Статті в журналах: "Royal Academy of Arts"

1

Lau, George F. "Aztecs. Royal Academy of Arts, London." American Anthropologist 105, no. 3 (September 2003): 623–27. http://dx.doi.org/10.1525/aa.2003.105.3.623.

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2

Baudez, Basile. "La Royal Academy of Arts au XVIIIe siècle, une académie royale ?" Livraisons d'histoire de l'architecture 10, no. 1 (2005): 123–36. http://dx.doi.org/10.3406/lha.2005.1020.

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3

Thomas, Nicholas, Adrian Locke, Noelle M. K. Y. Kahanu, and Simon Jean. "Reviewing Oceania." Museum Worlds 7, no. 1 (July 1, 2019): 262–91. http://dx.doi.org/10.3167/armw.2019.070116.

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Curating Oceania at the Royal Academy of Arts by Nicholas ThomasAn Internal Response to Oceania from the Royal Academy of Arts by Adrian Locke“Exhibiting Oceania”: Conversing with the Curators (or Truth-Telling in Real Time) by Noelle M. K. Y. KahanuOcéanie in Paris by Simon JeanOceania Catalogue by Lagi-Maama

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4

Pascual, Ramon. "Royal Academy of Sciences and Arts of Barcelona." Europhysics News 44, no. 3 (May 2013): 27–29. http://dx.doi.org/10.1051/epn/2013305.

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5

Quinn, Malcolm. "The disambiguation of the Royal Academy of Arts." History of European Ideas 37, no. 1 (March 2011): 53–62. http://dx.doi.org/10.1016/j.histeuroideas.2010.10.002.

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6

Pomeroy, Mark. "The Archives of the Royal Academy of Arts, London." Art Libraries Journal 30, no. 1 (2005): 5–9. http://dx.doi.org/10.1017/s030747220001378x.

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The Academy is one of Britain’s foremost cultural institutions. It is a unique survival of the age of enlightenment, continuing to fulfil the purposes for which it was founded. The Academy is run by artists for the benefit of artists, while providing an elegant venue for ‘the promotion of the arts of design’. The Library of the Royal Academy of Arts is well known, as it is the oldest fine art library in the United Kingdom. The Archives has always lain in comparative shadow, even though it is close to the heart of the institution. This article attempts to place the Archives in context, to describe how the institution has regarded it over time and how it is now being revealed to a wide public.

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7

Labica, Thierry. "La Royal Academy of Arts ou le compromis patricien." XVII-XVIII. Revue de la société d'études anglo-américaines des XVIIe et XVIIIe siècles 63, no. 1 (2006): 171–88. http://dx.doi.org/10.3406/xvii.2006.2327.

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8

Sands, Mick, Marion Tasker, Tamsin Dives, Gini Lawson, Andy Ridley, Gerry Prince, and Giorgos Tsiris. "ST.CHRISTOPHERS GROUP PARTNERSHIP WITH THE ROYAL ACADEMY OF ARTS." BMJ Supportive & Palliative Care 4, Suppl 1 (March 2014): A55.2—A55. http://dx.doi.org/10.1136/bmjspcare-2014-000654.157.

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9

Picton, John. "africa95 and the Royal Academy." African Arts 29, no. 3 (1996): 22. http://dx.doi.org/10.2307/3337340.

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10

Baudino, Isabelle. "La Royal Academy of Arts n'est pas née en 1768." Études anglaises 56, no. 4 (2003): 412. http://dx.doi.org/10.3917/etan.564.0412.

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11

Azcue, Leticia. "Museum of the Royal Academy of Fine Arts in Madrid." Museum International 39, no. 3 (September 1987): 201–4. http://dx.doi.org/10.1111/j.1468-0033.1987.tb00693.x.

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12

Leis, Arlene. "Jean-François Rigaud: Portraying the Royal Academy of the Arts." Life Writing 8, no. 3 (September 2011): 257–71. http://dx.doi.org/10.1080/14484528.2011.576455.

