Relevant bibliographies by topics / Calouste Gulbenkian Foundation

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  2. Dissertations / Theses
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  4. Book chapters
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Academic literature on the topic 'Calouste Gulbenkian Foundation'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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Journal articles on the topic "Calouste Gulbenkian Foundation"

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Barata, Ana, Constança Costa Rosa, and Eunice Silva Pinto. "The private library of Calouste Gulbenkian: giving virtual access to a personal book collection." Art Libraries Journal 35, no. 2 (2010): 13–18. http://dx.doi.org/10.1017/s0307472200016345.

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A recent project at the Calouste Gulbenkian Foundation has highlighted the importance of the library of private books built up by its founder. Tasks involved the identification of the items, preservation and conservation activities and bibliographic control of the collection. The most visible result is a website that provides virtual access, as well as a deeper insight, into Calouste Gulbenkian’s personal book collection. The information in the library’s catalogue has been re-organised in order to make it accessible to a wide audience with differing needs and interests.
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Maiden, Andew. "The Calouste Gulbenkian Foundation Oil fuels the philanthropy." Fundraising for Schools 2008, no. 90 (June 2008): 4. http://dx.doi.org/10.12968/fund.2008.1.90.39532.

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Jasińska, Anna, and Artur Jasiński. "THE CALOUSTE GULBENKIAN MUSEUM IN LISBON." Muzealnictwo 58, no. 1 (April 10, 2017): 24–37. http://dx.doi.org/10.5604/01.3001.0009.8341.

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The Calouste Gulbenkian Museum is located off the tourist paths, on the outskirts of Europe, and far away from the centre of Lisbon, in the serenity of the Santa Gertrudes Park. Its austere concrete buildings hide treasures from the collection of an extraordinary man, a millionaire of Armenian origin, an oil magnate, and an art and garden lover. The article presents the collector, the history of his collection and the museum buildings which now form an original park and museum complex run by the Calouste Gulbenkian Foundation. In 2010, the complex was entered into the register of national monuments of Portugal, thus being the first masterpiece of the 20th-century architecture to feature in this register.
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Lewis, I. M. "Report of the Honorary Director for 1987." Africa 58, no. 1 (January 1988): 101–4. http://dx.doi.org/10.1017/s0001972000078074.

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The Institute's sixtieth Executive Council meeting took place at the Calouste Gulbenkian Foundation in Lisbon in September 1987 and was preceded by a Gulbenkian Foundation workshop on Social Science and Development in sub-Saharan Africa in which most of those who attended the Council meeting participated. We are very grateful to our Portuguese Executive Council member, Dr Victor de Sa Machado, and his Gulbenkian colleagues for arranging the meeting, which, through the good offices of Carlos Medeiros, was jointly organised with our Portuguese partner, CEPCEP (Centro de Estudos dos Povos e Culturas de Expressao Portuguesa). Dr Roberto Carneiro, the Minister of Education, presided at the closing ceremony at this very useful stocktaking of Africanist research which underlined the continuing international role of the International African Institute.
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Alves de Matos, A. P. "Ultrapath XVIII, 11–15 July 2016, Calouste Gulbenkian Foundation, Lisbon, Portugal." Ultrastructural Pathology 41, no. 1 (January 2, 2017): 67. http://dx.doi.org/10.1080/01913123.2016.1269399.

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Gordo, Ana Paula. "Maximising art resources: the common goal of the Calouste Gulbenkian Museum and its Art Library." Art Libraries Journal 25, no. 4 (2000): 24–27. http://dx.doi.org/10.1017/s0307472200011871.

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The importance of the Calouste Gulbenkian Foundation in the development of artistic projects and art institutions in Portugal should be seen in the context of the evolution of the political and cultural scene in this country during the 20th century. The Foundation houses two major art museums and, by developing art information resources, has helped fill cultural gaps at times when official support has been scarce. It has also played a key role in coping with the growing cultural demand of the last few decades, both in terms of art activities and art information. The Art Library and the Gulbenkian Museum are placing special emphasis on the need to integrate library and museum information resources, taking advantage of current technologies, in order to improve the services offered to users. Strategies envisaged by the Art Library demonstrate how this convergence can enhance the value of the different kinds of art resources each holds.
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Gonçalves, Matilde, and Miguel Magalhães. "Corpus e géneros textuais nas práticas de divulgação de ciência ou as novas hierarquias na construção do conhecimento." Revista da Associação Portuguesa de Linguística, no. 5 (November 21, 2019): 145–57. http://dx.doi.org/10.26334/2183-9077/rapln5ano2019a11.

