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Добірка наукової літератури з теми "National Art Gallery"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 20 лютого 2023

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Статті в журналах з теми "National Art Gallery"

1

Tyquiengco, Marina. "Defying Empire: The Third National Indigenous Art Triennial: National Gallery of Australia, May 26 – September 10, 2017." Contemporaneity: Historical Presence in Visual Culture 6 (November 30, 2017): 113–19. http://dx.doi.org/10.5195/contemp.2017.232.

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Exhibition ReviewExhibition catalog: Tina Baum, Defying Empire: 3rd National Indigenous Art Triennial. Canberra: National Gallery of Art, 2017. 160 pp. $39.95 (9780642334688) Exhibition schedule: National Gallery of Australia, Canberra, ACT, May 26, 2017 – September 10, 2017

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2

Lydon, Andrea. "The right space: 150 years of housing a national gallery's library and archive collection." Art Libraries Journal 43, no. 1 (December 8, 2017): 24–30. http://dx.doi.org/10.1017/alj.2017.44.

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The National Gallery of Ireland is the country's premier art institution. It houses the nation's collection of fine art in addition to a collection of library and archive material relating to the visual arts. The library and archive collections play an invaluable role supporting the work of the gallery and are regularly consulted by external researchers. Surprisingly, for more than a century there was no dedicated library space allocated to this collection. This article explores the development of the collection and the space it has occupied within the Gallery over the last 150 years, chronicling the challenges the gallery has faced housing this growing collection. This article outlines the situation today and concludes with an outline of the gallery's future plans for the library and archive in its efforts to create a space that will be a fitting home for this remarkable collection.

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3

Ardhiati, Yuke, Ashri Prawesthi D, Diptya Anggita, Ramadhani Isna Putri, L. Edhi Prasetya, Widya Nur Intan, Muhammad Wira Abi, et al. "An Adaptive Re-use of Cultural Heritage Buildings in Jabodetabek (Greater Jakarta) as the National Gallery of Indonesia's Satellites." International Journal of Built Environment and Scientific Research 4, no. 2 (December 28, 2020): 115. http://dx.doi.org/10.24853/ijbesr.4.2.115-126.

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The Nasional Gallery of Indonesia is a reputable art gallery owned by Indonesian State. It roles as the venue for exhibitions and art events on International scale. To maintain the reputation then it employed the Independent Curators to cary out exhibitions. In recent years, the phenomenon of the proffesional Fine Art Artists show the hing spirits. To enrich their international publication then they began to realize their opportunity to exhibit at this gallery. Unfortunately, the gallery building is an adaptive reuse of the Cultural Heritage Building. The National Gallery building which has a distinctive Dutch Colonial architectural style has not been optimally utilized. So, it has existence has wide limitations and space limitation that unable to accommodate such high interests. On the other hand, Jabodetabek is stands for Jakarta-Bogor-Depok-Tangerang-Bekasi are the Greater City of Jakarta, has Cultural Heritage Buildings. There are many of architectural style of heritage buildings that has chance to be the exhibition spaces. The study is an idea to aim solutions of the availability of exhibition area in Jabodetabek to accommodate the Fine Art Artists interest of exhibiting. According to the Adaptive-Reuse of the National Gallery’s case, and by refers to the Grounded Theory Research method and Case Studies related to the Jabodetabek’s Cultural Heritage buildings. A Working Hyphotesis is Jabodetabeks’s Cultural Heritage Buildings opportunities as The National Gallery’s Satellites. The findings are the Satellite Galleries Rank, and the Properties Display recommendation based on the Cultural Heritage’s rules that can be offered to make them as the “Satellite” as well as the ICOM as the National Gallery of Indonesia’s standard.

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4

Cannon, Catríona. "The National Gallery of Ireland Library." Art Libraries Journal 25, no. 3 (2000): 21–24. http://dx.doi.org/10.1017/s030747220001172x.

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The National Gallery of Ireland Library has recently re-opened to internal and external readers after a number of years. The concentration so far has been on reader services, while a major revision of the cataloguing and classification procedures is being undertaken. New projects to organise the Gallery’s Archives and make them more accessible for research, and to open a sponsored Centre for the Study of Irish Art in 2002-3, show the Library’s revived interest in reaching its potential users.

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5

Prior, Nick. "Edinburgh, Romanticism and the National Gallery of Scotland." Urban History 22, no. 2 (August 1995): 205–15. http://dx.doi.org/10.1017/s096392680000047x.

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An explanation for the formation of the National Gallery of Scotland is proposed which affirms the priority of local conditions of cultural production. In the absence of a fecund tradition of art patronage in Scotland, the modernization of Edinburgh's art field in the early nineteenth century depended on the activities of civic elites. The Scottish model of art museum development resembled the later American model more than it did the earlier French one. What was particular to Edinburgh, though, was a strong form of Romanticism in the early nineteenth century. The romantic landscape trope indexed the security of bourgeois power by the 1830s. But its own role was to act as a catalyst in the formation of collection-oriented and professional art institutions, and of a gallery going public in the capital.

