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Artykuły w czasopismach na temat "National Exhibition of the Arts"
Garg, Ruchi. "THEME DISPLAY IN NATIONAL ART EXHIBITION". ShodhKosh: Journal of Visual and Performing Arts 2, nr 1 (11.04.2021): 13–20. http://dx.doi.org/10.29121/shodhkosh.v2.i1.2021.23.
Pełny tekst źródłaStillwell, Joana. "Art Museum Exhibitions in the Library". International Journal of Librarianship 9, nr 2 (20.06.2024): 103–7. http://dx.doi.org/10.23974/ijol.2024.vol9.2.376.
Pełny tekst źródłaIşıtman, Ödül. "Exhibiting Art: The Case of ODTÜSanat". Global Journal of Arts Education 6, nr 1 (30.05.2016): 26. http://dx.doi.org/10.18844/gjae.v6i1.541.
Pełny tekst źródłaYu, Hangyong. "NATIONAL THEME IN SCULPTURE AT THE CHINESE NATIONAL EXHIBITION OF FINE ARTS". Scientific and analytical journal Burganov House. The space of culture 20, nr 2 (10.04.2024): 34–48. http://dx.doi.org/10.36340/2071-6818-2024-20-2-34-48.
Pełny tekst źródłaValerio, María Antonia González. "Repositioning Biotech Arts in Mexico". Monitor ISH 19, nr 2 (4.12.2017): 157–69. http://dx.doi.org/10.33700/1580-7118.19.2.157-169(2017).
Pełny tekst źródłaBoluža, Anda. "RESEARCHERS, CURATORS AND DESIGNERS: THE EXHIBITIONS AS THE SPACE FOR COLLABORATIONS". Culture Crossroads 22 (13.09.2023): 149–60. http://dx.doi.org/10.55877/cc.vol22.444.
Pełny tekst źródłaBahji, Zineb Bahji. "Ahmed Cherkaoui : Entre Modernité et Enracinement, Museum Mohammed VI for Modern and Contemporary Arts (MMVI), Rabat, Morocco, 27.03.2018 - 27.08.2018." Museum and Society 17, nr 1 (10.03.2019): 137–40. http://dx.doi.org/10.29311/mas.v17i1.2977.
Pełny tekst źródłaAtkinson, Jeanette, Tracy Buck, Simon Jean, Alan Wallach, Peter Davis, Ewa Klekot, Philipp Schorch i in. "Exhibition Reviews". Museum Worlds 1, nr 1 (1.07.2013): 206–40. http://dx.doi.org/10.3167/armw.2013.010114.
Pełny tekst źródłaAbdul Halim, Siti Nur Balqis, i Sarena Abdullah. "Respons Seniman Malaysia Dekad 1970-an terhadap Dasar Kebudayaan Kebangsaan: Satu Analisis Awal Pameran "Towards a Mystical Reality" (1974) dan "Rupa dan Jiwa" (1979)". Melayu: Jurnal Antarabangsa Dunia Melayu 13, nr 2 (7.07.2020): 173–98. http://dx.doi.org/10.37052/jm.13(2)no1.
Pełny tekst źródłaSTAVILĂ, Tudor. "Referring to one exhibition". Arta 31, nr 1 (wrzesień 2022): 65–76. http://dx.doi.org/10.52603/arta.2022.31-1.09.
Pełny tekst źródłaRozprawy doktorskie na temat "National Exhibition of the Arts"
Hersov, Mary. "The temporary exhibition in the Sainsbury Wing, National Gallery : commission, design and outcome". Thesis, University of Essex, 2017. http://repository.essex.ac.uk/19861/.
Pełny tekst źródłaBallard, Tammara L. "A Case Study of the Springville Museum of Art Pre-Exhibition Workshop". BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6283.
Pełny tekst źródłaAssier, Mathilde. "La promotion des beaux-arts en Espagne (1853-1898). Soutenir les beaux-arts en temps de crise". Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL091.