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This paper, as result from the research project Scientific Literacy Promotion, funded by the Calouste Gulbenkian Foundation, shows, in a first moment, the heterogeneity of the textual formats that participate in the dissemination of science, widespread by the media in Portugal, starting from the analysis of the relations between corpus, genres and texts. In a second moment, the textual support, in particular the evolution from print to digital, led to a discussion of the linguistic and textual implications of this development, as well as the implications of the new hierarchies of knowledge construction
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Restivo, Maria Teresa, and Alberto Cardoso. "Online Experimentation in Education and Training." International Journal of Engineering Pedagogy (iJEP) 4, no. 2 (March 17, 2014): 52. http://dx.doi.org/10.3991/ijep.v4i2.3481.

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The increasing use of emergent technologies in industry, medicine, research, training and education attests to the relevance of their integration in teaching/learning approaches. Online experimentation comprises remote and virtual experimentation also supported and complemented by other online tools that incorporate necessarily the use of emergent technologies. The present work synthesizes the final outcomes of a project aiming to develop, use and disseminate Online Experimentation, funded by the Calouste Gulbenkian Foundation. Some application examples are given to illustrate the use of online experimentation on different contexts, such as secondary and higher education (STEM), lifelong learning or industrial training.
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Peggie, Andrew. "Music in Between by Tony Haynes. London: Calouste Gulbenkian Foundation, 1989. £8.50, 127 pp." British Journal of Music Education 7, no. 3 (November 1990): 286–87. http://dx.doi.org/10.1017/s0265051700007920.

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Tostões, Ana. "Brutalism and Nature. The Gulbenkian Foundation Buildings (1959-1969)." Modern Lisbon, no. 55 (2016): 50–57. http://dx.doi.org/10.52200/55.a.rbpu9plo.

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The Calouste Gulbenkian Foundation headquarters and museum complex (1959–1969) headed a fundamental role in building science in Portugal, as it contributed to the accomplishment of a Modern Movement design committed with a high level of construction quality, showing that there was more beyond Modern Movement formalism. Inaugurated in 1969, it was designed to create a pleasant environment, providing prospects from inside at various angles to the grove of trees and the surrounding land. As a mega-structure designed under a multi-disciplinary design and construction team it achieved a high level of technical excellence and comfort, whilst beautifully linking the building and garden. Located in central Lisbon, within a park with an area of 7.5 ha, occupying an area of 25.000 m2, it was designed by the architects Alberto Pessoa (1919–1985), Pedro Cid (1925–1983) and Ruy Jevis d’Athouguia (1917–2006) with the collaboration of the landscape designers Ribeiro Barreto (1924–2013) and Gonçalo Ribeiro Telles (1922–). The construction gathered an international interdisciplinary team of specialists. The most up-to-date techniques were adopted, including reinforced and pre-stressed concrete in its construction. Some figures illustrate the volume of these buildings: 150,000 m3 of excavation, 45,000 m3 of concrete, 3,200 t of steel, 100 km of power cables, 50,000 m of air conditioning pipes and 3,500 kW of installed electrical capacity. The architectural design expresses the structure. The aim of having a dominant horizontal line that guaranteed the image of a low building hugging the land and the wish to emphasize the long slabs of concrete that constituted the visible image of the built complex called for a very creative structural concept. The impact that the complex has had and the way in which it has manifested the effectiveness of its qualities, such as formal sobriety and restraint, have confirmed the close relationship between the conception process and the construction site. With its garden it has created the very image of the prestige and innovation of the Foundation itself.
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Dissertations / Theses on the topic "Calouste Gulbenkian Foundation"

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Roseiro, Magda Margarida Vasco. "Elementos gráficos de comunicação da Fundação Calouste Gulbenkian. Contribuições para a sua investigação e análise." Master's thesis, Faculdade de Arquitetura de Lisboa, 2012. http://hdl.handle.net/10400.5/5786.