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6

Honoris, Robby, and Andalucia . "Design of North Sumatera Paradise Gallery in Medan City (Metaphor Architecture)." International Journal of Architecture and Urbanism 1, no. 1 (November 15, 2017): 91–99. http://dx.doi.org/10.32734/ijau.v1i1.266.

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The purpose of this Art Gallery designing is for giving space for the local artist to place and promote their art products. It’s because Medan city has not decent gallery according to the national standard. The surplus of this art gallery out of showing fine art is giving room experience impression to support fine art showcase. The theme of the building is a metaphor of water ripple to represent Babura river, so the art installation to the building is using water concept that gives unique aspect to building and can be art identity of Medan city. This gallery building is hoped to fulfill gallery estimation which is decent in national and international rank because Medan is the third biggest town in Indonesia where been visited by so many foreign tourists.

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7

Horman, Mary M. "National Gallery of Art ‐ The Collection0047National Gallery of Art. National Gallery of Art ‐ The Collection. 1997 to date; updated weekly. http://www.nga.gov/collection/collect.htm No charge." Electronic Resources Review 4, no. 5 (April 2000): 51. http://dx.doi.org/10.1108/err.2000.4.5.51.47.

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8

Hava, Jarmila. "The Library at the National Gallery of Zimbabwe." Art Libraries Journal 11, no. 2 (1986): 40–43. http://dx.doi.org/10.1017/s0307472200004636.

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The Library of the National Gallery of Zimbabwe dates from the 1950s. Its acquisition policies mirror those of the Gallery itself, which since Independence in 1980 have concentrated on traditional culture and contemporary art in Zimbabwe; the library also includes a collection of books on architecture. Due to insufficient funds and lack of foreign currency, Library acquisitions are heavily dependent on donations. A slide collection includes specially photographed slides of Zimbabwean art. The Library is open to the public and is well used by students but not by local artists who are often content to continue traditions without seeking to innovate or to respond to other works of art. Both Gallery and Library have accepted and are developing an active educational role.

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9

Glinsman, L., and D. Barbour. "Science and art converge at the National Gallery of Art." JOM 49, no. 1 (January 1997): 14–17. http://dx.doi.org/10.1007/bf02914620.

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10

Walsh-Piper, Kathleen, and Ellyn Berk. "Teacher Programs at the National Gallery of Art." Journal of Museum Education 19, no. 3 (September 1994): 19–21. http://dx.doi.org/10.1080/10598650.1994.11510276.

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Дисертації з теми "National Art Gallery"

1

Perry, Lara Ann. "Facing femininities : women in the National Portrait Gallery, 1856-1899." Thesis, University of York, 1999. http://etheses.whiterose.ac.uk/2479/.

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2

Pezzini, Barbara. "Making a market for art : Agnews and the National Gallery, 1855-1928." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/making-a-market-for-art-agnews-and-the-national-gallery-18551928(4f296d6c-997a-4eab-95ca-bace7b9c3596).html.

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The thesis investigates the interaction that developed between a major art dealer, Thos. Agnew and Sons (Agnews), and a principal public collection, the London National Gallery, from 1855 to 1928. Agnews played a crucial role in the life of the National Gallery and greatly facilitated the museum accession of important paintings, such as the Madonna Ansidei by Raphael, the Rokeby Venus by Velazquez, the Portrait of Doge Vincenzo Morosini by Tintoretto, and many others. In turn, collaborating with the National Gallery allowed Agnews to penetrate the international Old Masters market and reach for higher social standing. Through the analysis of ten case studies of acquisitions, which are supported by new archival evidence and are contextualised within a broader historical and theoretical framework, this thesis charts the emergence, development and decline of the rapport between the two organisations. It analyses how Agnews and the National Gallery began as two unconnected entities in the mid-nineteenth century, explores how their distinct trajectories turned into a close, collaborative rapport during the 1880s, and finally examines how in the third decade of the twentieth century they separated and initiated a newly detached professional relationship. Appropriating sociological theories by Pierre Bourdieu, Bruno Latour, Viviana Zelizer and others, this study investigates museum acquisitions as resulting from complex interplays of cultural and commercial forces within the field of cultural production. Acquisitions are further enlightened by the analysis of the networks that underpin them, which provide additional evidence on how economic factors are embedded within broader social constructs. By detailing and locating these processes and relationships within the historical context of a broad shift towards commercialisation, yet demonstrating that cultural elements are part of the dealers activities and that commercial values are an intrinsic component of the museum, this study provides an insight into the historical origins of modern-day relationships between museums and art dealers.

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3

Hahn, Catherine Neville. "The political house of art : the South African National Gallery, 1930-2009." Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/19314/.