Pełny tekst źródłaThis dissertation aims to bring to light the organization of the fine arts system and the conditions under which works of art were produced in Spain between 1853 and 1898, centering on three leading cities: Madrid, Barcelona, and Seville. During this period of political and economic crisis, usually understood through the lens of the paradigm of Spanish backwardness or failure, the artists’ disenchantment was considerable. However, far from driving them into passive resignation, this spurred a desire for cultural "regeneration," born of countless debates over the way in which the arts should be supported and a keen interest in comparison with what was happening abroad. This intellectual exuberance led to a renewal of the institutions promoting the arts, giving way to the creation of museums, exhibitions, contests, and grants. The analysis of the artistic missions of the royal household, the Ministry of Development, diputaciones (provincial governments), societies of artists, and the various Economic Societies of Friends of the Country, relies on case studies and reveals the agents at work: senior and junior civil servants, not-known or famous artists, and politicians. Rooted in broad archival research, this journey through the world of Spanish art enriches our understanding of the goals, consequences, and specific features of the public and private support of the arts on a regional and national scale and within the context of the construction of the nation-state
Dickenson, Rachelle. "The stories told : indigenous art collections, museums, and national identities". Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98919.
Pełny tekst źródłaCloutier, Geneviève. "An A/r/tographical Inquiry of a Silenced First Nation Ancestry, Hauntology, G(hosts) and Art(works): An Exhibition Catalogue". Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31797.
Pełny tekst źródłaDemange, Stéphanie. "« ¡A los pintores les ha dado por mojar el pincel en lágrimas! » : La pauvreté au miroir des Salons (Espagne, 1890-1910)". Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040152.
Pełny tekst źródłaBetween 1890 and 1910, most prizes awarded in Spain by official art exhibits went to depictions of the hardships faced by the poorest subjects of the Restoration. Destitutes and vagrants, migrants and the unemployed, beggars and prostitutes, day laborers and poor peasants were the icons of a new repertoire of pictorial forms which not only superseded history painting but also proved immensely popular both with critics and the public. This thesis aims to write the history of this art of social destitution, by elucidating how it could triumph in the Salons of a Regime which was certainly not inclined to consider poverty as outrageous or as a legitimate political concern. This task has entailed melding two distinct historiographic traditions together: whereas the methods of art history were used to rediscover this body of work and explain why, shortly after having been officially sanctioned and showered with praise, it could be spurned by critics; those of cultural history were mustered to identify the different social constructs fashioned or promoted by these pieces. Moreover, the study of how these depictions of social destitution were perceived might help to determine how the feelings towards poverty evolved and what shared beliefs and preconceptions were used to legitimize inequality. By bringing these approaches together, this thesis hopes to offer the first synthetic study of a neglected chapter of Spanish, 19th century, cultural history
Lasheras, Peña Ana Belén. "España en París. La imagen nacional en las Exposiciones Universales, 1855-1900". Doctoral thesis, Universidad de Cantabria, 2010. http://hdl.handle.net/10803/10660.
Pełny tekst źródłaThis research focuses on the Spanish participation in the international exhibitions held in Paris during the nineteenth century. It has been taken a global perspective, analyzing, therefore, all the factors that shaped the image of the Spanish in the five universal exhibitions organized in Paris: the ephemeral institutions and permanent organizations that were responsible for the Spanish attendance, the area and premises that were adapted in Paris to house the national collections, the items which were selected to represent Spain (works of art, minerals, books, fabrics, machines, agricultural products, etc..) as well as the visitors and commissioners who attended to the so-called cultural capital of the century at that time.
Kazakova, Ekaterina. "La figure de la victime : un nouvel idéal artistique? : La (re) construction des imaginaires nationaux des états post-soviétiques à la Biennale de Venise (1993-2015)". Thesis, Université Grenoble Alpes, 2020. http://www.theses.fr/2020GRALH018.
