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Journal articles on the topic 'Catalogs and exhibitions'
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1
Robertson, Jack. "The exhibition catalog as source of artists’ primary documents." Art Libraries Journal 14, no. 2 (1989): 32–36. http://dx.doi.org/10.1017/s0307472200006210.
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Exhibition catalogs and related ‘ephemera’ frequently include statements by artists which can be regarded as primary documents. Artists’ statements which are included in catalogs of group exhibitions tend to be relatively difficult to access and so are easily overlooked, while statements included in ephemeral publications associated with group exhibitions are virtually irretrievable even when such material is retained by libraries. Some help is available from published bibliographies and online databases; more thorough cataloging procedures are also available.
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Domini, Giacomo. "Exhibitions, patents, and innovation in the early twentieth century: evidence from the Turin 1911 International Exhibition." European Review of Economic History 24, no. 3 (2019): 578–600. http://dx.doi.org/10.1093/ereh/hez004.
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Abstract This paper investigates the relevance for innovation of international exhibitions. While the first of these events, i.e., London’s 1851 Great Exhibition, was an “exhibition of innovations,” many of the subsequent ones, following the model of industrial exhibitions developed in France, did not select exhibits based on novelty. In fact, they displayed a large spectrum of products, ranging from machines to primary products. Therefore, the suitability of data from their catalogs for proxying innovation, and their relationship to the traditional patent measure, should be better qualified. To do so, this paper performs an in-depth analysis of the Turin 1911 international exhibition, a medium-sized representative “French-model” exhibition. It matches a new database, built from the catalog of this event, with patents granted in Italy, revealing substantial differences. Furthermore, it evaluates how inventors could use the exhibition to promote their ideas, establish their reputation, and develop their career.
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Halkevych, Tetiana. "Printed catalogs of art exhibitions as biographical sources." Entsykpopedychnyi Visnyk Ukrainy [The Encyclopedia Herald of Ukraine] 1 (December 1, 2009): 56–62. http://dx.doi.org/10.37068/evu.1.9.
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Piechota, Grażyna, and Agnieszka Kida-Bosek. "Nineteenth-Century Catalogs of Artistic Exhibitions As a Bibliological Source." Folia Bibliologica 59 (August 3, 2018): 251. http://dx.doi.org/10.17951/fb.2017.59.251.
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Lang, Sabine, and Björn Ommer. "Reconstructing Histories: Analyzing Exhibition Photographs with Computational Methods." Arts 7, no. 4 (2018): 64. http://dx.doi.org/10.3390/arts7040064.
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Displays of art in public or private spaces have long been of interest to curators, gallerists, artists and art historians. The emergence of gallery paintings at the beginning of the seventeenth century and the photographic documentation of (modern) exhibitions testify to that. Taken as factual documents, these images are not only representative of social status, wealth or the museum’s thematic focus, but also contain information about artistic relations and exhibition practices. Digitization efforts of previous years have made these documents, including photographs, catalogs or press releases, available to public audiences and scholars. While a manual analysis has proved to be insufficient, because of the sheer number of available data, computational approaches and tools allowed for a greater access. The following article describes how digital images of exhibitions, as released by the New York Museum of Modern Art in the fall of 2016, are studied with a retrieval system to analyze in which artistic contexts selected artworks were presented in exhibits.
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Ponamarchuk, Igor. "Kyiv Association of Artists in the context of consolidation of the artistic forces of Kyiv in turn of the 19-20th cc." Text and Image: Essential Problems in Art History, no. 2 (2018): 68–83. http://dx.doi.org/10.17721/2519-4801.2018.2.04.
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The article is based on the statutory materials and catalogs of the exhibitions of artistic works which were held in Kyiv in the late nineteenth and early twentieth centuries. It reveals the basic principles of activity of the Kyiv artistic associations. The author focuses his attention on the main trends in the development of the exhibition activities in Kyiv during the specified period. In this article we can see the preconditions of the unifying processes in the local artistic environment, the role of the Peredvizhniki (“The Wanderers”) as well as exhibition events of the Kyiv Drawing School M. Muraskho in the public presentation of works of art by Kyiv’s artists. The author reconsiders the peculiarities of exhibition activity in Kyiv from the seldom events of the late 1870's to the exhibitions systematically led in the early 20th century. The statutes of Kyiv artistic intelligentsia associations from the 1890s-1900s ("Bakhtins", the Association of Artists of Kyiv, the Kyiv Union of Artists), the frequency and membership of their exhibitions were revealed. The author highlights the role of O. Murashko in the consolidation of artistic milieu of Kyiv, his initiative in the emergence of the Kyiv Association of Artists (KAA). Also the author carries out a comparative analysis of the Statute of the KAA and similar materials of the associations of Kyiv artists from the late nineteenth and early twentieth centuries. The author shows the key aspects of the art and exhibition activity of KAA during 1916-1918 and determines the role of the KAA in the cultural and artistic life of Kyiv with the advent of Soviet occupation (1917-1918) as well as the participation of KAA members in the establishment of the Council of United organizations, the Professional Union of Artists, the All-Ukrainian Congress of Artistic Organizations, the First Congress of People Ukrainian plastic art.