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13

Bonehill, J. "British Art History and the Royal Academy." Oxford Art Journal 31, no. 2 (May 30, 2008): 292–94. http://dx.doi.org/10.1093/oxartj/kcn017.

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14

Golding, Rosemary. "The Society of Arts and the Challenge of Professional Music Education in 1860s Britain." Journal of Historical Research in Music Education 38, no. 2 (January 18, 2017): 128–50. http://dx.doi.org/10.1177/1536600616684579.

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Higher-level music education was in a poor state in mid-nineteenth-century Britain. In particular, the country’s most significant conservatoire, the Royal Academy of Music in London, suffered from a lack of financial support, poor management, and a reputation for mediocre teaching and amateurish standards. Responding to the need for an overhaul, the Society for the Encouragement of Arts, Manufactures and Commerce launched an investigation into the management of the Royal Academy of Music in 1865. The Society’s Committee interviewed a range of high-profile figures from Britain and abroad. The reports and debates that ensued cast light not only on the state of the Royal Academy but also on the organization of professional music training across the United Kingdom and elsewhere in Europe. Many of these discussions revealed important insights into attitudes toward musical training and its institutions, toward the music profession, and toward music itself. Musicians interviewed for the purpose of the Royal Academy report had varying opinions on the curriculum suitable for aspiring professional musicians, including the role of general education and theoretical music studies. The place of amateurs in such institutions was also an important part of the discussion, both in terms of the students admitted and institutional management. Fundamental divisions over the purpose and nature of professional-level education in music reflect both the changing nature of education and deep fractures in the music profession itself, offering valuable insights into the concerns and problems of the time.

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15

Fischer, Jeannine-Madeleine. "Oceania, Royal Academy of Arts, London, 29 September–10 December 2018." Sociologus: Volume 69, Issue 2 69, no. 2 (July 1, 2019): 189–92. http://dx.doi.org/10.3790/soc.69.2.189.

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16

Anscomb, Claire. "‘Antony Gormley’, Royal Academy of Arts, 21 September–3 December 2019." British Journal of Aesthetics 60, no. 1 (January 2020): 89–92. http://dx.doi.org/10.1093/aesthj/ayz060.

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17

Pavella, Mania. "First Impressions of a Young Turk. Introductory Remarks to the Gelenbe 2015 Symposium." European Review 25, no. 2 (April 21, 2017): 171–74. http://dx.doi.org/10.1017/s1062798716000521.

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These remarks constitute an introduction to this special issue and were made on 21 September 2015, at the opening of a special symposium honouring Professor Erol Gelenbe at Imperial College London, UK. Gelenbe is a Computer Scientist and Computer Engineer, who has been a Fellow of Academia Europaea since 2005. He is also a Fellow of the Royal Academy of Sciences, Arts and Letters of Belgium, as well as of the Science Academies of Hungary, Poland and Turkey, and of the National Academy of Technologies of France.

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18

Julien, Isaac. "Curating at the Royal Academy Summer Exhibition 2020." Nka Journal of Contemporary African Art 2021, no. 48 (May 1, 2021): 142–45. http://dx.doi.org/10.1215/10757163-8971454.

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19

De la Croix, David, and Elise Delvaux. "Scholars and Literati at the Academy of Sciences, Letters and Arts of Besançon (1752-1793)." Repertorium eruditorum totius Europae 7 (July 18, 2022): 39–45. http://dx.doi.org/10.14428/rete.v7i0/abesancon.

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This note is a summary description of the set of literati whowere members of the Royal Academy of Sciences and Arts of Besançon from its inception in 1752 to its (temporary) dissolution by the French Revolutionary Convention in 1793.

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20

De la Croix, David, and Elise Delvaux. "Scholars and Literati at the Royal Academy of Sciences and Arts of Toulouse (1729-1793)." Repertorium eruditorum totius Europae 6 (April 26, 2022): 51–58. http://dx.doi.org/10.14428/rete.v6i0/atoulouse.

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This note is a summary description of the set of literati whowere members of the Royal Academy of Sciences and Arts of Toulouse from its inception in 1729 to its (temporary) dissolution by the French Revolutionary Convention in 1793.

