968, that includes the installation of the São Paulo Art Museum until the transfer to the new building on Paulista Avenue. This thesis also includes the museography developed in this era for the Museum of Modern Art of Bahia. Specifically it analyzes the design of exibits, their references and influences of the São Paulo and Bahia museums. When talks about the design of exibits gets close to the exposition spaces and from the museums she created and designed. From written sources and photographic records it describes the design for exhibits, its devices and where they were used. It's intending to contribute to the understanding of museum practices in Brazil from the analyzes of the exihibition design developed by Lina Bo Bardi as a contribution to the expansion of the museum imagination in Brazil
Blanc, Celine. "Le traitement des attentats de janvier 2015 à Paris et de mars 2015 à Tunis dans quatre quotidiens français et tunisiens : routines journalistiques et spécificités". Electronic Thesis or Diss., Toulon, 2021. http://www.theses.fr/2021TOUL3004.
Pełny tekst źródłaThis thesis focuses on the treatment by the written press of post-attack speeches.The selected corpus assembles articles published in the week following the Paris attacks in January 2015 and the Tunis attack in March 2015. The collected articles have been published in French and Tunisian newspapers: “Le Monde”, national edition of “Le Parisien”, (“Aujourd'hui en France”), “La Presse” of Tunisia and “Le Temps”. The work is based on the field of speech analysis and explores the corpus through lexical, enunciating and textual analysis. The objective is to highlight the journalistic routines and the particularities of the corpus. To do this, the studies are structured around three areas of comparison: events, journals, and journal types. The research is based on the articulation of a quantitative analysis carried out with the TXM textometry software and a qualitative analysis based on the study of lexical and enunciating phenomenon. The study of naming shows, among other things, how the naming of events is a place of recording memory and how journalists blame the authors of the attacks through their naming choices. The study of the representation of the speech highlights the particularities of newspapers and types. Finally, an analysis of the speech strategies employed by journalists in a few completed articles reveals some regularities in the writing of news articles, editorials and articles about an event abroad
Ben, Abdallah Zeïneb Benzina. "Catalogue des inscriptions latines païennes du Musée du Bardo /". Rome : Paris : École française de Rome ; diffusion de Boccard, 1986. http://catalogue.bnf.fr/ark:/12148/cb34979354v.
Pełny tekst źródłaLeonelli, Carolina. "Lina Bo Bardi : [experiências] entre arquitetura, artes plásticas e teatro". Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-16042012-113440/.
Pełny tekst źródłaThe dissertation correlates architeture, fine arts and theatre and how these subjects arise in Lina Bo Bardi´s work. Starting from the study of the scenical projects created between 1960 and 1985 and broaching the director´s and theatrical groups involved on it, this treatise tries to identify the projectual proceedings applied by the architect, as well as the relations established with her work and investigating possible links with with the nacional and international artistic panorama. The analysis of the urban dimension reached by some of the studied plays as well as its approach with the project and the activities developed at the museums to which Lina was related (especially to the São Paulo Art Museum - MASP, to the Bahia´s Modern Art Museum and to the Unhão Popular Art Museum) takes us to possible relations between architecture, fine arts and theatre. It also takes us to possible reflexions on the projectual preceedings adopted and the descried perspectives for architecture, or to what Lina called as a \"re-proposition non perfectionist of the rationalism\".
Aguiar, Amanda Ruth Dafoe de. "Lina Bo Bardi e a atualidade do cavalete de cristal". Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-07032016-143624/.
Pełny tekst źródłaThis project undertakes an analysis of the Crystal Easel, exhibition apparatus created in the late 1950s by the Italian-Brazilian architect Lina Bo Bardi as the central element in the expographic composition of the Museu de Arte de São Paulo, MASP. Taking the spatial solution for which the apparatus was planned and the curatorial discourse embedded in it as starting point, the study will show that the design of this object created a singular expographic grammar that, even after its extinction in 1996, continues to reverberate forcefully in international discussions about the challenges of displaying art in museums today. This research relects the need to turn our attention to Lina Bo Bardi\'s proposal, evidencing the validity of resuming the museum\'s original proposal as a way to recover a fundamental space for cultural experience in the city of São Paulo - a museum which, like few others, was born of a deep understanding of the particularities of Brazilian culture.