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Holzenberg, Eric. "Bridging the Gap: Education and Special Collections—The 46th RBMS Preconference." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 7, no. 1 (2006): 12–15. http://dx.doi.org/10.5860/rbm.7.1.252.
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Like most of their colleagues in other branches of the profession, special collections librarians often act as teachers, informally with individual users or formally as leaders of classes. But because of the preservation and security needs of the rare books and manuscripts under their care, special collections librarians must take on the additional roles of interpreter, impresario, advocate, and cheerleader. Fragile and valuable materials not browsable by the casual user must be showcased and interpreted through exhibitions and catalogs; faculty and students must be proselytized about the value of special collections in the curriculum; library and university administrations must be . . .
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Allen, Nancy S. "History of Western sources on Japanese art." Art Libraries Journal 11, no. 4 (1986): 8–13. http://dx.doi.org/10.1017/s0307472200004867.
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Learning about Japanese art has been difficult for Westerners. Limited access, language barriers, and cultural misunderstanding have been almost insurmountable obstacles. Knowledge of Japanese art in the West began over 150 years before the arrival of Commodore Perry in 1853. Englebert Kaempfer (1657-1716), sent to Japan as a physician for the Dutch East India Company, befriended a young assistant who provided information for a book on Japanese life and history published in 1727. By 1850, more ethnographic information had been published in Europe. Catalogs of sales of Japanese art in Europe exist prior to 1850 and collection catalogs from major museums follow in the second half of that century. After the Meiji Restoration (1867) cultural exchange was possible and organizations for that purpose were formed. Diaries of 19th century travellers and important international fairs further expanded cross-cultural information. Okakura Kakuzo, a native of Japan, published in English about Japanese art and ultimately became Curator of the important collections of the Boston Museum of Fine Arts. The advent of photography made visual images easily accessible to Westerners. Great collectors built up the holdings of major American museums. In the 20th century, materials written and published in Japan in English language have furthered understanding of Japanese culture. During the past twenty years, travelling exhibitions and scholarly catalogs have circulated in the West. Presently monographs, dissertations and translated scholarly texts are available. Unfortunately, there is little understanding in the West of the organization of Japanese art libraries and archives which contain primary source material of interest to art historians.
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Киселева and T. Kiseleva. "Modern Approaches of Marketing of the Intellectual Products: OmniChannel." Economics 4, no. 3 (2016): 54–59. http://dx.doi.org/10.12737/19943.
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The article deals with the prospects for the development of modern marketing
 tools used in terms of OmniChannel for intellectual products: rich media, viral,
 hidden, guerrilla marketing, mobile marketing, business social networks, the
 SMM, online exhibitions, catalogs and subject heading, online conferences and
 seminars, contextual advertising, text ads; analyzed and interpreted the data
 collected by the experts of the company “Garant”, working with an intelligent
 product, the agency IAB Russia and Zenithoptimedia agencies, including cluster
 analysis means of promotion; based on the BCG matrix model is made up of
 funds of promotion of intellectual products; ABC analysis conducted means
 of promotion based on data for 2015; appropriate conclusions about the viability
 of the hypothesis of the applicability of the OmniChannel concept of intellectual
 product.
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Wu, M. "Guidebooks and Catalogs of Exhibitions in Russia in Late XIX - Early XX Centuries as a Source of Historiographic Research on Chinese Art." Университетский научный журнал, no. 54 (2020): 72–83. http://dx.doi.org/10.25807/pbh.22225064.2020.54.72.83.
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Lo Duca, Angelica, and Andrea Marchetti. "Design and implementation of a Web application for Cultural Heritage." HighTech and Innovation Journal 1, no. 2 (2020): 72–85. http://dx.doi.org/10.28991/hij-2020-01-02-04.