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21

De la Croix, David, and Elise Delvaux. "Scholars and Literati at the Royal Academy of Sciences and Arts of Toulouse (1729-1793)." Repertorium eruditorum totius Europae 6 (April 26, 2022): 51–58. http://dx.doi.org/10.14428/rete.v6i0/atoulouse.

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This note is a summary description of the set of literati whowere members of the Royal Academy of Sciences and Arts of Toulouse from its inception in 1729 to its (temporary) dissolution by the French Revolutionary Convention in 1793.

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22

De la Croix, David, and Elise Delvaux. "Scholars and Literati at the Royal Academy of Sciences and Arts of Toulouse (1729-1793)." Repertorium eruditorum totius Europae 6 (April 26, 2022): 51–58. http://dx.doi.org/10.14428/rete.v6i0/atoulouse.

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This note is a summary description of the set of literati whowere members of the Royal Academy of Sciences and Arts of Toulouse from its inception in 1729 to its (temporary) dissolution by the French Revolutionary Convention in 1793.

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23

Zaker, Farniyaz. "A Room Without Boundaries: Ai Weiwei at the Royal Academy of Arts." Home Cultures 13, no. 3 (September 2016): 339–41. http://dx.doi.org/10.1080/17406315.2016.1256561.

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24

Andersson, Sven Ingvar. "Landscape architecture at the Royal Danish Academy of Fine Arts, Copenhagen, Denmark." Landscape and Urban Planning 30, no. 3 (December 1994): 169–77. http://dx.doi.org/10.1016/0169-2046(94)90056-6.

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25

O’Neill, Ciarán Rua. "Column bodies: the caryatid and Frederic Leighton’s Royal Academy sketchbooks." Sculpture Journal 25, no. 3 (December 20, 2016): 421–32. http://dx.doi.org/10.3828/sj.2016.25.3.9.

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26

Mühleis, Volkmar. "Blindness and Visual Impairment at an Art Academy." Aesthetic Investigations 1, no. 1 (July 16, 2015): 134–44. http://dx.doi.org/10.58519/aesthinv.v1i1.12013.

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The article describes the theoretical and practical questions that rise by including blind and partial sighted students at an art academy. Several examples are presented, like the painter Jonathan Huxley, who studied at the Royal Academy in London or the scluptor Flavio Titolo, who did his art program at the University of the West of England in Bristol. The main theoretical questions go beyond an interpretion of the arts as visual or merely conceptual, and the practical approach includes haptic techniques and sensibilities which might otherwise be none discovered.

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27

Turpin, John. "Researching Irish art in its educational context." Art Libraries Journal 43, no. 3 (June 18, 2018): 123–26. http://dx.doi.org/10.1017/alj.2018.16.

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Documentary sources for Irish art are widely scattered and vulnerable. The art library of the Royal Hibernian Academy of Arts was destroyed by bombardment during the Rising of 1916 against British rule. The absence of degree courses in art history delayed the development of art libraries until the 1960s when art history degrees were established at University College Dublin, and Trinity College Dublin. In the 1970s the state founded the Regional Technical Colleges all over Ireland with their art and design courses. Modern approaches to art education had transformed the education of artists and designers with a new emphasis on concept rather than skill acquisition. This led to theoretical teaching and the growth of art sections in the college libraries. Well qualified graduates and staff led the way in the universities and colleges to a greater emphasis on research. Archive centres of documentation on Irish art opened at the National Gallery of Ireland, Trinity College and the Irish Architectural Archive. At NCAD the National Irish Visual Arts Archive (NIVAL) became the main depository for documentation on 20th century Irish art and design. Many other libraries exist with holdings of relevance to the history of Irish art, notably the National Library of Ireland, the Royal Irish Academy, the Royal Dublin Society, the Royal Society of Antiquaries of Ireland and the National Archives.

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28

De Jong, Sigrid. "The Picturesque Prospect of Architecture: Thomas Sandby's Royal Academy Lectures." Architectural History 61 (2018): 73–104. http://dx.doi.org/10.1017/arh.2018.4.