Palma, Adriana Amosso Dolci Leme. "Invenções museológicas em exposição: MAC do Zanini e MASP do casal Bardi (1960-1970)". Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-24042015-171943/.
Pełny tekst źródłaThis research examines the performance of two museological institutions in São Paulo MASP and MAC USP focusing on the thoughts and practices of their directors Pietro Maria and Lina Bo Bardi and Walter Zanini especially between the late 1960s and the early 1970s. Through the study of these directors texts and exhibitions designed by them in these institutions we seek to understand how their conceptions of art and museum were put into practice. The fruitful historic of actions and reflections involving the actings of the couple Bardi in MASP and Zanini in MAC USP composed in these institutions environments harmonized with the idea of the museum understood as living space and attentive to the maintenance of the dialogue with its social functions and with the dynamics of the environment in which it is inserted.
Ferreira, Rosane Felix. "Ensinamentos do barro : conversas com Francisco Brennand". Universidade Federal do Rio Grande do Norte, 2012. http://repositorio.ufrn.br:8080/jspui/handle/123456789/14498.
Pełny tekst źródłaCoordena??o de Aperfei?oamento de Pessoal de N?vel Superior
El concepto de paisaje, caracterizado por la colaboraci?n de distintos dominios cognitivos, atraviesa campos disciplinarios y formas de estructurar la producci?n de conocimiento a trav?s del Arte. Para Cauquelin (2007), la representaci?n occidental de la mirada paisaj?stica es siempre una mirada est?tica que indica una conexi?n inseparable de la forma percibida con la forma sentida. Esa mirada est?tica recuerda al hombre su condici?n bioantropol?gica. En ese sentido, entiendo que un paisaje se presenta como un medio donde el humano puede ejercer su singularidad po?tica, transitando, as?, por campos o capas de conocimientos diversos capaces de ampliar su visi?n rearticuladora del mundo. Motivada por esa percepci?n, eleg? como campo emp?rico el Museo Taller de Cer?mica Francisco Brennand, en Recife, Pernambuco. Reconstruido por el artista, el lugar, injertado de recuerdos de la infancia, pasa a abrigar, a partir de 1971, el conjunto de su obra de cer?mica y pint?rica. La frecuentaci?n del artista transform? la estrategia metodol?gica de la entrevista en sabias y agradables conversaciones, que me proporcionaron la experiencia de otras posibilidades de enfoque durante la realizaci?n de la investigaci?n. El objetivo de la investigaci?n es ampliar las relaciones conceptuales entre paisaje y representaci?n, en el sentido de privilegiar a la imaginaci?n creativa. Tom? al paisaje como una met?fora y como un operador cognitivo, imprescindibles para el aprendizaje de la condici?n humana. Compartir estrategias a la vez complementares y rec?procas es lo que proponen Almeida (2009) y Morin con vistas a volver a enlazar la cultura cient?fica y la cultura human?stica, en un metodo mestizo y bricoleur que es necesaria para una reforma del pensamiento que lleva en cuenta el ensue?o de la materia propuesto por Bachelard (2008). El arte se convierte, as?, en un operador cognitivo capaz de promover cambios en el contexto de la educaci?n, en direcci?n a una pedagog?a con base compleja, como propone Pereira (1999)
O conceito de paisagem, caracterizado pela colabora??o de diferentes dom?nios cognitivos, perpassa campos disciplinares e formas de estruturar a produ??o de conhecimento por meio da Arte. Para Cauquelin (2007), a representa??o ocidental do olhar paisag?stico ? sempre um olhar est?tico que indica uma conex?o insepar?vel da forma percebida com a forma sentida. Esse olhar est?tico recorda ao homem sua condi??o bioantropol?gica. Nesse sentido, compreendo que uma paisagem se apresenta como um meio em que o humano pode exercer sua singularidade po?tica, transitando, assim, por campos ou camadas de conhecimentos diversos capazes de ampliar sua vis?o