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Within the field of Digital Humanities, a great effort has been made to digitize documents and collections in order to build catalogs and exhibitions on the Web. In this paper, we present WeME, a Web application for building a knowledge base, which can be used to describe digital documents. WeME can be used by different categories of users: archivists/librarians and scholars. WeME extracts information from some well-known Linked Data nodes, i.e. DBpedia and GeoNames, as well as traditional Web sources, i.e. VIAF. As a use case of WeME, we describe the knowledge base related to the Christopher Clavius’s corre spondence. Clavius was a mathematician and an astronomer of the XVI Century. He wrote more than 300 letters, most of which are owned by the Historical Archives of the Pontifical Gregorian University (APUG) in Rome. The built knowledge base contains 139 links to DBpedia, 83 links to GeoNames and 129 links to VIAF. In order to test the usability of WeME, we invited 26 users to test the application.
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Mount, Sigrid Docken. "Evolutions in exhibition catalogues of African art." Art Libraries Journal 13, no. 3 (1988): 14–19. http://dx.doi.org/10.1017/s0307472200005769.
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Since their appearance in the early 20th century, catalogues prepared for exhibitions of African art have undergone a gradual transformation. Beginning as mere checklists many of these publications have, in the 1970s and 80s, evolved into major scholarly works whose significance transcends their original purpose as guides to the exhibitions. Changes occurring over the years are traced through examination of the form and content of representative catalogues and by review of the reception by art historians of many of these works into the corpus of literature of African art. The growing importance of exhibition catalogues as important art historical documents is also demonstrated by a chronological analysis of bibliographic citations in the major scholarly journal of African art in the United States. Finally, scrutiny of sources and annotations included in an important bibliographic guide to the literature of African art indicates how firmly established the exhibition catalogue has become as one of the most important publication forms for the dissemination of scholarly writing on African art.[This paper won the ARLIS/NA Gerd Muehsam Award for 1986. We hope to publish a sequel in a future issue, on exhibitions of African art in Africa and the development of catalogues written by Africans. Editor].
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Alarcon Parra, Pepita, and Giovanny Alarcon Parra. "Análisis y propuesta a la gestión de la Galería “El Palacio de Bellas Artes” / Analysis and proposal of promotion in the Gallery "El Palacio de Bellas Artes”." Ciencia Unemi 9, no. 18 (2016): 11. http://dx.doi.org/10.29076/issn.2528-7737vol9iss18.2016pp11-18p.
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La gestión de la galería del siglo XXI plantea nuevas perspectivas de los procesos del arte y la relación que existe entre lo público y lo privado, que abarca los métodos de gestión de cultura, evidenciado en afiches, catálogos, redes sociales, agendas expositivas, entre otros. Muestran un arte local de vanguardia y revelan la circulación de obras y exposiciones que buscan posicionarla en un mercado artístico y la participación de un colectivo en este mundo del arte. El gestor cultural es quien conoce este horizonte amplio y es capaz de identificar todas las implicaciones e influencias que tiene que el arte en la sociedad mediante la observación e investigación. Este trabajo se centra en el análisis objetivo y detallado del mecanismo de gestión de una galería de arte y generar una propuesta de gestión de galería, ya que el mundo y mercado del arte son altamente complejos y cambiantes en el contexto económico y tecnológico actual. Abstract OManagement of art gallery in the XXI century poses new perspectives of art processes and the relationship between public and private areas, covering the promotion methods of culture, evident in posters, catalogs, social networks, exhibitions, and others. They show a local avant-garde art and reveal the circulation of works and exhibitions that seek to locate it in an art market and the participation of a group in this world of art. The cultural promoter is the one who knows this wide horizon and is able to identify all the implications and influences that art has in society through observation and research. This work focuses on an objective and detailed analysis of the promotion method in an art gallery and creates a proposal for the promotion of an art gallery, since the world and art market are highly complex and changing in the current economic and technological context.
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Ivanova, Marina, and Tatyana Panteleeva. "Document resources of RNPLS&T: The structure, content, use and relevance." Scientific and Technical Libraries, no. 12 (December 27, 2018): 21–33. http://dx.doi.org/10.33186/1027-3689-2018-12-21-33.