Pełny tekst źródłaThe post-Soviet states have been participating in the Biennale of Contemporary Art in Venice since the late 1990s. They have constantly shown, in their national pavilions and throughout their participation, images of physical and social suffering and trauma. The PHD project analyse the possible causes of such an insistence on the representation of the suffering of people by linking them to the political, economic and artistic stakes that determine, for these states, their participation in international art fairs.These post-Soviet countries mainly deal with a general phenomenon which in political science has been called the conflict or the competition of victims. Victims compete for a bigger role in social memory. The historian Martin Sabrov asserts that a radical transformation of modern political culture took place: within a few decades, the ideal oriented towards a future of progress and freedom has been replaced by the painful celebration of a past haunted by victimhood. Such a transformation was accompanied by a change in certain social ideals characteristic of communist mythology: “At the center of modern historical culture is no longer the ideal of the hero, but the ideal of the victim.” The privileged status of the victim in the 1990s created new forms of self-representation and identity politics: Armenia, a country with a long tradition of suffering since the genocide of the turn of the century, and the Baltic countries, after the collapse of the Soviet Union built their identities on the role of the victim, transforming the traumatic history of Stalinist repression and the Soviet occupation into a collective glorification of the miserable past of their people. Exhibitions for the Biennale illustrate visually, and with almost religious fervour, this sacrificial history, representing the resistance to violence and the miserable destiny of the people as the heroic origin of the birth of nations. The celebration of heroic and miserable victims is the foundation of a new conception of national identity. Traumatic history, still actively present in the living memories of contemporaries, is transformed into an aesthetic object and included in the international system of artistic manifestations
Souliman, Victoria. "“The remoteness that pains us” : National identity, expatriatism and women’s agency in the artistic exchanges between Australia and Britain in the 1920s and 1930s". Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCC097.
Pełny tekst źródłaThis thesis explores the cultural and artistic influence of Britain in Australia, or the Britishness of the Australian character, from the years directly following the end of World War I until 1941. Australia during this period was often described as an isolated, or a “quarantined”, culture characterised by its delay in accepting modernism. Despite Britain ceding more independence and autonomy to its dominions at the time, Australia sought to maintain its cultural and imperial bond, identifying exclusively with Britain in a number of ways. For instance, many Australians still considered Britain to be “Home”, while London continued to attract expatriate artists from Australia. In the words of Australian art historian Daniel Thomas, Australia developed a “bi-hemispheric Anglo-Australian cultural identity”, which was marked by nationalism, conservatism and masculinism. This thesis examines the artistic exchanges between Australia and Britain in the 1920s and 1930s, shedding light on the complexities of cultural identification. It considers in particular the fact that such nationalistic historiography of Australian art has denied women’s agency in defining Australian art and identity. The national collections of British art, as well as the mechanisms of the circulation of modern British art in Australia, are closely examined to demonstrate the dualism of Australian cultural identity and the marginalisation of women within this history, not only as artists but also as art patrons. This thesis discusses the experience of Australian expatriates in England, considering how they sought to integrate into the British art scene. In doing so, it brings to the fore the significance of expatriatism as a concept that shaped both Australian and British art historiographies. Finally, it conceptualises the achievements of two Australian expatriate women, Edith May Fry and Clarice Zander, who, as exhibition curators, played a crucial role in disseminating modernism in Australia and defining Australia’s cultural identity during the interwar period. The aim of this thesis is thus to demonstrate the mechanisms through which Australia sought to represent its national character in art, as it strove to maintain its identification with Britain
Kinoshita, Harumi. "La diffusion culturelle internationale : les enjeux de la politique de prêts d'oeuvre et d'expositions du MNAM-CCI (Centre Georges Pompidou) pendant la période 2000-2007". Phd thesis, Université d'Avignon, 2011. http://tel.archives-ouvertes.fr/tel-00767576.
Pełny tekst źródłaKsiążki na temat "National Exhibition of the Arts"
Saqafat-e-Pakistan, Idara, red. 6th National Exhibition of Visual Arts, 1994. [Islamabad]: Pakistan National Council of the Arts, 1994.
Znajdź pełny tekst źródłaNational Exhibition of Visual Arts (7th 1996 Islāmābād, Pakistan). 7th National Exhibition of Visual Arts, 1996: Catalogue 96. Islamabad: Pakistan National Council of the Arts, 1996.
Znajdź pełny tekst źródłaArtists, Ontario Society of, red. Catalogue of Department of Fine Arts. Toronto: [s.n.], 1996.
Znajdź pełny tekst źródłaSaqafat-e-Pakistan, Idara, red. 5th National Exhibition, 1984. Islamabad: Idara Saqafat-e-Pakistan, 1985.
Znajdź pełny tekst źródłaCanadian National Exhibition (Toronto, Ont.). Dept. of Fine Arts. Catalogue of Department of Fine Arts, Canadian National Exhibition, Toronto, 1918. Toronto: Saturday Night Press, 1997.
Znajdź pełny tekst źródłaCanadian National Exhibition (Toronto, Ont.). Dept. of Fine Arts. Catalogue of Department of Fine Arts, Canadian National Exhibition, Toronto, 1917. Toronto: W. Briggs, 1997.
