Relevant bibliographies by topics / Art Treasures Exhibition

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Academic literature on the topic 'Art Treasures Exhibition'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Art Treasures Exhibition"

1

Waterfield, Giles. "A culture of exhibitions: the Manchester Art-Treasures Exhibition in context." Bulletin of the John Rylands Library 87, no. 2 (2005): 21–36. http://dx.doi.org/10.7227/bjrl.87.2.3.

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Leahy, Helen Rees. "Introduction: the 1857 Manchester Art-Treasures Exhibition revisited." Bulletin of the John Rylands Library 87, no. 2 (2005): 7–19. http://dx.doi.org/10.7227/bjrl.87.2.2.

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3

James, N. "How to make sense of treasure." Antiquity 83, no. 319 (2009): 206–8. http://dx.doi.org/10.1017/s0003598x00098215.

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Treasures in themselves are fetishes. Only the admirer can make 'treasure' of a find in isolation; but to wonder about it as treasure opens apt questions about why the thing was valued, by whom and under what conditions. It was worrying, then, when the Fitzwilliam Museum, Cambridge University's art collection, took in an exhibition of striking ancient finds returning to the Georgian National Museum from the USA (Smithsonian Institution and New York University). For the usual focus on the intrinsic qualities of fine art sits awkwardly with archaeological concern for context. The Fitzwilliam did tend to isolate the exhibits; but, here, that yielded an advantage as well as a difficulty.
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4

Siegel, Jonah. "BLACK ARTS, RUINED CATHEDRALS, AND THE GRAVE IN ENGRAVING: RUSKIN AND THE FATAL EXCESS OF ART." Victorian Literature and Culture 27, no. 2 (1999): 395–417. http://dx.doi.org/10.1017/s1060150399272038.

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TO SPEAK ABOUT JOHN RUSKIN’S anxious figures for engraved reproduction is to speak about his troubled relationship to a modernity in which excess and impermanence present complex and interrelated challenges. The ruined cathedral in my title occurs in lectures Ruskin delivered in 1857, and published the same year as The Political Economy of Art. Invited to speak at Manchester on the occasion of the Art-Treasures Exhibition, at the height of his fame as a critic, Ruskin responded to the moment with two lectures challenging much that the exhibition stood for. He offered the following apocalyptic description of the situation of art away from the self-congratulating festival. It is worth considering this passage — at once about art and about the responsibility for its blighting — in relation to the immense temporary structure built to house the Art-Treasures Exhibition (Figure 9):
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5

Hinnant, Charles W. "Exhibition Review: British Art Treasures from Russian Imperial Collections in the Hermitage Exhibition." Eighteenth-Century Studies 31, no. 3 (1998): 361–62. http://dx.doi.org/10.1353/ecs.1998.0018.

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6

Nijhoff, Michiel. "Museum libraries: from hidden treasures to treasured information centers1." Art Libraries Journal 24, no. 1 (1999): 28–32. http://dx.doi.org/10.1017/s0307472200019301.

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Co-operative efforts are being made to improve access to the large number of publications held in Dutch libraries specialising in the history of art. These include the PICA/NCC system run by the universities and the Royal Library, and the CD-ROM being produced by museum and other libraries which do not take part in PICA but which hold especially strong collections of exhibition and auction catalogues. The opening up of these collections on the Internet and on disk is expected to result in an increase in the number of students using museum libraries. Their role will inevitably change and this will have consequences for their own organisations, as is illustrated here by the current situation of the library of the Museum Boijmans Van Beuningen in Rotterdam.
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7

Bronkhurst, Judith. "The contemporary British paintings at the Manchester Art-Treasures Exhibition." Bulletin of the John Rylands Library 87, no. 2 (2005): 103–22. http://dx.doi.org/10.7227/bjrl.87.2.8.

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8

McGrath, Lee Kimche. "Stolen Treasures-Missing Links: an exhibition of art and advocacy." Museum International 36, no. 1 (2009): 58–60. http://dx.doi.org/10.1111/j.1468-0033.1984.tb00489.x.

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9

Layton-Jones, Katy. "Re-presenting Manchester: printed and ephemeral images of the Art-Treasures Exhibition." Bulletin of the John Rylands Library 87, no. 2 (2005): 123–42. http://dx.doi.org/10.7227/bjrl.87.2.9.