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The authors characterize the collections of the Russian National Public Library for Science and Technology, the structure of traditional and digital information resources being developed to provide information support of education and science. Special attention is given to inhouse digital resources, i. e. e-catalogs of various types, e-library including electronic archive, specialized bibliographic databases, as well as open access digital resources and licensed resources of other organizations and resources being accessed in test mode. The authors examine the issues of access organization and availability of information resources for various user groups. The authors analyze the use of library collections and the subject scope of demanded documents. The rate of traditional and digital information resources in user services is specified, the relation between the user audience structure and resource relevance is demonstrated. The role of exhibitions in collection use and new users attraction is emphasized; the significance of educational, scientific and popular seminars to promote the system of information resources, technologies and services is shown. The need for comprehensive strategy to balance efficient traditional and digital information resources in library services is substantiated.
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Nijhoff, Michiel. "Optimism and enthusiasm – and doubts: from UDC towards hybrid cataloguing in the library of the Stedelijk Museum Amsterdam." Art Libraries Journal 36, no. 4 (2011): 50–52. http://dx.doi.org/10.1017/s0307472200017211.
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UDC was used in the library of the Stedelijk Museum until 1994, but initially only for a small minority of the books: those that were neither monographs nor exhibition catalogues. With the introduction of an automated system UDC was thrown overboard, books were shelved by size, and the catalogue now works with a thesaurus (more like a keyword list) loosely based on the AAT. Most questions from customers are for artists’ names, so that is the focus of the indexing effort, even for group exhibitions involving up to 30 or 40 names, while for the Stedelijk’s own catalogues, all the artists are always indexed.
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Yawein, Oleg I., and Elena V. Lisenkova. "Carlo Scarpa: "Poetry is Born of the Thing in Itself"." Scientific journal “ACADEMIA. ARCHITECTURE AND CONSTRUCTION”, no. 3 (September 27, 2018): 37–47. http://dx.doi.org/10.22337/2077-9038-2018-3-37-47.
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This article is the first in Russia detailed publication about Carlo Scarpa, one of the greatest masters of Italian architecture of the twentieth century: an architect, an artist, a designer, about whom almost annually books and catalogs are published, scientific works are being written, exhibitions and conferences are held. In this article, the experience of these publications, searches and discussions has for the first time become the object of a special study. It is found that variety of authors refer to the Scarp's buildings, drawings and statements as a kind of "Scarpianlaboratory" (the term M. Tafuri), that allows to reveal the implicit; deep levels of architectural structures and their meanings. Theleading research topics, which are projected onto keylevels of the architecturallanguage and the creative method of the master are identified. Each of these topics is covered by a small section entitled in terms adopted by Scarpa himself or his interpreters. Within the sections, author's and research positions are presented by selections of specially made translations of lectures that Carlo Scarpa and studies devoted to his work, including articles by Manfredo Tafuri, Bruno Dzevi and other great theorists and historians of Italian architecture. A number of fundamental ideas and provisions of this article were put forward for the first time, including for Italian theory and criticism.
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Dezhurko, Artem. "Forgotten Furniture Designers of the Khrushchev “Thaw” Era." Scientific and analytical journal Burganov House. The space of culture 16, no. 1 (2020): 114–43. http://dx.doi.org/10.36340/2071-6818-2020-16-1-114-143.
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Summary: Few names could be found in the research literature on the Soviet furniture design of the 1950–60s. Neither they are present in the most important historical sources on the subject – the catalogues of all-Union furniture exhibitions, where, as a rule, the mention is made of design organizations that presented certain pieces of furniture to the exhibition, and not the designers themselves. The article offers a method of processing sources that makes it possible to solve this problem. The method is based on the systematization of visual material: numerous photographs of interiors published in the late 1950s and 1960s in various specialized Soviet editions – exhibition catalogues; magazines on architecture and decorative art; advice literature on furnishing a house aimed at a wider public. The article refers to 36 sources (books and articles) with several hundred illustrations. It has been established that the visual material in the advice literature considered consists almost entirely of shots of the four largest furniture exhibitions held in Moscow at the turn of the decade – displays in the mock-up models of the apartments at the Permanent All-Union Exhibition of Construction and Architecture, the Exhibition of All-Union Competition of Furniture for Single-Family Apartments (both 1958), the exhibition “Iskusstvo – v byt” [Art to the Household] and the Second All-Union Furniture Competition (both 1961). The view of one and the same fragment of the display (sometimes even the same picture) in the 1960s publications is reproduced repeatedly. In addition, some pieces of furniture were presented at several exhibitions. Thus, in the sources the images of same piece of furniture was often published many times. Having identified the item in the photos and collected information from various sources related to these images, we could often find evidence of authorship. In this way it is possible to stablish the names of many participants in the four exhibitions mentioned above. In the article they are indicated together with the names of participants of the All-Union Furniture Exhibition of 1956 found in its catalogue (the only exhibition catalogue providing the names of designers) – a total of 82 names. Many of these designers participated not in one, but in several of exhibitions mentioned (some – in all five), many of them were awarded prizes. The analysis of sources allowed, firstly, to identify the most “successful” Soviet furniture designers of the 1950–60s, and, secondly, to attribute to them many of the projects whose authorship previously had not been established. In particular, significant arrays of images associated with the names of Yuri Sluchevsky, Elena Orlova (Bocharova), Konstantin Blomerius (Moscow), Lygija Marija Stapulionienė (Vilnius), Irma Karakis (Kiev) were collected. Of the 82 names given in the article, most are not found in historiography. Their introduction to scientific circulation makes it possible to expand the pool of search for personal archives necessary for further research of Soviet furniture design.