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Oliveira, Pedro Henrique Stenert. "An outcome base model: the associação Salvador Case. A partnership with Calouste Gulbenkian Foundation." Master's thesis, 2020. http://hdl.handle.net/10362/107196.

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Unemployment among people with disability is a global social issue, mostly because of the stigma that they have inferior training and lack of skills. Associação Salvador is a Portuguese non-profit organization that empowers people with motor disability to find employment through its “Employment Support Project”, which preparesits participants and connectsthem withpotentialemployers. This case is a feasibility studyin partnership with Calouste Gulbenkian Foundation to evaluate Associação Salvador’s application to Portugal Inovação Social’s Social Impact Bond based on the analysis of the program data from previous yearsusedto create a Social Impact Bond model.
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Lopes, André Guerra. "An outcome-based model: the CDI Portugal case. A partnership with Calouste Gulbenkian Foundation." Master's thesis, 2020. http://hdl.handle.net/10362/107202.

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This work project studies whether or not it makes sense to implement a Social Impact Bond for a CDI Portugal project on criminal recidivism and social inclusion. Below you can find what is thisinnovative social instrument that tackles social issues such as the one in this case. After presenting the intervention model thatis planned for this project, there arethe reasons to support itand the monetary structure of it,while considering the Estrutura de Missão Portugal Inovação Social (from now on, referred to as EMPIS)requirements and guidelinesfor a Social Impact Bond construction.
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Matias, Carolina Gouveia. "A III Exposição de Artes Plásticas da Fundação Calouste Gulbenkian." Master's thesis, 2016. http://hdl.handle.net/10362/18136.

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O estudo das exposições de arte em Portugal, nomeadamente, sob a responsabilidade da Fundação Calouste Gulbenkian, e o seu impacto, só agora começam a ser analisados e compilados no projecto “Catálogo Raisonné das exposições de arte da Fundação Calouste Gulbenkian”. Neste âmbito, as três Exposições de Artes Plásticas constituem um importante testemunho do que foi o papel da Fundação e a sua vontade relativa ao panorama artístico nacional, ao longo de três décadas do século XX. Para tal, além de uma breve abordagem da I e II Exposições de Artes Plásticas, procurou-se ir ao encontro do que foram os anos oitenta em Portugal, verificando-se que se caracterizaram por uma enorme efervescência criativa, a par com a abertura de diversas galerias de arte. No seguimento das duas primeiras Exposições de Artes Plásticas, a III Exposição terá sido, talvez, a mais controversa, sendo escrutinada pela crítica de arte, devido à repetição de modelos salonísticos num contexto artístico cada vez mais actual e atento ao que se passava no estrangeiro. Procurando alcançar o objectivo de grande panorâmica da primeira metade dos anos oitenta em Portugal, a Fundação Calouste Gulbenkian reuniu numerosos trabalhos submetidos, pondo, no entanto, de parte, nomes fortes do contexto artístico nacional da década de oitenta.
The study of art exhibitions in Portugal, namely, under the responsibility of Calouste Gulbenkian Foundation, and their impact, are just beginning to be analyzed and put together in the project “Catálogo Raisonné das exposições de arte da Fundação Calouste Gulbenkian”1. In this context, the three Exposições de Artes Plásticas2 are an important testimony of the Foundation’s role and will towards the national artistic scenery, through three decades of the 20th century. For such, besides a brief approach of the 1st and 2nd Exhibitions of Fine Arts, we wanted to find out what happened in the 80’s in Portugal, verifying that this decade was distinguished by a great creative effervescency, alongside an opening of several art galleries. Following the two first Exhibitions of Fine Arts, the 3rd one was, perhaps, the most controversial, being scrutinized by the art critics, for its repetition of “Salon” models in an artistic context more and more current and hawk-eyed of what happened outside Portugal. Trying to reach the goal of great first half of the 80’s prospect, the Calouste Gulbenkian Foundation got together many submitted works, however, setting aside strong names of the national and artistic context of the 80’s decade.
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Tavares, Inês Telles De Menezes Marques. "An outcome base model: the APAC Portugal case. A partnership with the Calouste Gulbenkian Foundation." Master's thesis, 2020. http://hdl.handle.net/10362/115541.