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10

Coote, J. "The Manchester Art Treasures Exhibition of 1857. Entrepreneurs, Connoisseurs and the Public." Journal of the History of Collections 24, no. 1 (2011): 134–35. http://dx.doi.org/10.1093/jhc/fhr045.

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Books on the topic "Art Treasures Exhibition"

1

The Manchester Art Treasures Exhibition of 1857: Entrepreneurs, connoisseurs and the public. Ashgate, 2011.

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2

Hakubutsukan, Nara Kokuritsu. Exhibition of Shōsō-in treasures: Nara National Museum, 28 Oct.-13 Nov. 2000. Nara National Museum, 2000.

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Hakubutsukan, Tōkyō Kokuritsu. Kokuhō dai jinja ten: Grand exhibition of sacred treasures from Shinto shrines. NHK, 2013.

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Pergam, Elizabeth A., and Elizabeth A. Pergam. The Manchester Art Treasures Exhibition of 1857: Entrepreneurs, connoisseurs and the public. Ashgate, 2011.

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5

Ellis, Estelle. At home with art: How art-lovers live with and care for their treasures. C. Potter, 1999.

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6

Nicoletta, Celli, ed. The treasures of imperial Beijing. White Star Publishers, 2007.

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Orzeł, Małgorzata, and Stanisława Trela. Treasures of Poland's history: The Ossoliński National Institute visits Vienna : exhibition catalogue. Ossoliński National Institute, 2009.

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8

Jan, Royt, ed. Art treasures of Prague: A guide to the galleries, museums and exhibition rooms of Prague, with basic tourist information. Grafoprint, 1992.

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9

Pictures at an exhibition. Alfred A. Knopf, 2009.

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10

Victoria, National Gallery of, Art Gallery of New South Wales., and Art Gallery of Western Australia., eds. Dragon emperor: Treasures from the Forbidden City. National Gallery of Victoria, 1988.

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Book chapters on the topic "Art Treasures Exhibition"

1

"Introduction:The First Blockbuster Exhibition." In The Manchester Art Treasures Exhibition of 1857. Routledge, 2017. http://dx.doi.org/10.4324/9781315086002-1.

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2

"Practicing Art History." In The Manchester Art Treasures Exhibition of 1857. Routledge, 2017. http://dx.doi.org/10.4324/9781315086002-5.

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"Profiting Through Art." In The Manchester Art Treasures Exhibition of 1857. Routledge, 2017. http://dx.doi.org/10.4324/9781315086002-6.

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4

Olmsted, John Charles. "“The Art-Treasures Exhibition. The English School”." In Victorian Painting. Routledge, 2018. http://dx.doi.org/10.4324/9780429430206-49.

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"Art and Commerce in Manchester at Mid-Century." In The Manchester Art Treasures Exhibition of 1857. Routledge, 2017. http://dx.doi.org/10.4324/9781315086002-2.

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"“What to See and Where to See It”." In The Manchester Art Treasures Exhibition of 1857. Routledge, 2017. http://dx.doi.org/10.4324/9781315086002-3.

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7

"Guiding and Recording: From Pamphlets to Photographs." In The Manchester Art Treasures Exhibition of 1857. Routledge, 2017. http://dx.doi.org/10.4324/9781315086002-4.

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"The Manchester Art Treasures Exhibition of 1857 is organised." In The Collector's Voice. Routledge, 2016. http://dx.doi.org/10.4324/9781315264448-10.

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9

Olmsted, John Charles. "“The Water-Colour Department of the Art-Treasures Exhibition”." In Victorian Painting. Routledge, 2018. http://dx.doi.org/10.4324/9780429430206-50.

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10

Pergam, Elizabeth A. "An Ephemeral Display within an Ephemeral Museum : The East India Company Contribution to the Manchester Art Treasures Exhibition of 1857." In The Home, Nations and Empires, and Ephemeral Exhibition Spaces. Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463720809_ch07.

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This chapter seeks to reconstruct Saloon G at the Manchester Art Treasures Exhibition of 1857. Devoted primarily to objects from the Indian subcontinent, this section of the ground-breaking, blockbuster exhibition was drawn mostly from the holdings of the Honorable East India Company. India and Manchester were linked through their common interest in cotton; however, there was surprisingly little commentary at the time about the connections. The turmoil in India that began days after the opening Art Treasures Palace had a decided impact on the objects that were on view to the public. With little extant documentation about the specific works on view, this chapter confronts mid-Victorian attitudes to the applied arts, as well as objects produced in the “colonies.”1
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