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AbstractThomas Sandby (1721/3–98), who served as the Royal Academy's first professor of architecture from 1768 to 1798, shaped his students’ architectural thought. His lectures represent some of the crucial developments in viewing architecture that occurred during the period. They are vibrant expressions of how a viewer's experience of buildings informs architectural teaching and design, and demonstrate the importance of architectural experience for eighteenth-century architectural thought. This article explores Sandby's thinking, first in his own observations of buildings in his diary of a tour through Yorkshire and Derbyshire, and then in his teachings, which functioned as a kind of manual for future architects. It examines the diary and the lectures for his ideas on the effects of architecture — a building's situation, exterior, interior and decorations — in relation to the picturesque, one of the dominant concepts in his texts and drawings. Sandby's architectural thought is shown to be a relatively early statement of the picturesque applied to architecture and its setting.

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29

Baudino, Isabelle. "Difficult beginning? The early years of the Royal Academy of Arts in London." Études anglaises 66, no. 2 (2013): 181. http://dx.doi.org/10.3917/etan.662.0181.

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30

DARLINGTON, ANNE. "The Teaching of Anatomy and the Royal Academy of Arts 1768-1782[1]." Journal of Art & Design Education 5, no. 3 (December 1986): 263–71. http://dx.doi.org/10.1111/j.1476-8070.1986.tb00207.x.

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31

Wilkes, Robert John. "Richard Speare." Revista de História da Arte e da Cultura 3, no. 1 (June 30, 2022): 38–54. http://dx.doi.org/10.20396/rhac.v3i1.16170.

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This article is the first to examine a little-known British artist, Richard Speare (1785–1815), who visited Brazil in 1808–9 and exhibited three watercolours of Brazilian subjects at the prestigious Royal Academy of Arts in London. It presents new biographical information about Speare, including his involvement with the mission to relocate the Braganza royal family from Lisbon to Rio de Janeiro. The article also analyses two engravings reproducing Speare’s drawings of Rio de Janeiro, which were published in a British magazine during the artist’s lifetime.

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32

Smeenk, Chris. "Art libraries of educational and research institutions." Art Libraries Journal 12, no. 1 (1987): 5–7. http://dx.doi.org/10.1017/s030747220000496x.

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Art history in the Netherlands is supported by a number of art libraries in addition to museum libraries, among them the Royal Library at The Hague, the libraries of the Royal Academy of Fine Arts and the Central Research Laboratory for Objects of Art and Science, both at Amsterdam, university libraries, and libraries of Dutch establishments abroad. The combined art collections of these libraries are considerable; access, however, may be facilitated by the Project for Integrated Catalogue Automation (PICA) which aims to improve on the diversity of existing catalogues.

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33

Wier, Claudia Rene. "A NEST OF NIGHTINGALES: CUZZONI AND SENESINO AT HANDEL'S ROYAL ACADEMY OF MUSIC." Theatre Survey 51, no. 2 (October 18, 2010): 247–73. http://dx.doi.org/10.1017/s0040557410000323.

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Italian prima donna Francesca Cuzzoni (ca. 1698–1770) was the first internationally recognized virtuosa to sing high soprano women's roles. Although her work served as a model to the female performers who followed, no in-depth critical study has been written about her groundbreaking career on the opera stage of the Royal Academy of Music in London, where she was the celebrated prima donna from 1723 to 1728. During her tenure, the Royal Academy became one of the most important opera companies in Europe, rivaling those of the Viennese court, the Paris Opera, and the Italian opera houses of Naples and Venice. Her arrival on the London stage signaled a shift in the ways composers set roles in relationship to vocal categories and gender. In particular, Cuzzoni's superior virtuosic vocal abilities influenced and inspired German George Friedrich Handel's (1685–1759) compositional style and his musical treatment of dramatic elements.

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34

DRURY, SARAH. "SCHOOL OF GENIUS: A HISTORY OF THE ROYAL ACADEMY OF ARTS BY JAMES FENTON." Art Book 13, no. 4 (November 2006): 36–37. http://dx.doi.org/10.1111/j.1467-8357.2006.00727.x.