Znajdź pełny tekst źródłaCanadian National Exhibition (Toronto, Ont.). Dept. of Fine Arts. Catalogue of Department of Fine Arts, Canadian National Exhibition, Toronto, 1913. Toronto: Warwick Bros. & Rutter, 1996.
Znajdź pełny tekst źródłaCanadian, National Exhibition (Toronto Ont ). Dept of Fine Arts. Catalogue of Department of Fine Arts, Canadian National Exhibition, Toronto, 1916. [Toronto?: s.n., 1997.
Znajdź pełny tekst źródłaCanadian National Exhibition (Toronto, Ont.). Dept. of Fine Arts. Catalogue of Department of Fine Arts, Canadian National Exhibition, Toronto, 1915. [Toronto?: s.n., 1997.
Znajdź pełny tekst źródłaSubir, Choudhury, Bāṃlādeśa Śilpakalā Ekāḍemī i International Seminar on Folk Arts and Crafts of Asia and the Pacific Region Bangladesh (1994 : Bangladesh Shilpakala Academy), red. National Folk Arts and Crafts Exhibition, April 10 to 30, 1994. [Dhaka]: Bangladesh Shilpakala Academy, 1994.
Znajdź pełny tekst źródłaCzęści książek na temat "National Exhibition of the Arts"
Papoulias, Evangelos, i Theoklis-Petros Zounis. "Artists and the University Heritage: The Case of the Athens University History Museum and the Exhibition “Opy Zouni: In First Person”". W Strategic Innovative Marketing and Tourism, 817–25. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-51038-0_88.
Pełny tekst źródłaMallinson, Jonathan. "13. 1936–39: Pottery for a Troubled World". W William Moorcroft, Potter, 291–326. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0349.13.
Pełny tekst źródłaLabrador, Ana Maria Theresa P., i Cyril A. Santos. "Representing the Bangsamoro in an Exhibition of Ethnography at the National Museum of the Philippines". W Curating Islamic Art Worldwide, 95–106. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-28880-8_8.
Pełny tekst źródłaRahimova, Naila. "32 Art Works from the First Russian Art Exhibition in the Azerbaijan National Museum of Art, Baku". W 100 Years On: Revisiting the First Russian Art Exhibition of 1922, 212–16. Köln: Böhlau Verlag, 2022. http://dx.doi.org/10.7788/9783412525668.212.
Pełny tekst źródłaRoe, Annabelle Honess. "When Art Exhibition Met Cinema Exhibition". W Documenting The Visual Arts, 145–59. London ; New York : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781315123301-10.
Pełny tekst źródłaStanley, Todd. "Exhibition". W 10 Performance-Based Projects for the Language Arts Classroom Grades 3-5, 69–82. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003232483-7.
Pełny tekst źródłaKludkiewicz, Kamila. "Museums of a Stateless Nation, between History and Art". W Spaces for Shaping the Nation, 131–52. Bielefeld, Germany: transcript Verlag, 2024. http://dx.doi.org/10.14361/9783839466940-007.
Pełny tekst źródłaMallinson, Jonathan. "12. 1932–35: Individuality and Industrial Art". W William Moorcroft, Potter, 259–90. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0349.12.
Pełny tekst źródłaRadbourne, Jennifer, i Margaret Fraser. "Arts management and national identity". W Arts Management, 3–31. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003416463-2.
Pełny tekst źródłaLawrenson, Anna, i Chiara O’Reilly. "Relinquishing the national". W The Rise of the Must-See Exhibition, 117–39. Abingdon, Oxon ; New York, NY : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315597119-6.
Pełny tekst źródłaStreszczenia konferencji na temat "National Exhibition of the Arts"
Li, Zhaoxia. "The Historical Context of National Art Exhibition". W 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.21.
Pełny tekst źródłaFang, GuangZhi. "Analysis on Structure of National Exhibitions of Fine Arts from 1949". W 2014 International Conference on Social Science (ICSS-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icss-14.2014.40.
Pełny tekst źródłaQi, Jingkun. "The Phenomenon of Chinese Female Print Artists’ Creative Activities in the 13th National Exhibition of Fine Arts". W 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.076.
Pełny tekst źródłaBoda, Gherghina. "Romanian national heritage at the universal exhibition in Barcelona (1929)". W Simpozion internațional de etnologie: Tradiții și procese etnice, Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2023. http://dx.doi.org/10.52603/9789975841733.05.