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Recidivism is one of social problems faced by Portugal due to off enders’ failure to reintegrate into society upon release. APAC Portugal, with its Free Works Program presents to the Portuguese government a strong intervention to tackle this problem through employability. Employment enables off enders to get financial stability and further prevent the risk of recidivism, more over reintegration interventions in and out of prison, such as Free Works, are important to break the cycle of crime. This feasibility study aims to evaluate if a Social Impact Bond, is the right approach to finance APAC Portugal’s Free Works Program.
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Cambim, Francisco José Montalto. "1970-O ano Vieira da Silva em Portugal. A grande exposição retrospectiva na Fundação Calouste Gulbenkian." Master's thesis, 2017. http://hdl.handle.net/10362/30533.

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Esta dissertação tem como objeto de estudo a Grande Exposição Retrospetiva da pintora Maria Helena Vieira da Silva, realizada em 1970 nas Galerias de Exposições Temporárias da Fundação Calouste Gulbenkian. Esta exposição surgiu num momento em que a artista já gozava de grande reconhecimento internacional e foi organizada na sequência da realização de uma exposição retrospetiva itinerante, que teve o seu início no Musée Nationale d’Art Moderne de Paris, passando posteriormente pelas cidades de Roterdão, Oslo e Basileia. Realizada ainda durante o Estado Novo, e sabendo-se da conhecida posição de não apoio da artista ao regime português, a exposição beneficiou claramente do entusiástico apoio da Fundação Calouste Gulbenkian. Esta exposição foi verdadeiramente a primeira grande mostra da obra de Vieira da Silva em Portugal, mas também a maior exposição individual da obra da artista realizada até esse momento. Além desta retrospetiva, que obteve uma receção entusiástica do grande público e da crítica de arte, quer especializada quer generalista, em Portugal, realizaram-se em simultâneo ou imediatamente após, outras pequenas exposições de Vieira da Silva, nomeadamente na Galeria de S. Mamede e na Galeria 111. Estes elementos levam-nos a afirmar que 1970 terá sido o “ano de Vieira da Silva em Portugal”, aquele em que a obra desta artista obteve finalmente o merecido reconhecimento no seu país natal. Visando a análise e estudo desta primeira grande exposição retrospetiva, será efetuada uma contextualização do percurso da artista antes da sua realização – com destaque para a receção da sua obra em Portugal antes de 1970 - e serão estudados, de forma detalhada, diversos aspetos da exposição organizada pela Fundação Calouste Gulbenkian em 1970 e eventos a ela associados, bem como a respetiva receção crítica em Portugal.
This dissertation focuses on the major retrospective exhibition of painter Maria Helena Vieira da Silva that took place in 1970, in the Temporary Exhibition Galleries of the Calouste Gulbenkian Foundation, in Lisbon. This exhibition occurred in a moment when the work of the artist had already a substantial international recognition and was organized as being part of an european series of exhibitions that started in Paris, at the Musée Nationale d’Art Moderne, and was followed by exhibitions in Rotterdam (The Netherlands), Oslo (Norway) and Basle (Switzerland). The exhibition took place during the period know in Portugal as “Estado Novo”, a period normally associated with low openness in several areas, among them culture. It was public knowledge that Vieira da Silva was not a supporter of the political situation in Portugal, however, this exhibition had a very strong support, since the beginning, from the Calouste Gulbenkian Foundation. This event was trully the very first large exhibition of the work of Vieira da Silva in Portugal, but at the same time the largest single exhibition of the artist ever made. Besides from this large exhibition, that obtained an enthusiastic reception from the general public and the specialized and generalist art critic in Portugal, several other small exhibitions took place simultaneasly or immediately after, such as the exhibitions at Galeria S. Mamede and Galeria 111, which indicates that 1970 was the year when finally the work of Vieira da Silva obtained the deserved recognition on its home country. Aiming at the analysis and study of this first retrospective exhibition, a contextualisation of the artist career prior to this exhibition will be carried out - in particular the art crtitic reception of her work in Portugal before 1970 - and a detailed study of various aspects of the exhibition organized by the Calouste Gulbenkian Foundation in 1970 and events associated with it, as well as its generalist and art critic reception in Portugal.
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Teixeira, Élia Maria Campos. "Arte e Educação: O percurso de Madalena Perdigão e a sua relevância no panorama cultural Português." Master's thesis, 2014. http://hdl.handle.net/10362/14576.