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The thesis analyses modes of representation in the South African National Gallery (SANG) between 1930 and 2009. Built in 1930, for the larger part of its history SANG was situated in a white state that disenfranchised the black populace. Whiteness, as citizenship, was normalised and glorified in the state’s museums. Analysis of evidence collected from the archive, décor, art collection, exhibitions, attendance of walking tours and semi-structured interviews with staff demonstrates that SANG’s historic practice does not fit neatly within the dominant theoretical understanding of the art museum, namely a sacred space in which power has been obscured through the ‘art for art’s sake’ model. Instead, the thesis finds at SANG invisible symbolic capital resided alongside the more muscular capital of the colony, which derived its strength from an overt relationship with commerce, politics and race. The thesis further finds that SANG developed a close relationship with its white audience through its construction as a ‘homely space’. As a consequence, I argue SANG developed museological conventions that better fit the analogy of the political house than the temple. Taking new museum ethics into consideration, the thesis examines how SANG’s distinctive heritage impacted on its ability to be inclusive. My fieldwork on recent representational practice at SANG reveals strategies congruent with the post-museum, including performative political exhibitions, diversification of the collection and active dialogue with the communities it seeks to serve. At the same time embedded modes of white cultural representation were identified that restricted its capacity to ‘move-on’. The thesis contributes to the field of museum studies by drawing attention to the significance of the individual histories of art institutions in determining their ability to make change. The thesis also contributes to the field of visual sociology by presenting images and ‘map-making’ as an integral feature of the research design.

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4

Barben, Marc Walter. "What does it mean to be a 'national' gallery when the notions of 'nation' transform radically?: An analysis of the Iziko South African National Gallery's practices and policies in historical contexts." Master's thesis, University of Cape Town, 2015. http://hdl.handle.net/11427/13650.

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Includes bibliographical references.
While much has been written on the European display of non - western art and artefact collected from their colonies in Africa, less has been documented about the European settler arts institutions, like the South African National Gallery (SANG), whose distant location away from the imperial centre initially presented particular challenges. In South Africa, since colonialism, these challenges have been expanded by settler nationalisms, a racially oppressive regime, a liberation movement, and a relatively peaceful transition to a democracy. In its form and its function, the SANG has reflected the redefined nationalisms that accompanied these historical moments. In light of the global history of national galleries and more recent theoretical discussions about cultural institutions, this study probes the complex layering of histories evidenced in collection and exhibition practices at the SANG in its historical contexts. Historically South African galleries have reflected colonial and later apartheid ideologies. With the transition to a democratic society in 1994, the ‘new’ South Africa ushered in a radically redefined national identity. If national collections reflect the nations to which they belong, this study questions the SANG’s ability in reflecting successive redefinitions of South African nationhood, and its adaptability in meeting shifting social and political requirements. By examining shifts in collections and display practices and policies, in the SANG’s historical contexts, this paper ultimately asks the question: What does it mean to be a ‘national’ gallery when the notions of ‘nation’ transform radically?

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5

Galastro, Anne Bernadette. "Institutional history of the Scottish National Gallery of Modern Art : tensions, paradoxes and compromises." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7899.

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This study provides the first comprehensive account of the institutional history of the Scottish National Gallery of Modern Art (SNGMA) from the earliest calls for its foundation at the start of the twentieth century to the recent series of exhibitions marking its fiftieth anniversary in 2010. The SNGMA is both a unique case‐study and a useful illustrative example of the specific category of modern art museum: the account of its history sets the institution within its wider cultural context and explores the inevitable complexities facing a public gallery devoted to modern art. The study examines how the institution has balanced the need to represent a full historical survey of modern art with the desire to engage with the contemporary, and how it has addressed the question of collecting and displaying the work of Scottish artists alongside international art. By providing a close documentary analysis of the evolution of the institution, drawn from within the Gallery’s own archives, combined with extended reflections on the central dilemmas it has had to face, the study constitutes an original contribution to museum scholarship. Various methodologies are employed to assess the diverse factors that have affected the institution’s development. The narrative confirms the close correlation between the architectural frame and the public perception of the institution. It traces the evolution of the acquisitions policy and notes how this shaped the permanent collection, allowing a shift from an aspiration to universal coverage of the international trends of 20th century art to a more targeted specialisation in certain areas, primarily Dada and Surrealism. It charts the attitudes towards temporary exhibitions and the display of the permanent collection, and examines these in the light of current exhibition theory and practice. The analysis concludes that the SNGMA has been largely successful at achieving the aims and ambitions it originally defined for itself, although its role is constantly evolving in response to changes in the broader context of art museums.

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Doucette, Valerie Anne. "The art museum in code: display strategies of the National Gallery of Canada." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=97220.