rearticuladora do mundo. Motivada por essa percep??o, escolhi como campo emp?rico o Museu Oficina Cer?mica Francisco Brennand, em Recife/ PE. Reconstru?do pelo artista, o lugar, enxertado de lembran?as da inf?ncia, passa a abrigar, a partir de 1971, o conjunto de sua obra cer?mica e pict?rica. A proximidade com o pr?prio artista transformou a estrat?gia metodol?gica da entrevista em s?bias e deliciosas conversas, que me proporcionaram experimentar outras vias de abordagem durante a realiza??o da pesquisa. O objetivo da pesquisa ? ampliar as rela??es conceituais entre paisagem e representa??o, no sentido de privilegiar a imagina??o criativa. Tomei a paisagem como uma met?fora e como um operador cognitivo, imprescind?veis ? aprendizagem da condi??o humana. Compartilhar estrat?gias ao mesmo tempo complementares e rec?procas ? o que prop?em Almeida (2009) e Morin com vistas a religar cultura cientifica e cultura human?stica, num m?todo mesti?o e bricoleur que ? necess?ria a uma reforma do pensamento que leva em conta o devaneio da mat?ria proposta por Bachelard (2008). A arte torna-se, assim, um operador cognitivo capaz de promover mudan?as no contexto da educa??o, em dire??o a uma pedagogia de base complexa, como prop?e Pereira (1999)
Barbosa, Marina Martin 1985. "MASP e MAM : percursos e movimentos culturais de uma época (1947-1969)". [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281319.
Pełny tekst źródłaTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas e Università Ca' Foscari Venezia
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Resumo: Esta pesquisa trata de que forma se estabeleceram as redes culturais na cidade de São Paulo a partir do pós-Segunda Guerra Mundial, mediante análise dos percursos do Museu de Arte de São Paulo (MASP) e do Museu de Arte Moderna de São Paulo (MAM), com especial atenção aos diálogos travados por seus comitentes e idealizadores, representados nas figuras de Assis Chateaubriand, Pietro Maria Bardi e Francisco Matarazzo Sobrinho. O período histórico abordado corresponde ao da primeira fase de funcionamento dos museus em questão, que compreende desde suas fundações à reaberturas em novas sedes na Avenida Paulista e Parque Ibirapuera (1947-1969). O MASP e o MAM se afirmaram em um momento de plena transformação física, demográfica, econômica e social da cidade, caracterizada pela presença marcante de imigrantes, em confluência com o desenvolvimento dos meios de comunicação de massa. Inseridos em um clima de intensa colaboração internacional, esses museus projetaram o país, a cidade e a si mesmos dentro do cenário artístico e cultural internacional
Abstract: This research covers the process of establishing cultural connections inside the city of São Paulo beginning during the post-World War II period, by analyzing the directions taken by the Museum of Art of São Paulo (MASP) and the Museum of Modern Art of São Paulo (MAM). Special attention is given to the nterconnections established by their clients and creators, such as Assis Chateaubriand, Pietro Maria Bardi and Francisco Matarazzo "Ciccillo" Sobrinho. The historical period analyzed, 1947 to 1969, encompasses the formative activities of these two museums, spanning from the drafting of their constitutions to reopening in new headquarters on Avenida Paulista and at Ibirapuera Park. The success of MASP and MAM coincided with the development of mass media during a period of complete physical, demographical, economic and social transformations in the city of São Paulo, spurred by the strong presence of immigrants. Inserted into an atmosphere of deep international collaboration, these institutions vaulted the nation, the city and the museums themselves into the global artistic and cultural scene
Doutorado
Politica, Memoria e Cidade
Doutora em História
Castro, Carlos Eduardo Binato de. "Paredes modernas : o Museu de Belas Artes de Caracas e o Sesc Pompeia". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/186178.