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Lersch, Thomas. "‘Grau, Teurer Freund, 1st alle Theorie…’: the acquisition of exhibition catalogues." Art Libraries Journal 14, no. 1 (1989): 30–37. http://dx.doi.org/10.1017/s0307472200006106.
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The acquisition of exhibition catalogues is in many cases problematic, involving the expenditure of much staff time in addition to the cost of the catalogue itself. This is especially so when catalogues have to be ordered individually, whether from museum or bookseller; standing orders, including wide-ranging standing order arrangements negotiated with specialist suppliers, offer a partial solution; libraries attached to museums and galleries can also acquire catalogues by exchange. In the Federal Republic of Germany, exhibition catalogues are acquired by the seven major art libraries constituting the AKB as an integral element of their cooperative acquisitions programme, but documentation of contemporary art is not acquired comprehensively.
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Gates, Thomas P. "Architectural Exhibition Catalogs, 1990:." Art Reference Services Quarterly 1, no. 1 (1992): 85–121. http://dx.doi.org/10.1300/j102v01n01_08.
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Luba, Iwona. "Kobro and Strzemiński: Łódź – Warsaw – Paris (1956–1957)." Ikonotheka 26 (June 26, 2017): 137–66. http://dx.doi.org/10.5604/01.3001.0010.1676.
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From December 1956 to December 1957, no fewer than four exhibitions presenting the oeuvre of Katarzyna Kobro and Władysław Strzemiński were organised: the Posthumous Exhibition of Władysław Strzemiński’s and Katarzyna Kobro’s Oeuvre, shown fi rst in Łódź (16 December 1956 – 14 January 1957) and then in Warsaw (18 January – 10 February 1957), and two exhibitions in Paris: 50 ans de peinture abstraite at Galerie Raymond Creuze (9 May – 12 June 1957) and Précurseurs de l’art abstrait en Pologne: Malewicz, Kobro, Strzemiński, Berlewi, Stażewski at Galerie Denise René (22 November 1957 – 10 January 1958). All received a strong response, both in Poland and abroad. Research focused on these exhibitions has brought some surprising results. None of them had been planned until 1956, and only after the events of October 1956 was it possible to show the works of Kobro and Strzemiński in Warsaw in 1957. The exhibition at the Łódź Division of the Central Bureau of Art Exhibitions was prepared with exceptional care and is immensely important, as it occasioned the fi rst attempt at preparing a catalogue of both Kobro’s and Strzemiński’s works, of Strzemiński’s biography and a bibliography of texts authored by Strzemiński and Kobro. In addition, it was there that Strzemiński’s treatise Teoria widzenia fi rst came to public attention; it was published only two years later. The exhibition was transferred, quite unexpectedly, to the Central Bureau of Art Exhibitions in Warsaw, which was the chief institution involved in exhibiting modern art in Poland; this gave offi cial sanction and a considerable status to the oeuvre of both avant-garde artists. The exhibition entitled Précurseurs de l’art abstrait en Pologne became, paradoxically, the fi rst-ever offi cial exhibition of Polish avant-garde art to be held abroad and organised by a state agency, i.e. the Central Bureau of Art Exhibitions, under the aegis of the ambassador of the People’s Republic of Poland in France. It was also the only exhibition in which Kazimierz Malewicz was regarded as a Pole and presented as belonging to the history of art in Poland; the mission initiated by Strzemiński in 1922 was thus completed. The institutions involved in arranging the loans of Malewicz’s works for this exhibition were the Ministry of Culture and Art, the Ministry of Foreign Affairs and its subordinate Polish embassies in Paris and Moscow. This was the fi rst time that the works of Kazimierz Malewicz were presented in the West, thanks to the efforts and under the aegis of the Polish Ministry of Foreign Affairs during the period of the post-Stalinist thaw; notably, this happened before their presentation at the Stedelijk Museum in Amsterdam (29 December 1957).