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This thesis explores the ways in which the art museum as a powerful cultural medium shapes the public understanding of artworks and how this work is affected by digital media when the museum displays art online. In an analysis of the National Gallery of Canada (NGC) I focus on how the artwork is encountered and understood in physical and digital contexts through the examination of three modes of museum practice: memory, information, and narrative. I compare each mode's manifestation in the physical museum space to its digital translation, revealing that the NGC largely reproduces its objective, highly authored, and one-way communicative practices in digital space. Other online interfaces such as the steve.museum project and the Art Matters blog of the Art Gallery of Ontario are examined as possible alternatives to the NGC's approach through their use of more open, collaborative, and social practices made possible by digital media.
La présente thèse examine l'influence du musée d'art en tant que milieu culturel important sur la compréhension des objets d'art par le public et les répercussions des médias numériques sur ces œuvres quand le musée les affiche en ligne. Pendant l'analyse du Musée des beaux-arts du Canada (MBAC), je cherche à déterminer comment les objets d'art sont rencontrés et perçus dans leurs contextes physique et numérique en examinant trois contextes pertinents au musée : la mémoire, les renseignements et la narration. Je compare la manifestation des trois contextes dans l'espace physique du musée à leur traduction numérique, ce qui révèle que le MBAC reproduit de très près ses pratiques à communication unilatérale objectives et consignées dans l'espace numérique. J'examine également d'autres interfaces en ligne, notamment le projet steve.museum et le blog Art Matters du Musée des beaux-arts de l'Ontario, comme autres options à l'approche du MBAC pour leur usage plus ouvert, plus collaboratif et plus social rendu possible par les médias numériques.

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7

Cook, Shashi Chailey. ""Redress : debates informing exhibitions and acquisitions in selected South African public art galleries (1990-1994)" /." Thesis, Rhodes University, 2009. http://eprints.ru.ac.za/1631/.

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8

Lilla, Qanita. ""The advancement of art" : policy and practice at the South African National Gallery, 1940-1962." Master's thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/18426.

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Includes bibliographical references (pages 125-138).
This thesis is an enquiry into the policies and practices that shaped the South African National Gallery in the 1940s and 1950s. Drawing on newspaper reports, the South African National Gallery's exhibition catalogues, pamphlets and annual reports, records of parliamentary debate and the crucial report of the Stratford Commission of 1948 the study has reconstructed a detailed history of the South African National Gallery. Established in 1871 as a colonial museum catering for a small part of the settler population of British descent, the museum came under pressure to accommodate the Afrikaner community after 1948. This did not mean that the liberal ethos at the museum disappeared, however. The South African National Gallery was strongly influenced by public pressure in this period. Public outrage over controversial art sales in 1947 led to the appointment of a commission of enquiry into the workings of the museum. At the same time, the head of the Board of Trustees, Cecil Sibbett, engaged the public on matters of Modern art. The museum's conservative and controversial Director, Edward Roworth was replaced in 1949 by John Paris who ushered in a new phase of development and management, encouraged the reconceptualization of South African art and reorganized the permanent collection. This initiative took place despite decreased autonomy for the Director and increased government imposition of Afrikaner Nationalist ideology. Nevertheless, the South African National Gallery avoided becoming a political instrument of the Apartheid regime.

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9

James, Pamela J., University of Western Sydney, of Arts Education and Social Sciences College, and School of Humanities. "The lion in the frame : the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939." THESIS_CAESS_HUM_James_P.xml, 2003. http://handle.uws.edu.au:8081/1959.7/567.

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This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections was determined by a social elite, which was, at its heart, British. Its collective taste was predicated on models established in Great Britain and on traditions and on connoisseurship. This visual instruction in the British ideal of culture, as seen through the Academy, was regarded as a worthy aspiration, one that was at once both highly nationalistic and also a tool of Empire unity. This ideal was nationalistic in the sense that it marked the desire of these Boards to claim for the nation membership of the world's civil society, whilst also acknowleging that the vehicle to do so was through an enhanced alliance with British art and culture. The ramifications of an Empire-first aesthetic model were tremendous. The model severely constrained taste in domestic art, limited the participation of indigenous peoples and shaped the reception of modernism.
Doctor of Philosophy (PhD)

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James, Pamela J. "The lion in the frame : the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939." Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/567.

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This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections was determined by a social elite, which was, at its heart, British. Its collective taste was predicated on models established in Great Britain and on traditions and on connoisseurship. This visual instruction in the British ideal of culture, as seen through the Academy, was regarded as a worthy aspiration, one that was at once both highly nationalistic and also a tool of Empire unity. This ideal was nationalistic in the sense that it marked the desire of these Boards to claim for the nation membership of the world's civil society, whilst also acknowleging that the vehicle to do so was through an enhanced alliance with British art and culture. The ramifications of an Empire-first aesthetic model were tremendous. The model severely constrained taste in domestic art, limited the participation of indigenous peoples and shaped the reception of modernism.