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O percurso de Maria Madalena Bagão da Silva Biscaia (de Azeredo Perdigão) mostra-se de extrema importância para o estudo do panorama artístico e educativo português da segunda metade do século XX. Uma figura controversa e ainda pouco estudada, Madalena Perdigão desenvolveu um diversificado trabalho em prol da cultura portuguesa durante o período do Estado Novo e de entrada na democracia e na Comunidade Económica Europeia, tendo sido criadora e Directora do Serviço de Música da Fundação Calouste Gulbenkian durante 17 anos (entre 1958 e 1974), local onde fundou a Orquestra, o Coro e o Ballet Gulbenkian, bem como os prestigiados Festivais Gulbenkian de Música. Ao seu currículo juntam-se a presidência da Comissão Orientadora da Reforma do Conservatório Nacional, entre 1971 e 1974, a direcção do Gabinete Coordenador do Ensino Artístico do Ministério da Educação, de 1978 a 1984, a criação e direcção do Serviço ACARTE, de 1984 a 1989, e a criação do Centro Artístico Infantil da Fundação Gulbenkian, entre outros projectos de relevo. O presente projecto de investigação pretende apresentar a biografia de Madalena Perdigão em constante diálogo com o contexto social, cultural e educativo do Portugal da segunda metade do século XX. Considerando-se uma figura a que tem sido dada pouca atenção do ponto vista académico, o objectivo desta dissertação é analisar o pensamento e obra de Madalena Perdigão, que se mostraram inéditos na época em que foram desenvolvidos, e a sua relevância para o panorama cultural português até à actualidade. Partiu-se das suas concepções para as artes e o ensino e do envolvimento com os ideais do movimento internacional de educação pela arte, para analisar as estruturas, programas e actividades que criou em prol de uma educação artística generalizada e de um incentivo à criatividade, inovação e interdisciplinaridade na educação, com o objectivo de formar homens mais completos. Para estudar a acção cultural e educativa de Madalena Perdigão e o legado por si deixado na sociedade e instituições culturais portuguesas, utilizou-se o método biográfico, com recurso a pesquisa documental que, entre outras coisas, envolveu a análise aprofundada de artigos de jornais e revistas da época, entrevistas concedidas por Madalena Perdigão e textos que escreveu para os catálogos dos seus programas. Esta pesquisa foi completada com uma recolha de informação não documental, baseada em entrevistas com alguns profissionais que se cruzaram com esta personalidade em diferentes fases da sua vida: António Pinho Vargas, António Pinto Ribeiro, José Sasportes e Maria Emília Brederode Santos.
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Santos, Maria João Madeira dos. "Livros de artista: gestão da coleção da Biblioteca de Arte da Fundação Calouste Gulbenkian." Master's thesis, 2016. http://hdl.handle.net/10362/17312.