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35

Setzler, Sibylle, and Bodo Brinkmann. "Rezension von: Brickmann, Bodo (Hrsg.), Cranach der Ältere." Schwäbische Heimat 59, no. 2 (July 19, 2022): 242–43. http://dx.doi.org/10.53458/sh.v59i2.3444.

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Bode Brickmann (Hrsg.): Cranach der Ältere. Katalog zu den Ausstellungen im Städel, Frankfurt/Main vom 23. 11. 2007 bis 17. 2. 2008 und in der Royal Academy of Arts, London vom 8. 3. bis 8. 6. 2008. Hatje Cantz Verlag Ostfildern 2007. 400 Seiten mit 325 Abbildungen, davon 299 farbig. Gebunden mit Schutzumschlag. Euro 45,–. ISBN 978-3-7757-2007-6

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36

Hasman, A. "Recommendations for Medical Informatics Training in The Netherlands." Methods of Information in Medicine 33, no. 03 (1994): 308–11. http://dx.doi.org/10.1055/s-0038-1635031.

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Abstract:In this contribution recommendations for education and training in Medical Informatics as they have been formulated end 1987 by the Subcommittee Medical Informatics of the Royal Netherlands Academy of Arts and Sciences are described. The current situation of education and training is presented and compared with the recommendations. It is concluded that not all recommendations have yet been followed up.

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37

Lenaghan, Julia. "The cast collection of John Sanders, architect, at the Royal Academy." Journal of the History of Collections 26, no. 2 (September 4, 2013): 193–205. http://dx.doi.org/10.1093/jhc/fht031.

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38

Robinson, Anne. "Penelope Spencer (1901–93) Dancer and Choreographer: A Chronicle." Dance Research 28, no. 1 (May 2010): 36–89. http://dx.doi.org/10.3366/drs.2010.0004.

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The career of the English dancer, choreographer, teacher and dance writer, Penelope Spencer (1901–93), primarily spanned the twenty-year period between the First and Second World Wars (1919–39). Spencer's versatile dance training and career encompassed diverse British theatre genres of the period, including ballet, drama, mime, modern dance, musical comedy, opera, pantomime and revue. It was common practice during the inter-war period for English dancers to disguise their British origins by ‘Russianising’ their names. Spencer, however, maintained her English name throughout her career. She practised consecutively both as a freelance artiste and also under the auspices of important cultural institutions, including the British National Opera Company [BNOC], the Camargo Society, the Cremorne Company, the Dancer's Circle Dinners, the Glastonbury Festival, the Imperial Society for Teachers of Dancing [ISTD], the League of Arts, the London Opera Syndicate Limited, the Margaret Morris Movement, the One Hundred Club, the Royal Academy of Dancing [RAD], the Royal Academy of Dramatic Art [RADA], the Royal College of Music [RCM], and the Sunshine Matinées. Spencer's significant contribution to British theatre dance and wider cultural heritage, is largely forgotten. Since no major study of her work has been published, 1 and because not one of her creations survives in performance, the importance of her wide-ranging, and often pioneering achievements, is not fully recognised.

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39

Rogers-Hayden, Tee, and Nick Pidgeon. "Moving engagement “upstream”? Nanotechnologies and the Royal Society and Royal Academy of Engineering's inquiry." Public Understanding of Science 16, no. 3 (July 2007): 345–64. http://dx.doi.org/10.1177/0963662506076141.

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40

Fletcher, P. "Narrative Painting and Visual Gossip at the Early-Twentieth-Century Royal Academy." Oxford Art Journal 32, no. 2 (June 1, 2009): 243–62. http://dx.doi.org/10.1093/oxartj/kcp018.

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41

Root-Bernstein, Robert, Lindsay Allen, Leighanna Beach, Ragini Bhadula, Justin Fast, Chelsea Hosey, Benjamin Kremkow, et al. "Arts Foster Scientific Success: Avocations of Nobel, National Academy, Royal Society, and Sigma Xi Members." Journal of Psychology of Science and Technology 1, no. 2 (October 1, 2008): 51–63. http://dx.doi.org/10.1891/1939-7054.1.2.51.