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Книги з теми "National Art Gallery"

1

Ayesha, Taslim, ed. National Art Gallery collection. Islamabad: Pakistan National Council of the Arts, 2008.

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2

Powell, Earl A. National Gallery of Art. Paris: Société française de promotion artistique, 2000.

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3

(Pakistan), National Art Gallery. National Art Gallery collection. Islamabad: Pakistan National Council of the Arts, 2008.

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4

(Pakistan), National Art Gallery. National Art Gallery collection. Islamabad: Pakistan National Council of the Arts, 2007.

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5

Marjorie, Hussain, ed. National Art Gallery collection. [Islamabad]: Pakistan National Council of the Arts, 2007.

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6

Walker, John. National Gallery of Art, Washington. New York: Abradale Press, 1995.

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7

Library, National Gallery of Art (U S. ). National Gallery of Art Library. Washington, D.C. (Fourth and Constitution Ave., N.W., Washington 20565): The Library, 1993.

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8

Walker, John. National Gallery of Art, Washington. New York: Abradale Press/H.N. Abrams, 1995.

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9

Raymond, Keaveney, ed. National Gallery of Ireland. London: Scala Books, 1990.

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10

Raymond, Keaveney, ed. National Gallery of Ireland. London: Scala Books, 1998.

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Частини книг з теми "National Art Gallery"

1

Ruiz, Ana Baeza. "Curatorial Experiments at the National Gallery After the Second World War." In Making Art History in Europe After 1945, 67–82. 1. | New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781351187596-5.

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2

Parsons, Margaret, and Marsha Gordon. "On the history (and future) of art documentaries and the film program at the National Gallery of Art." In Documenting The Visual Arts, 205–20. London ; New York : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781315123301-14.

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3

"of National Gallery of." In Islamic Art Collections, 16–17. Routledge, 2013. http://dx.doi.org/10.4324/9780203036907-10.

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4

Whitehead, Christopher. "Debating the National Gallery." In The Public Art Museum in Nineteenth Century Britain, 125–50. Routledge, 2017. http://dx.doi.org/10.4324/9781315237565-ch-6.

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Whitehead, Christopher. "Refiguring the National Gallery." In The Public Art Museum in Nineteenth Century Britain, 151–76. Routledge, 2017. http://dx.doi.org/10.4324/9781315237565-ch-7.

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6

"Sir Hugh Lane and The National Gallery." In Art and Letters, edited by B. C. Bloomfield, 3–8. Routledge, 2019. http://dx.doi.org/10.4324/9781315034133-2.

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Whitehead, Christopher. "The Enlarged National Gallery in 1876." In The Public Art Museum in Nineteenth Century Britain, 238–45. Routledge, 2017. http://dx.doi.org/10.4324/9781315237565-ch-10.

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8

Whitehead, Christopher. "Negotiating the Construction of the National Gallery." In The Public Art Museum in Nineteenth Century Britain, 177–204. Routledge, 2017. http://dx.doi.org/10.4324/9781315237565-ch-8.

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"The William Brumfield Collection, National Gallery of Art." In Journeys through the Russian Empire, 33–36. Duke University Press, 2020. http://dx.doi.org/10.1215/9781478007463-005.

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Smith, Alison. "Watts and the National Gallery of British Art." In Representations of G. F. Watts, 153–68. Routledge, 2019. http://dx.doi.org/10.4324/9780429259906-9.

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Тези доповідей конференцій з теми "National Art Gallery"

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Qi, Fei, and Yi Chen. "The Study of Configuration Analysis in Art Gallery based on Space Syntax mmComparison of Washington national gallery and the Shanghai art gallery." In 2015 4th International Conference on Sustainable Energy and Environmental Engineering. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icseee-15.2016.207.

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Braden, Paul, and Kaitlyn Gainer. "Application of the Shape Memory Effect to Restore Smoothness." In ASME 2015 Conference on Smart Materials, Adaptive Structures and Intelligent Systems. American Society of Mechanical Engineers, 2015. http://dx.doi.org/10.1115/smasis2015-8827.

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A major worldwide industry is the display and preservation of historical and rare documents, paintings, canvases, tapestries and other works of art. Many private collectors and museums pay large amounts, such as the $23 million for the U.S. National Gallery and $8 million for the U.S. National Archives. There is an even greater demand for many consumers who desire an affordable way to safely maintain their images in top condition for viewing and enjoyment. Another industry where the smoothness of the paper documents is important is in the shipping and delivery business. Here, many shipments are done with cylindrical tubes that cause the paper to appear bent and not flat. In some cases, this can pose a major problem for scanning and electronic devices which need a flat surface for optimal performance. A novel new alternative to traditional conservation methods is the use of Shape Memory Alloys (SMA’s) to remove wrinkles and other surface anomalies. SMA’s use a thermoelastic property called the Shape Memory Effect (SME) to recover large strains by phase transformation. In this process, the SMA is stretched until the polycrystalline microstructure is detwinned Martensite. Then, energy in the form of heat is applied to the SMA which causes the phase transformation to the more compact Austenite. Thus, a reverse method is the proposed solution for the complex problem faced by art preservation experts. Instead of using large clamps and having to wait for results, we demonstrate how embedded SMA wires in a robust picture frame can provide a continuous restorative force that maintains the picture’s smoothness. Using proper simple wiring from the SMA wires to the picture, it is possible to remove the strains in the paper and hold the picture to the proper smoothness long term. We provide experimental results and offer suggestions for the future use of SMA’s in this new field of art restoration.