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Os Livros de Artista são obras de arte contemporâneas cujo nascimento se situa no século XX. As coleções deste tipo de documentos encontram‐se em museus e em bibliotecas. Nas bibliotecas os riscos do manuseamento estão mais presentes porque os Livros de Artista são tocados para serem lidos. As particularidades deste tipo de coleções, onde os livros têm tamanhos diversos, formas variadas e materiais díspares, levou‐nos à reflexão sobre o impacto do seu manuseamento nas bibliotecas. A reflexão baseou‐se no estudo das práticas em uso na Biblioteca de Arte da Fundação Calouste Gulbenkian. A observação da gestão do risco do manuseamento em Livros de Artista na instituição e a revisão da literatura permitiram a elaboração de um conjunto de regras. As regras devem ser seguidas pelas instituições que têm à sua guarda coleções de Livros de Artista. Acreditamos que a sua adoção, progressiva e continuada, contribui para a minimização dos efeitos do manuseamento e constitui um auxílio na disponibilização e acessibilidade ao longo do tempo dos Livros de Artista. Não anula, de forma total e absoluta, os efeitos do uso de uma coleção de Livros de Artista. Os Livros de Artista para serem lidos são tocados e, por isso, existirá sempre um dano – o desgaste.
Artist books are a contemporary form of art that originated in the twentieth century. They are found in museums and libraries. In libraries, the risks of handling them are more conspicuous because Artist books need to be touched in order to be fully appreciated. The specificities of this kind of collections, with books of different sizes, different shapes and disparate materials, led us to focus our attention on how handling Artist books in libraries can impact their integrity. This analysis was based on an examination of the practices in place at the Art Library of the Calouste Gulbenkian Foundation. Direct observation of these practices, together with a review of the literature, allowed us to put forward a new set of rules. Institutions that have collections of Artist books under their guard should follow specific rules on how to handle them. We believe that the sustained adoption and progressive implementation of a consistent set of rules may contribute to minimizing the handling impact as well as to the longterm availability and accessibility of Artist Books. This does not cancel, wholly and fully, the effects of using a collection of artist books. Artist books are meant to be read are interacted with, so there will always be damage due to usage.
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Rocha, Isabel Maria Campiso. "Contributos para a descrição arquivística dos álbuns fotográficos do serviço do Ultramar na Fundação Calouste Gulbenkian." Master's thesis, 2014. http://hdl.handle.net/10362/14886.

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O presente Relatório de Estágio descreve as actividades levadas a cabo no Arquivo da Fundação Calouste Gulbenkian em torno do objecto de estudo constituído pelos álbuns fotográficos do Serviço do Ultramar, que se apresentam e caracterizam. Os trabalhos desenvolvidos compreendem a descrição das peças que os compõem, apresentando contributos ao nível da descrição da documentação fotográfica em contexto arquivístico e em complementaridade à existente, com o objectivo de gerar descrições uniformes e coerentes, promovendo uma melhor recuperação e acesso à informação tendo em vista a sua disponibilização ao utilizador. Paralelamente à dimensão arquivística e atendendo ao seu contexto de produção administrativa, são ainda abordados e apresentados aspectos de índole teórica associados à função probatória e papel institucional da produção de imagens com carácter de representação e a sua utilização pela instituição.
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Almeida, Inês Rafaela Bispo de César Saraiva de. "Museu além portas: caminhos para uma educação pela arte na comunidade." Master's thesis, 2020. http://hdl.handle.net/10362/93485.

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O presente relatório apresenta o trabalho por mim realizado durante o período de estágio curricular no Museu Calouste Gulbenkian (MCG). O estágio integrou-se na componente não-lectiva do Mestrado em Museologia da Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa (NOVA-FCSH) e consistiu no acompanhamento do trabalho realizado pelo Serviço Educativo do Museu, incidindo de forma particular no projecto Entre Vizinhos, um projecto desenvolvido com a comunidade sénior da Freguesia das Avenidas Novas, de Lisboa, visando fortalecer laços de vizinhança com a Fundação Calouste Gulbenkian. Neste sentido, o presente relatório aborda a metodologia de trabalho deste Serviço Educativo e a sua aplicação a projectos comunitários, utilizando como estudo de caso o Entre Vizinhos.
This report presents the work developed during the curricular internship at the Calouste Gulbenkian Museum. This internship was part of the non-academic component of the Masters in Museology at the School of Social Sciences and Humanities of the Universidade NOVA de Lisboa (NOVA-FCSH). It consists of monitoring the work developed by the Museum’s Education Service, focusing particularly on the project Entre Vizinhos, developed with the elderly community of the Avenidas Novas Parish, in Lisbon, with the purpose of strengthening the neighborhood ties with the Calouste Gulbenkian Foundation. In that sense, this report approaches the work methodology of the said Education Service and its application to community projects, using Entre Vizinhos as a case study.
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Books on the topic "Calouste Gulbenkian Foundation"

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O'Toole, Mo. Garden festivals and urban regeneration: A report to the Calouste Gulbenkian Foundation. (London): The Foundation, 1990.