Pełny tekst źródłaThis dissertation aims to investigate, through a comparative analysis between the second expansion of the Museum of Fine Arts of Caracas – MBAC (1966-76), by Carlos Raúl Villanueva, and the Sesc Pompeia sports squad (1976-86), by Lina Bo Bardi, the use of the load-bearing wall in reinforced concrete as a structural solution in large scale architectures developed in Latin America in the second half of the 20th century. The selection of these two projects, within Villanueva and Bo Bardi’s extensive and relevant body of work, is due to the fact that both use the reinforced concrete in load-bearing walls and coffered slabs with unusual spans, in high-rise buildings. Although widely published, both Museum and Sesc lack complete and accurate representations. This work seeks to fill this gap through the unprecedented presentation of the executive projects of the two buildings – floor plans, sections, elevations and isometric perspectives, redrawn based on the original documents. In addition, the present research seeks to bring the two works closer together through in-depth and comparative analysis, accompanied by abundant iconographic material, in order to compare the architectural productions developed in Venezuela and Brazil during the 20th century. This work does not seek to exhaust the possibilities of interpretation of these architectures, but rather to explore certain questions that may serve as a basis for future studies, while helping to recognize and document the two buildings.
Książki na temat "Bardo museum"
Brasileira, Museu da Casa, red. Maneiras de expor: Arquitetura expositiva de Lina Bo Bardi = ways of showing : the exhibition architecture of Lina Bo Bardi. [São Paulo]: Museu da Casa Brasileira, Secretaria da Cultura do Estado, 2015.
Znajdź pełny tekst źródłaMuseu de Arte de São Paulo Assis Chateaubriand, Museo Jumex i Museum of Contemporary Art (Chicago, Ill.), red. Habitat: Lina Bo Bardi. Wyd. 2. São Paulo, Brasil: MASP, 2019.
Znajdź pełny tekst źródła1940-, Araújo Emanoel, Esmeraldo Eugênia Gorini, Costa Ivani Di Grazia, São Paulo (Brazil : State). Pinacoteca do Estado., Museu de Arte de São Paulo Assis Chateaubriand. i Instituto Lina Bo e P.M. Bardi., red. Um certo ponto de vista: Pietro Maria Bardi, 100 anos. São Paulo, SP: Pinacoteca, 2000.
Znajdź pełny tekst źródłaSartorelli, César Augusto. Arquitetura de exposições: Lina Bo Bardi e Gisela Magalhães. São Paulo: Edições Sesc SP, 2019.
Znajdź pełny tekst źródłatranslator, Zoni Elisabetta, Lanzarini Orietta i Lanzarini Orietta, red. The living museums: Franco Albini-BBPR-Lina Bo Bardi-Carlo Scarpa. [Rome]: Nero, 2020.
Znajdź pełny tekst źródłaSoifer, Guita. Guita Soifer: Centro Cultural Solar do Barão, Museu de Fotografia. Curitiba: Centro Cultural Solar do Barão, Museu de Fotografia, 2004.
Znajdź pełny tekst źródłaPinacoteca Barão de Santo Ângelo. Pinacoteca Barão de Santo Ângelo: Catálogo geral, 1910-2014. Porto Alegre, RS: UFRGS Editora, 2015.
Znajdź pełny tekst źródłaHossaka, Luiz. Coleção Lina Bo e P.M. Bardi no acervo do MASP. São Paulo, Brazil]: MASP, 2000.
Znajdź pełny tekst źródłaBardi, Lina Bo, i Aldo Van Eyck. Lina Bo Bardi. Editorial Blau,Portugal, 1997.
Znajdź pełny tekst źródłaMusical, Poetical, and Historical Relicks of the Welsh Bards and Druids : Drawn from Authentic Documents of Remote Antiquity: And Never Before Published. the Bardic Museum, of Primitive British Literature,. Creative Media Partners, LLC, 2022.
Znajdź pełny tekst źródłaCzęści książek na temat "Bardo museum"
Coslett, Daniel E. "Heritage, tourism, and the challenges of postcolonial globalization at Tunis’ Bardo Museum". W Neocolonialism and Built Heritage, 191–216. New York: Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429429286-10.
Pełny tekst źródłaNeubauer, Susanne. "1.2 Lina Bo Bardi: Das soziale Museum und die Gegenausstellung als Beitrag zur gesellschaftlichen Bildung". W Histoire, 61–92. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839453353-003.
Pełny tekst źródłaSempere-Valenciano, Adrián, Daniel V. Martín-Fuentes i Pedro M. Cabezos-Bernal. "Virtual Musealization Using Video Game Engines. The Museu à beira do oceano by Lina Bo Bardi". W Graphical Heritage, 12–24. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-47979-4_2.