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Iribarne, Jorge. "The essential purpose of any Urban Project is to define Public Space." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.6233.

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In that aspect, buildings role, no matter their architectural qualities, is to shape that void and give it character. If one asks people about their remembrances of cities they have visited, they usually mention places and the activities that took place there. Architecture, great or bad is the referente of Architects. Only some monuments –Eiffel Tower or Sidney´s Opera- which act as the city´s image are worth recalling. The failure of CIAM´s urbanism was not its lack of quality, even vition, as some of Le Corbusier designs clearly demostrate, but its disregard of public space, merely a left over spread between isolated building blocks and highways. A good instrument to understand this fact are the Figure/ Ground plans, in which the basic shape of buildings and voids are drawn in black and white. In the tradicional city renders, the public spaces have a clear definition, a presence of its own. In any CIAM project –mostly- or construction, the public realm is the shapless space left over by buildings, with no hint about use or limits. A clear demonstration is the no-space around the Philarmonic, the National Library and the Art Gallery in Berlin. This knowlege is sufficiently incorporated into the practice of most Western Designers, but two perverse conditions are part of the everyday´s life of entire populations in the World: In poor Countries there is an urgent need to incorporate slums to the city structure, culture and services.In Asian Cities, mainly in China, inmense areas are demolished overnight and its tradicional fabric replaced by endless rows of anonymous high rise blocks amid a maze of transport elevated structures, with no place left for pedestrians. An old text advices not to let the urgent erase the important. In today´culture both conditions are unfortunately simultaneous.

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Vuga, Martina. "Skin matters. Conservation-restoration treatment of a 16th Century polychrome wooden sculpture." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. València: Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13509.

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This paper presents results of the preliminary examination and conservation-restoration treatment of polychrome wooden sculpture, Madonna and Child, dated around 1520 from the National Gallery of Slovenia. Extensive areas of paint loss, discoloration of old retouches and darkened coating on gildings disrupted the sculpture’s visual unity and balance. Overpaints have progressively and significantly changed its appearance. Prior to the intervention we conducted detailed technical examination. Treatment included surface cleaning and partial removal of materials. Decisions, methods, and materials regarding aesthetic reintegration are pointed out: various approaches used on different surfaces, of which faces, and other parts of the skin, received a comprehensive “skin care”.

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Štěpánek, Pavel. "Tasting the milk of celestial knowledge. Note about the rhetoric of the portrayal of the sacred in Alonso Cano’s painting The Lactation of St. Bernard (1653–1657) from the National Gallery in Prague." In The Figurativeness of the Language of Mystical Experience. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9997-2021-20.

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This is an attempt of interpretation of a picture that draws from mystical tradition. It is about the comprehension of a topic in a painting by the Spanish artist Alonso Cano (1601–1667, Granada), from the National Gallery in Prague (O 14 690) Lactatio S. Bernardi – presenting the miracle of lactation, in which the Virgin Mary is squirting milk from her breast into the mouth of St. Bernard of Clairvaux (a historically very famous saint and major representative of the Cistercian Order). Traces of iconography lead up to the Coptic Church, where the typology of the milking Virgin was probably first originated (Galacto Trofusa in Greek or Maria lactans in Latin). The starting point is perhaps the portrayal of the virgin goddess Isis milking her son Horus. In many cultures, milk symbolises physical and spiritual food (e.g. the Milky Way evoking the ancient myth about spurted divine milk). On the other hand, milking is also present in the Old Testament as the image of special blessing; it is a symbol of eternal beatitude and wisdom. The dream/vision of her milk is then – apart from the rest – a sign of abundance, fertility, love, and fullness. The lactation of St. Bernard is an allegory of the penetration of the divine science in the soul. Thanks to this act the saint receives God’s guide, which he can then discharge into his writings.

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Звіти організацій з теми "National Art Gallery"

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Raymond, Kara, Laura Palacios, and Evan Gwilliam. Status of climate and water resources at Big Bend National Park: Water year 2019. Edited by Tani Hubbard. National Park Service, September 2022. http://dx.doi.org/10.36967/2294267.