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1954-, Holden John, and Fundação Calouste Gulbenkian. United Kingdom Branch., eds. Experience and experiment: The UK Branch of the Calouste Gulbenkian Foundation, 1956-2006. London: Calouste Gulbenkian Foundation, United Kingdom Branch, 2006.

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Gulbenkian, Museu Calouste, ed. In the presence of things: Four centuries of European still-life painting : Calouste Gulbenkian Museum, Exhibition Gallery, Calouste Gulbenkian Foundation, 12 February - 2 May 2010. Lisbon: Calouste Gulbenkian Foundation, 2010.

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France). Congress International Association of Empirical Aesthetics (Paris. Art and science: Proceedings of the XVIII Congress of the International Association of Empirical Aesthetics : Calouste Gulbenkian Foundation, Lisbon, September 13-16, 2004. Lisboa: IAEA, 2004.

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Newell, Peter. The UN convention and children's rights in the UK: By Peter Newell for the National Children's Bureau in collaboration with the Calouste Gulbenkian Foundation. 2nd ed. London: National Children's Bureau, 1993.

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Gulbenkian, Funda̧cão Calouste. Portuguese contemporary painting: Collection of the Modern Art Centre, Calouste Gulbenkian Foundation : New Delhi, National Gallery of Modern Art, Jaipur House, 25 January/15 February 1992 : [exhibition. [Lisbon]: Calouste Gulbenkian Foundation, 1992.

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Liesbeth, Crommelin, Danto Arthur Coleman 1924-, Amsterdam (Netherlands) Stedelijk Museum, Fundação Calouste Gulbenkian, and Musée d'art contemporain (Dunkerque, France)., eds. Betty Woodman: Stedelijk Museum Amsterdam 21/9/96-10/11/96, Calouste Gulbenkian Foundation, Lisbon 3/7/97-31/8/97, Musée d'Art Contemporain, Dunkerque 20/9/97-20/1/98, Provincial Museum Voor Moderne Kunst, Oostende 11/7/98-13/9/98. Amsterdam: Stedelijk Museum, 1996.

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Rural arts handbook: A report for the Calouste Gulbenkian Foundation (UK). Cirencester: ACRE, 1997.

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Hidryma Vasilē kai Elizas Goulandrē. and Mouseio Synchronēs Technēs (Andros Island, Greece), eds. Metamorphosis: British art of the Sixties : works from the collections of the British Council and the Calouste Gulbenkian Foundation. Andros: Basil & Elise Goulandris Foundation, 2005.

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Gulbenkian, Fundação Calouste, ed. Goa and the Great Mughal: Exhibition gallery, Calouste Gulbenkian Foundation, main building, 8th June 2004--5th September 2004 : guide. Lisbon: Calouste Gulbenkian Foundation, 2004.

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Book chapters on the topic "Calouste Gulbenkian Foundation"

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Franco, Raquel Campos. "Calouste Gulbenkian Foundation." In International Encyclopedia of Civil Society, 1–3. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-319-99675-2_325-1.

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Franco, Raquel Campos, Lili Wang, Pauric O’Rourke, Beth Breeze, Jan Künzl, Chris Govekar, Chris Govekar, et al. "Calouste Gulbenkian Foundation." In International Encyclopedia of Civil Society, 95–96. New York, NY: Springer US, 2010. http://dx.doi.org/10.1007/978-0-387-93996-4_325.

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"Calouste Gulbenkian Foundation." In A Practical Guide to Fund-Raising in Schools, 136. Routledge, 2002. http://dx.doi.org/10.4324/9780203133545-45.

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Conference papers on the topic "Calouste Gulbenkian Foundation"

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Grande, Nuno. "The Baghdad Affair. How diplomacy supplanted one of the last major projects by Le Corbusier." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.645.