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Hughes, Sarah Anne. "Contemporary publishing by national museums and art galleries in the UK and its future." Art Libraries Journal 39, no. 3 (2014): 34–41. http://dx.doi.org/10.1017/s0307472200018423.
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Changes in the format, design and content of museum and art gallery exhibition catalogues can be traced to the visibility and popularity of these souvenirs for the block-buster exhibitions of the 1970s. The increased museum revenue from these book sales and the need, perceived by the publishers recruited to museum staff from a trade background, to address the interests of a more diverse audience are identified as the two main instigators of these changes. The resulting exhibition catalogues play down the scholarly apparatus, offer more images particularly to enhance the reader’s contextual understanding and, in some cases, ameliorate the academic register of the writing. The uses made of exhibition books by institutions, their associated sponsors and museum visitors is commented on.
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Michalak, Thomas J. "An experiment in enhancing catalog records at Carnegie Mellon University." Library Hi Tech 8, no. 3 (1990): 33–41. http://dx.doi.org/10.1108/eb047796.
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Historically, libraries have always included special features in their catalogs to meet local needs. This trend has changed over the years as cataloging standards have been developed and accepted. The sheer volume of materials and the rising costs of operations have also curtailed the customizing of local records. However, the desirability of enhancing local records has been readdressed at Carnegie Mellon University. It has undertaken an experimental project to enhance catalog records for new books that meet defined criteria: for example, the books contain “citable” references in the table of contents; chapter titles, while not separately citable, do contain additional useful information; and exhibition catalogs cover 25 or fewer artists. The criteria for and process of enhancing records are discussed, and sample screen displays are illustrated.
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Cosentino, Donald. "exhibition/catalog review." African Arts 43, no. 1 (2010): 86–89. http://dx.doi.org/10.1162/afar.2010.43.1.86.
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KOREY, MARIE. "Exhibition Catalogues." Papers of the Bibliographical Society of America 79, no. 4 (1985): 543–66. http://dx.doi.org/10.1086/pbsa.79.4.24303687.
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Unwin, Melanie. "Exhibition Catalogue." Parliamentary History 26, no. 4S (2007): 259–335. http://dx.doi.org/10.1353/pah.2007.0036.
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Budiarto, Mukti, and Muhammad Arief. "Media Berbentuk Katalog PT. Polymindo Permata Kota Tangerang Penunjang Informasi Dan Promosi." CICES 5, no. 1 (2019): 15–21. http://dx.doi.org/10.33050/cices.v5i1.566.
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PT Polymindo Permata Tangerang which is new and still use the spoken and written media, exhibitions, events and websites but the less effective media to inform and introduce PT Polymindo Permata Tangerang city, PT. Polymindo jewel of the Tangerang city requires media catalog to support various activities such as informing the public at large. On the concept of there stages of Rough Layouts, Konferenship Layouts, Layout So. In order to produce an interesting catalogue of media design and quality used applications supporting Adobe Illustrator CC, then from it because the author does the design needs of media catalog.
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Kosiewski, Piotr. "WHAT REMAINS AFTER THE JUBILEE YEAR OF POLISH AVANT-GARDE?" Muzealnictwo 59 (July 16, 2018): 113–22. http://dx.doi.org/10.5604/01.3001.0012.1964.