Pełny tekst źródłaJIGHIRGIU, Octavian. "Five Days at the International Art Biennale in Venice". W The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0013.
Pełny tekst źródłaLin, Wenxuan. "A Comparative Study of Kassel Documenta and the National Art Exhibition in an Interwoven Context". W 2022 3rd International Conference on Language, Art and Cultural Exchange(ICLACE 2022). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220706.085.
Pełny tekst źródłaRocaciuc, Victoria. "Book graphics in the creation of the plastic artist Liudmyla Kozhokar". W Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.11.
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 źródłaHsueh, Chiaho, i Chien-Hsiung Chen. "Usability Study on the User Interface of Arts and Culture Activity Platforms". W 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1005437.
Pełny tekst źródłaLedeneva, Ekaterina Ivanovna. "LES ARTS DÉCORATIFS ET APPLIQUÉS DES PEUPLES DE SIBÉRIE DANS LE CADRE DE L'ACTIVITÉ D'EXPOSITION DES FUTURS ENSEIGNANTS DES CLASSES PRIMAIRES EN TANT QUE COMPOSANTE DE LA FORMATION PROFESSIONNELLE". W Themed collection of papers from Foreign International Scientific Conference «Science and innovation in the framework of the strategic partnership between Algeria and Russia» by HNRI «National development» in cooperation with the University of Science and Technology Houari Boumediene. April 2024. Crossref, 2024. http://dx.doi.org/10.37539/240425.2024.13.82.012.
Pełny tekst źródłaRaporty organizacyjne na temat "National Exhibition of the Arts"
Удріс, Ірина Миколаївна, i Наталя Сергіївна Удріс-Бородавко. Design of the Franco-Belgian Exhibition Poster of the 1890-s in the Context of the Art Nouveau Style Formation. КНУКіМ, 2019. http://dx.doi.org/10.31812/123456789/5087.
Pełny tekst źródłaSanjurjo Casciero, Annick. Paraguay and Its Plastic Arts. Inter-American Development Bank, marzec 1994. http://dx.doi.org/10.18235/0007910.
Pełny tekst źródłaDavies, Christina, i Melanie Pescud. Arts and health promotion. The Sax Institute, marzec 2020. http://dx.doi.org/10.57022/rdac1868.
Pełny tekst źródłaKupfer, Monica E. Perceptive Strokes: Women Artists of Panama. Inter-American Development Bank, marzec 2013. http://dx.doi.org/10.18235/0006215.
Pełny tekst źródłaDabrovolskas, Audrius. In Search of Film Policy and Film Exhibition Model Based on Mission Economy: the Case of the Baltic Film Industries. Publishing House - Vilnius Business College, czerwiec 2023. http://dx.doi.org/10.57005/ab.2023.1.2.
Pełny tekst źródłaCarrier, Roch. Bringing the Rainbow into the House: Multiculturalism in Canada. Inter-American Development Bank, luty 2001. http://dx.doi.org/10.18235/0007943.
Pełny tekst źródłaSmith, Adam, Madison Story, August Fuelberth i Megan Tooker. Historic landscape inventory for Zachary Taylor National Cemetery, Louisville, KY. Engineer Research and Development Center (U.S.), lipiec 2024. http://dx.doi.org/10.21079/11681/48753.
Pełny tekst źródłaCleary, Summers. Land Cover Summary Statistics for National Capital Region Park Units. National Park Service, 2024. http://dx.doi.org/10.36967/2301309.
Pełny tekst źródłaHenderson, Tim, Vincent Santucci, Tim Connors i Justin Tweet. National Park Service geologic type section inventory: National Capital Region Inventory & Monitoring Network. National Park Service, lipiec 2022. http://dx.doi.org/10.36967/2293865.
Pełny tekst źródłaSklenar, Ihor, i Maryan Lozynskyi. CONTROVERSIAL ISSUES REGARDING THE COMPONENT OF NATIONAL JOURNALISM STUDIES – GENRE STUDIES (REFERENCE TO A TOPICAL SCIENTIFIC ARTICLE BY PROFESSOR MYKOLA TYMOSHYK). Ivan Franko National University of Lviv, marzec 2024. http://dx.doi.org/10.30970/vjo.2024.54-55.12150.
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