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42

Hopkins, Owen. "Cultivating Spaces to Take Risks: An Interview with the Royal Academy of Arts' Kate Goodwin." Architectural Design 88, no. 3 (April 2, 2018): 110–19. http://dx.doi.org/10.1002/ad.2308.

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43

Bordeleau, Anne. "‘The Professor’s Dream’: Cockerell’s Hypnerotomachia Architectura?" Architectural History 52 (2009): 117–45. http://dx.doi.org/10.1017/s0066622x00004160.

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In 1849, after teaching architectural history at the Royal Academy in London for just under a decade, the architect Charles Robert Cockerell (1788-1863) exhibited ‘The Professor’s Dream’, a graphic synopsis of the history of architecture (Fig. 1). Produced in an era dominated by historicism, the drawing operates between the two poles of historical relativism, negotiating the line between accumulation and rationalization. Some nineteenth-century architects, indiscriminately collecting, understood each style to have emerged from the particular conditions of their times, considering them distinct and yet equally valid. Other architects, critically ordering, privileged one style over another, variously justifying themselves on religious, technical, moral or structural imperatives. Cockerell’s ‘Dream’ is ambiguously positioned as a place of showing and a means of knowing, speaking both of an homage to the past and a vision of progress, apparently flattening a thousand years of history but inherently offering the depth of historical experience. David Watkin, Peter Kohane and, more recently, in the context of an exhibition at the Royal Academy, Nick Savage, have interrogated the drawing, the first two paralleling it with Francesco Colonna’s Hypnerotomachia Poliphili (1499), the latter framing it within a tradition of systematic charting of history, and suggesting a possible link to geological charts. While all these interpretations certainly stand, it is essential to recast them within a larger discussion of Cockerell’s understanding of history. Substantiating the different readings of the drawing — against Cockerell’s earlier drawings and surveys, within his architectural theory as expounded in his Royal Academy lectures, and in the larger perspective of the interests he cultivated since the 1820s — this essay brings to the fore the tension between ordering and experiencing, revealing how the architect was interested in the latent interstices between history and time.

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44

Lever, Jill. "The Soane-Dance Collaboration, 1771-1799." Architectural History 53 (2010): 163–90. http://dx.doi.org/10.1017/s0066622x00003907.

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After the publication for Sir John Soane’s Museum of a Catalogue of the Drawings of George Dance the Younger (1741-1825) (in 2003) further cataloguing of, and research into, John Soane’s early drawings has enabled the reattribution to George Dance of a number of sketch designs previously thought to be by Soane. In particular there are several drawings from the years 1771 to 1784, when Soane was a student and exhibitor at the Royal Academy, a competition entrant, and in the first years of practice. Later sketch designs by Dance for Soane then relate to several phases of the rebuilding of the Bank of England in the 1790s. It has also been possible to identify Robert Baldwin as the draughtsman for many of Soane’s early Royal Academy and competition drawings, as well as during Soane’s early years in practice, from 1780 to 1785. These discoveries bring to light not only the character of the collaboration between Soane and Dance, but also aspects of architectural practice more generally in the late eighteenth century.

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45

Eiroa Escalada, Javier. "El protocolo en las Reales Academias. El caso de la Real Academia de Córdoba." REVISTA ESTUDIOS INSTITUCIONALES 4, no. 7 (December 21, 2017): 71. http://dx.doi.org/10.5944/eeii.vol.4.n.7.2017.19881.