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Climate and hydrology are major drivers of ecosystem structure and function, particularly in arid and semi-arid ecosystems. Understanding changes in climate, groundwater, streamflow, and water quality is central to assessing the condition of park resources. This report combines data collected on climate, groundwater, and springs at Big Bend National Park (NP) to provide an integrated look at climate and water conditions during water year (WY) 2019 (October 2018–September 2019). However, this report does not address the Rio Grande or its tributaries. Annual precipitation was higher than normal (1981–2010) for Big Bend NP at four of the five National Oceanic and Atmospheric Administration Cooperative Observer Program weather stations: 111% of normal for Chisos Basin, 122% of normal for Panther Junction, 155% of normal for Persimmon Gap, and 124% of normal for Rio Grande Village. Castolon had 88% of normal annual precipitation. All five stations had higher than normal rainfall in October and December, while rainfall totals were substantially below normal at all stations in November, February, and March. Monthly precipitation totals for April through September were more variable from station to station. Mean monthly maximum air temperatures were below normal in the fall months, with Panther Junction as much as 7.5°F below normal in October. Monthly temperatures from January through July were more variable. Temperatures in August and September were warmer than normal at every station, up to +9.4°F at Rio Grande Village and +8.7°F at Chisos Basin in July. The reconnaissance drought index values indicate generally wetter conditions (based on precipitation and evaporative demand) at Chisos Basin since WY2016 and at Panther Junction and Persimmon Gap since WY2015, except for WY2017. This report presents the manual and automatic groundwater monitoring results at nine wells. Five wells had their highest water level in or just before WY2019: Panther Junction #10 peaked at 99.94 ft below ground surface (bgs) in September 2018, Contractor’s Well peaked at 31.43 ft bgs in November 2018, T-3 peaked at 65.39 ft bgs in December 2018, K-Bar #6 Observation Well peaked at 77.78 ft bgs in February 2019, and K-Bar #7 Observation Well peaked at 43.18 ft bgs in February 2019. This was likely in response to above normal rainfall in the later summer and fall 2018. The other monitoring wells did not directly track within-season precipitation. The last measurement at Gallery Well in WY2019 was 18.60 ft bgs. Gallery Well is located 120 feet from the river and closely tracked the Rio Grande stage, generally increasing in late summer or early fall following higher flow events. Water levels in Gambusia Well were consistently very shallow, though the manual well measurement collected in April was 4.25 ft bgs—relatively high for the monitoring record—and occurred outside the normal peak period of later summer and early fall. The last manual measurement taken at TH-10 in WY2019 was 34.80 ft bgs, only 0.45 ft higher than the earliest measurement in 1967, consistent with the lack of directional change in groundwater at this location, and apparently decoupled from within-season precipitation patterns. The last water level reading in WY2019 at Oak Springs #1 was 59.91 ft bgs, indicating an overall decrease of 26.08 ft since the well was dug in 1989. The Southwest Network Collaboration (SWNC) collects data on sentinel springs annually in the late winter and early spring following the network springs monitoring protocol. In WY2019, 18 sentinel site springs were visited at Big Bend NP (February 21, 2019–March 09, 2019). Most springs had relatively few indications of natural and anthropogenic disturbances. Natural disturbances included recent flooding, drying, and wildlife use. Anthropogenic disturbances included flow modifications (e.g., springboxes), hiking trails, and contemporary human use. Crews observed one to seven facultative/obligate wetland plant...

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Gattenhof, Sandra, Donna Hancox, Sasha Mackay, Kathryn Kelly, Te Oti Rakena, and Gabriela Baron. Valuing the Arts in Australia and Aotearoa New Zealand. Queensland University of Technology, December 2022. http://dx.doi.org/10.5204/rep.eprints.227800.

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The arts do not exist in vacuum and cannot be valued in abstract ways; their value is how they make people feel, what they can empower people to do and how they interact with place to create legacy. This research presents insights across Australia and Aotearoa New Zealand about the value of arts and culture that may be factored into whole of government decision making to enable creative, vibrant, liveable and inclusive communities and nations. The COVID-19 pandemic has revealed a great deal about our societies, our collective wellbeing, and how urgent the choices we make now are for our futures. There has been a great deal of discussion – formally and informally – about the value of the arts in our lives at this time. Rightly, it has been pointed out that during this profound disruption entertainment has been a lifeline for many, and this argument serves to re-enforce what the public (and governments) already know about audience behaviours and the economic value of the arts and entertainment sectors. Wesley Enoch stated in The Saturday Paper, “[m]etrics for success are already skewing from qualitative to quantitative. In coming years, this will continue unabated, with impact measured by numbers of eyeballs engaged in transitory exposure or mass distraction rather than deep connection, community development and risk” (2020, 7). This disconnect between the impact of arts and culture on individuals and communities, and what is measured, will continue without leadership from the sector that involves more diverse voices and perspectives. In undertaking this research for Australia Council for the Arts and Manatū Taonga Ministry for Culture & Heritage, New Zealand, the agreed aims of this research are expressed as: 1. Significantly advance the understanding and approaches to design, development and implementation of assessment frameworks to gauge the value and impact of arts engagement with a focus on redefining evaluative practices to determine wellbeing, public value and social inclusion resulting from arts engagement in Australia and Aotearoa New Zealand. 2. Develop comprehensive, contemporary, rigorous new language frameworks to account for a multiplicity of understandings related to the value and impact of arts and culture across diverse communities. 3. Conduct sector analysis around understandings of markers of impact and value of arts engagement to identify success factors for broad government, policy, professional practitioner and community engagement. This research develops innovative conceptual understandings that can be used to assess the value and impact of arts and cultural engagement. The discussion shows how interaction with arts and culture creates, supports and extends factors such as public value, wellbeing, and social inclusion. The intersection of previously published research, and interviews with key informants including artists, peak arts organisations, gallery or museum staff, community cultural development organisations, funders and researchers, illuminates the differing perceptions about public value. The report proffers opportunities to develop a new discourse about what the arts contribute, how the contribution can be described, and what opportunities exist to assist the arts sector to communicate outcomes of arts engagement in Australia and Aotearoa New Zealand.