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The year 2017 – a centenary of the “1st Exhibition of Polish Expressionists” – was proclaimed as the Jubilee Year of Polish Avant-garde. To mark the occasion over 200 events were organised by nearly 100 institutions. What is the outcome of it all? Has it changed the way the avant-garde movement and its role in Polish culture and tradition were perceived? Among accomplishments the jubilee year brought about is undoubtedly a number of exhibitions, their catalogues as well as other publications devoted to the avant-garde. Unfortunately, not all the initiatives turned out to be successful. Some of them though will be well remembered, inter alia: the cycle of exhibitions prepared by the Art Museum in Łódź which were accompanied by comprehensive and well edited catalogues; exhibitions: “Urban Revolt” at the National Museum in Warsaw, and “Avant-gardes of Szczecin” at the National Museum in Szczecin. One of the achievements is bigger amount of visual and textual resources available in Poland to explore the subject of the avant-garde. The jubilee publications also contained numerous documental materials that were not well known before. Significant theoretical texts have been published as well: the extended edition of Władysław Strzemiński’s Theory of Vision, and the Athens Charter by Le Corbusier, the importance of which can not be emphasised enough. The publication of relevant source materials must also be brought to attention; they came out as a series of catalogues by the Art Museum in Łódź, inter alia an ample selection of articles written by Debora Vogel in the book that accompanied the exhibition “Montages. Debora Vogel and the New Legend of the City”. During the jubilee year a question whether the avant-garde tradition resonates today was raised on many occasions. Two exhibitions presented various attitudes towards the heritage of the avant-garde: mentioned above “Montages” exhibition in Łódź, and one in the International Cultural Centre in Kraków “Lviv, 24 June 1937. City, Architecture, Modernism”.
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Jaquet, Daniel. "The art of fighting under glass: Review of museum exhibitions displaying fight books, 1968-2017." Acta Periodica Duellatorum 6, no. 1 (2018): 47–62. http://dx.doi.org/10.2478/apd-2018-0002.
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Abstract A growing body of research on fight books and historical European martial arts has appeared in academic circles over the last fifteen years. It has also broken through the doors of patrimonial institutions. From curiosities in exhibitions about knighthood, to dedicated temporary exhibitions about historical European martial arts, the fight books have received more and more attention from museum professionals. This article attempts to present an exhaustive list of fight books displayed in museum exhibitions over the last fifty years. It then proposes a critical view about how and why they were displayed from the perspective of the curators, based on a review of the exhibition catalogues.
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Jaquet, Daniel. "The art of fighting under glass." Acta Periodica Duellatorum 6, no. 1 (2018): 47–62. http://dx.doi.org/10.36950/apd-2018-002.
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A growing body of research on fight books and historical European martial arts has appeared in academic circles over the last fifteen years. It has also broken through the doors of patrimonial institutions. From curiosities in exhibitions about knighthood, to dedicated temporary exhibitions about historical European martial arts, the fight books have received more and more attention from museum professionals. This article attempts to present an exhaustive list of fight books displayed in museum exhibitions over the last fifty years. It then proposes a critical view about how and why they were displayed from the perspective of the curators, based on a review of the exhibition catalogues.
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Rtist-e-s, A. "Catalogue de l'exposition / Exhibition Catalogue." ti< 4, no. 1 (2015): 1–12. http://dx.doi.org/10.26522/ti.v4i1.1158.
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Sereda, Oksana. "The exhibiting activities of the Circle of Ukrainian Art Figures in the mirror of the Ukrainian press of the 1920s." Proceedings of Research and Scientific Institute for Periodicals, no. 10(28) (January 2020): 165–79. http://dx.doi.org/10.37222/2524-0331-2020-10(28)-11.
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The article analyzes a work of the first interwar art association ― the Circle of Ukrainian Art Figures (HDUM) in the field of exhibition organization. It reveals the role of this society in consolidating the Ukrainian artists living and working in Western (Polish-controlled), and Great (Soviet) Ukraine. About 30 publications reflecting a reception of exhibitions of HDUM by critics and Lviv public have been introduced into scholarly circulation. A little-researched aspect is yet how creative efforts of the HDUM were received by its contemporaries, as well as by the Ukrainian press. Therefore our article aims to present the overview of activities of the association on the basis of content of the Ukrainian (mainly, Lviv) publications of the 1920s ― the newspapers «Hromadskyi Vistnyk», «Dilo», magazines «Literaturno-Naukovyi Vistnyk», «Mytusa», «Nova Ukraina», «Ukrayins’ke Mystetsvo». HDUM was founded in Lviv on 28 December 1921 thanks to an initiative of the well-known Lviv art critic Mykola Golubets’ and émigré artists Petro Kholodnyi (Elder) and Pavlo Kozhun. One of the key principles of the Society was to shape national identity in artists’ circles and ordinary citizens. Pursuing this aim, HDUM actively conducted exhibiting work. Specifically, every exhibition was followed by issuing a catalog. According to the press reports of that time, the first two Ukrainian art exhibitions took place in the halls of the Museum of Shevchenko Scientific Society. They received positive press coverage. All Ukrainian artists wishing to participate in these exhibitions were invited regardless of direction or art school they represented, as well as the HDUM affiliation. The next shows were on display in the halls of the National Museum. The public had felt some tension already during the third expo organization, and the next one didn’t match expectations of its organizers and wide public explicitly. Consequently, active initiatives of the association were gradually curtailed, although it formally continued to be operational yet for three years. Keywords: HDUM, exposition, press, publication, criticism, art.