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Las Reales Academias son instituciones de tipo cultural que, en España, nacen durante el siglo XVIII al amparo de la Ilustración y de la Corona.En la primera parte del trabajo se realiza una profunda revisión bibliográfica sobre el origen, evolución y significado de las Reales Academias, para abordar posteriormente los conceptos de protocolo y ceremonial.Si bien el ceremonial en las Reales Academias está bastante documentado, el estudio del protocolo en estas Corporaciones es tarea pendiente.En la segunda parte del artículo se presenta el estudio realizado por el autor sobre la normativa referente a las Reales Academias y al Protocolo, en el ámbito nacional y en el andaluz, de manera específica, que ha servido de base para la elaboración del recientemente aprobado Reglamento de Protocolo en la Real Academia de Córdoba, de Ciencias, Bellas Letras y Nobles Artes, que se presenta como anexo._______________________Royal Academies are cultural institutions that, in Spain, were born during the eighteenth Century under the protection of the Crown.In the first part of the work a deep bibliographical revision is made on the origin, evolution and meaning of the Royal Academies. Later the concepts of protocol and ceremonial are studied.Although the ceremonial in the Royal Academies is well documented, the study of the protocol in these Corporations is pending task.The second part of the article presents the author's study of the regulations concerning the Royal Academies and the Protocol, at national level and in Andalusia, in a specific way, which has served as a basis for the preparation of the recently approved Regulations of Protocol in the Royal Academy of Cordoba, Sciences, Fine Arts and Noble Arts.

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46

Nikolic, Aleksandar. "The beginnings of mathematical institutions in Serbia." Publications de l'Institut Math?matique (Belgrade) 102, no. 116 (2017): 1–16. http://dx.doi.org/10.2298/pim1716001n.

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Institutional development of mathematics in Serbia rests on two national institutions: Belgrade Higher School established in 1863, from 1905 the University of Belgrade, and the Serbian Royal Academy founded in 1886, later the Serbian Academy of Sciences and today the Serbian Academy of Sciences and Arts. Dimitrije Nesic, professor of mathematics and rector of the Belgrade Higher School, founded the first mathematics library in Serbia in 1871. In time, as a result of the collaboration between the Academy and the University and overlapping activities, it had become the main place for mathematicians to gather and work and became known as the Mathematical Seminar of the University of Belgrade. The year 1896 is considered to be the year when the Seminar was officially founded and when it began its activities as an institution. Professors Mihailo Petrovic and Bogdan Gavrilovic, members of the Serbian Royal Academy, were the two people most responsible for its establishing. The period between the two world wars is the most significant period in the development and institutionalization of the activities of the Mathematical Seminar and Petrovic?s school of mathematics, which represent the root of the overall development of mathematics in Serbia. The Mathematical Institute was founded in 1946 under the authority of the Serbian Academy of Sciences. All Institute achievements and activities - publishing activities, organization of scientific seminars, introducing young and talented mathematicians to scientific work, improving the education process at the University of Belgrade - are pointed out. Today, after 70 years, the Mathematical Institute developed into the most significant Serbian institution of mathematics.

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47

Harris, Ellen T. "With Eyes on the East and Ears on the West: Handel's Orientalist Operas." Journal of Interdisciplinary History 36, no. 3 (January 2006): 419–43. http://dx.doi.org/10.1162/002219506774929863.

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After the formal establishment of an Austrian competitor to the English East India Company (eic) in 1722, the English drew on every resource available to force the Austrian company to close down—not only political pressure and extensive pamphleteering but also the arts. Of the fifteen operas presented by the Royal Academy of Music from 1724 to 1728, twelve, including seven by George Frideric Handel, featured settings in the Orient. Chosen by the directors of the Academy, who were also eic directors and investors, these Oriental settings kept the image of the East in front of aristocratic audiences, including important Members of Parliament, who had the power to assist the East India effort.

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48

Lloyd, C. "The King's Artists: The Royal Academy of Arts and the politics of British culture 1760-1840." Journal of the History of Collections 17, no. 1 (January 1, 2005): 122–23. http://dx.doi.org/10.1093/jhc/fhi010.

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49

Hallett, Mark. "Reading the Walls: Pictorial Dialogue at the Eighteenth-Century Royal Academy." Eighteenth-Century Studies 37, no. 4 (2004): 581–604. http://dx.doi.org/10.1353/ecs.2004.0042.

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50

Cannon, John. "The King's Artists: The Royal Academy of Arts and the Politics of British Culture, 1760–1840." English Historical Review 120, no. 488 (September 1, 2005): 1088–89. http://dx.doi.org/10.1093/ehr/cei369.

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