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Abstract: After the Iraqi Republican Revolution of 1958, the resultant government commissioned two parallel projects for two great Stadiums in Baghdad, with similar complementary features: one to the Swiss architect Le Corbusier – who had developed a previous project (1955-1958) for the monarch Faisal II –, continuously designed in his Paris studio until his death in 1965; another to the Calouste Gulbenkian Foundation, in Lisbon, entirely funded and supervised by this institution, and designed by two prominent Portuguese architects at the time: F. Keil do Amaral and Carlos M. Ramos. Facing a progressive administrative and financial chaos in the country, the Iraqi authorities opted for the Gulbenkian Foundation’s solution – built between 1962-1965 and inaugurated in 1966, after an intriguing diplomatic process -, postponing Le Corbusier’s proposals yet without breaking their contract with him. This essay presents an explanation for this mysterious “affair” based on a recent research conducted at the Presidency Archive of the Calouste Gulbenkian Foundation, but also at the Canadian Centre for Architecture (CCA) where different documents reveal the continuous mismatch between Le Corbusier’s will and the Iraqi authorities procedures. Resumen: Después de la Revolución Republicana iraquí de 1958, el gobierno resultante encargó dos proyectos paralelos para dos grandes estadios en Bagdad con características similares: uno a lo arquitecto suizo Le Corbusier - que había desarrollado un proyecto anterior para el monarca Faisal II (entre 1955 y 1958 ) -, diseñado de forma continua en su estudio de París hasta su muerte en 1965; otro a la Fundación Calouste Gulbenkian, en Lisboa, totalmente financiado y supervisado por esta institución, y diseñado por dos destacados arquitectos portugueses de la época: F. Keil do Amaral y Carlos M. Ramos. Frente a un caos administrativo y financiero progresivo en el país, las autoridades iraquíes optaron por el proyecto presentado por la Fundación Gulbenkian – construido entre 1962-1965 e inaugurado en 1966, después de un intrigante proceso diplomático -, posponiendo las propuestas de Le Corbusier todavía sin romper su contrato con él. Este ensayo presenta una explicación para esta "trama"misteriosa, basado en una investigación reciente - llevada a cabo en el Archivo de la Presidencia de la Fundación Calouste Gulbenkian, sino también en el Centro Canadiense de Arquitectura (CCA) -, en la que los diferentes elementos documentales revelan la falta de correspondencia continua entre la voluntad de Le Corbusier y los procedimientos de las autoridades iraquíes. Keywords: Le Corbusier; Baghdad Stadium complex; Calouste Gulbenkian Foundation. Palabras clave: Le Corbusier; Estadio de Baghdad; Fundación Calouste Gulbenkian. DOI: http://dx.doi.org/10.4995/LC2015.2015.645
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Honda, Camila Yuri Brito, and José Pedro Barbosa Gonçalves de Bessa. "Visual arts and cultural mediation in the Modern Art Centre of Calouste Gulbenkian Foundation." In 2nd International Conference of Art, Illustration and Visual Culture in Infant and Primary Education. São Paulo: Editora Edgard Blücher, 2012. http://dx.doi.org/10.5151/edupro-aivcipe-52.

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Rolo, Elisabete, and Marta Nunes. "The exhibition catalogue as an editorial design object." In Human Systems Engineering and Design (IHSED 2021) Future Trends and Applications. AHFE International, 2021. http://dx.doi.org/10.54941/ahfe1001148.

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In the field of communication design, editorial design is one of the most relevant areas and, in this context, exhibition catalogues are prominent publications. Generally, these are medium or large format books, intended to perpetuate the information present in the (ephemeral) exhibitions to which they relate. So, they require great care in the design and graphic production process. In this article, we consider exhibition catalogues, aiming to identify their main characteristics and understand how they evolved over time. To achieve this, we base our study on bibliographic research, on the analysis of catalogues from the Calouste Gulbenkian Foundation – a reference institution in the Portuguese cultural panorama – and on interviews with experts in the field.
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Guimaraes, Francisco, Mauro Figueiredo, and Jose Rodrigues. "Augmented Reality and Storytelling in heritage application in public gardens: Caloust Gulbenkian Foundation Garden." In 2015 Digital Heritage. IEEE, 2015. http://dx.doi.org/10.1109/digitalheritage.2015.7413891.

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