Pełny tekst źródłaNeubauer, Susanne. "1.1 Pietro Maria Bardi und seine Politik der Vermittlung am Museu de Arte de São Paulo". W Histoire, 31–60. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839453353-002.
Pełny tekst źródłaSelvik, Kjetil, i Jacob Høigilt. "National Security and Free Speech in Tunisia". W Journalism in the Grey Zone, 112–33. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781399515818.003.0006.
Pełny tekst źródłaLada-Richards, Ismene. "Reinscribing the Muse: Greek Drama and the Discourse of Inspired Creativity". W Cultivating the Muse, 69–92. Oxford University PressOxford, 2002. http://dx.doi.org/10.1093/oso/9780199240043.003.0004.
Pełny tekst źródłaTucker, Herbert F. "Changes of Address: Epic Invocation in Anglophone Romanticism". W The Call of Classical Literature in the Romantic Age, 126–50. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474429641.003.0006.
Pełny tekst źródła"1957-b. Lina Bo Bardi, São Paulo Museum of Art". W Modern Architecture in Latin America, 208–9. University of Texas Press, 2015. http://dx.doi.org/10.7560/758650-066.
Pełny tekst źródłaAbdulla, Raficq. "A Conference of Bards: Rumi to Adonis". W A Companion to the Muslim World. I.B. Tauris & Co. Ltd, 2009. http://dx.doi.org/10.5040/9780755610723.ch11.
Pełny tekst źródłaPriebe, Jessica. "Echoes of Empire: The Painted Museums of Leroy de Barde". W Sea Currents in Nineteenth-Century Art, Science and Culture. Bloomsbury Visual Arts, 2023. http://dx.doi.org/10.5040/9781501352812.ch-4.
Pełny tekst źródłaStreszczenia konferencji na temat "Bardo museum"
de Souza Martínez, Elisa. "Rememorar o lugar da mão do povo: entre São Paulo e Caribe colombiano." W Colóquio do Comitê Brasileiro de História da Arte. Comitê Brasileiro de História da Arte, 2021. http://dx.doi.org/10.54575/cbha.40.16.
Pełny tekst źródłaSouza, Maria Luiza Zanatta de. "Apontamento sobre a coleção de livros raros da biblioteca e centro de pesquisas do masp". W Encontro da História da Arte. Universidade Estadual de Campinas, 2018. http://dx.doi.org/10.20396/eha.13.2018.4582.
Pełny tekst źródłaLobão, Luna. "A missão artística do primeiro MASP: um estado da concepção de Pietro Maria Bardi para o MASP em seus primeiros 20 anos". W Encontro de História da Arte. Universidade Estadual de Campinas, 2011. http://dx.doi.org/10.20396/eha.7.2011.4099.
Pełny tekst źródłaCamargo, Thais Lopes. "Imagens de sonhos: exposição Audiovisual Love-Andujar no Masp, 1971". W Encontro da História da Arte. Universidade Estadual de Campinas, 2018. http://dx.doi.org/10.20396/eha.13.2018.4609.
Pełny tekst źródłaStăvilă, Tudor. "Scenographic art in interwar Bessarabia". W Conferința științifică internațională Patrimoniul cultural: cercetare, valorificare, promovare. Ediția XIV. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/pc22.01.
Pełny tekst źródłaRibeiro, Ana Luisa. "Projeto histórico e expografia em Design no Brasil: História e Realidade". W Encontro de História da Arte. Universidade Estadual de Campinas, 2012. http://dx.doi.org/10.20396/eha.8.2012.4182.
Pełny tekst źródłaGarrido Izaguirre, Eva María. "Estética indígena y glocalización: agentividades recursivas". W III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.5632.
Pełny tekst źródłaALEIXO, Paulo Arthur Silva, i Eline Maria Mora Pereira CAIXETA. "Arquitetura e resistência: o museu de arte de São Paulo e o protagonismo das ruas na concepção de Lina Bo Bardi". W II Seminário Nacional de Planejamento Paisagem Urbana e Sustentabilidade. Recife, Brasil: Even3, 2019. http://dx.doi.org/10.29327/114056.2-12.
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