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Boyle, Maxwell, and Elizabeth Rico. Terrestrial vegetation monitoring at Timucuan Ecological and Historic Preserve: 2019 data summary—Version 2.0. National Park Service, February 2022. http://dx.doi.org/10.36967/nrds-2290196.

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The Southeast Coast Network (SECN) conducts long-term terrestrial vegetation monitoring as part of the nationwide Inventory and Monitoring Program of the National Park Service (NPS). The vegetation community vital sign is one of the primary-tier resources identified by SECN park managers, and it is currently conducted on 15 network parks (DeVivo et al. 2008). Monitoring plants and their associated communities over time allows for targeted understanding of ecosystems within the SECN geography, which provides managers information about the degree of change within their parks’ natural vegetation. 2019 marks the first year of conducting this monitoring effort on four SECN parks, including Timucuan Ecological and Historic Preserve (TIMU). A total of 23 vegetation plots were established in the park in May and June. Data collected in each plot include species richness across multiple spatial scales, species-specific cover and constancy, species-specific woody stem seedling/sapling counts and adult tree (greater than 10 centimeters [3.9 inches (in)]) diameter at breast height (DBH), overall tree health, landform, soil, observed disturbance, and woody biomass (i.e., fuel load) estimates. This report summarizes the baseline (year 1) terrestrial vegetation data collected at Timucuan Ecological and Historic Preserve in 2019. Data were stratified across three dominant broadly defined habitats within the park (Coastal Plain Nonalluvial Wetlands, Coastal Plain Open Uplands and Woodlands, and Maritime Upland Forests and Shrublands) and three land parcels (Cedar Point, Theodore Roosevelt, and Thomas Creek). Noteworthy findings include: A total of 157 vascular plant taxa (species or lower) were observed across 23 vegetation plots, including nine species not previously known from the park. Three plots were located in the footprint of the Yellow Bluff Fire, and were sampled only two weeks following the fire event. Muscadine (Muscadinia rotundifolia), cat greenbrier (Smilax glauca), water oak (Quercus nigra), and swamp tupelo (Nyssa biflora) were the most frequently encountered species in Coastal Plain Nonalluvial Wetland habitat; saw palmetto (Serenoa repens), slash pine (Pinus elliottii), and gallberry (Ilex glabra) were the most frequently encountered species in Coastal Plain Open Upland and Woodland habitat; and Darlington oak (Quercus hemisphaerica), Spanish moss (Tillandsia usenoides), and red bay (Persea borbonia) were the most frequently encountered species in Maritime Upland Forests and Shrublands. There were no exotic species of the Florida Exotic Pest Plant Council list of invasive plants (FLEPPC 2020) observed on any of these plots. Both red bay and swamp bay (Persea palustris) were largely absent from the tree stratum in these plots; however, they were present (occasionally in high abundance) in the seedling and sapling strata across all habitat types. Buckthorn bully (Sideroxylon lycioides)—listed as Endangered in the state of Florida by the Florida Department of Agriculture and Consumer Services (FDACS 2020)—was observed in three Maritime Upland Forest and Shrubland plots. The tree strata in each broadly defined habitat were dominated by the following species: Coastal Plain Nonalluvial Wetlands-loblolly bay (Gordonia lasianthus) Coastal Plain Open Uplands and Woodlands-longleaf pine (Pinus palustris) Maritime Upland Forests and Shrublands-oaks (Quercus sp.) Most stems within the tree strata exhibited healthy vigor and only moderate dieback across all habitat types. However, there was a large amount of standing dead trees in plots within Maritime Upland Forests and Shrublands. Downed woody biomass (fuel loads) were highest in the Cedar Point and Thomas Creek land parcels.

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