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Sousa, Gustavo Rugoni de, Ana Paula de Souza Kinchescki, and Vera Lúcia Gaspar da Silva. "A carteira escolar está “apta para o seu destino”? argumentos e exigências sobre o mobiliário escolar em Exposições Universais." Revista Educação e Emancipação 13, no. 3 (2020): 45. http://dx.doi.org/10.18764/2358-4319.v13n3p45-69.
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O mobiliário escolar é reconhecido como um dos símbolos da educação moderna e ocupou um lugar de destaque em projetos de escolarização da infância no ocidente, principalmente a partir da segunda metade do século XIX. Dentre os diferentes artefatos idealizados para atender exigências pedagógicas e higiênicas, selecionamos a carteira escolar como o fio condutor das análises desenvolvidas neste artigo por entendermos que, além do destaque recebido em impressos em circulação, ela foi considerada nesse período como um dos elementos essenciais para a (con)formação de práticas e condutas. Nessa direção, este trabalho tem como objetivo identificar, em discursos que circularam em Exposições Universais em diferentes formatos, elementos que caracterizavam a carteira escolar adequada para o desenvolvimento de práticas pedagógicas. Para tanto, são analisados relatórios de Exposições Universais, catálogos de indústrias e dicionários pedagógicos, os quais auxiliaram na identificação de argumentos que defendiam a construção de carteiras escolares que atendessem a um padrão de exigências veiculadas em eventos desse porte. Nessa empreitada foi possível observar um efeito de transbordamento de exigências difundidas nas Exposições Universais no que se refere a saberes e tecnologias empregados na construção de móveis escolares, assim como a elaboração de um conjunto de estratégias que visavam à adequação de escolas primárias de acordo com os modelos referenciados como ideais para a escolarização da infância.Palavras-chave: Mobiliário escolar. Exposições universais. Cultura material escolar.Is the school desk "fit for its destiny"? arguments and requirements on school furniture in Universal ExhibitionsABSTRACTSchool furniture is recognized as one of the symbols of modern education and has occupied a prominent place in childhood schooling projects in the West, mainly from the second half of the 19th century. Among the different artifacts designed to meet pedagogical and hygienic requirements, we selected the school desk as the guiding thread of the analyses conducted in this article because we understand that, in addition to the prominence that it received in printed documents in circulation, it was considered in this period as one of the essential elements for the (con)formation of practices and conducts. In this sense, this work aims to identify, in discourses that circulated in Universal Exhibitions in different formats, elements that characterized the school desk fit for the development of pedagogical practices. For this purpose, reports of Universal Exhibitions, catalogs of industries and pedagogical dictionaries are analyzed, which helped in the identification of arguments that advocated the construction of school desks that met a standard of demands conveyed in such events. In this task, it was possible to observe an overflowing effect of demands disseminated in the Universal Exhibitions with regard to knowledge and technologies employed in the construction of school furniture, as well as the elaboration of a set of strategies aimed at the adequacy of primary schools in accordance with the models referred to as ideal for the schooling of childhood.Keywords: School furniture. Universal Exhibitions. School material culture. ¿Es el pupitre escolar “adecuado para su destino”? argumentos y exigencias sobre el mobiliario escolar en Exposiciones UniversalesRESUMENEl mobiliario escolar es reconocido como uno de los símbolos de la educación moderna y ha ocupado un lugar prominente en los proyectos de escolarización de la infancia en Occidente, principalmente desde la segunda mitad del siglo XIX. Entre los diferentes artefactos diseñados para satisfacer las exigencias pedagógicas e higiénicas, seleccionamos el pupitre escolar como el hilo conductor de los análisis desarrollados en este artículo porque se entiende que, además del énfasis recibido en impresos en circulación, se consideró en este período como uno de los elementos esenciales para la (con)formación de prácticas y conductas. En esta dirección, este artículo pretende identificar, en los discursos que circularon en Exposiciones Universales en diferentes formatos, elementos que caracterizaron el pupitre escolar adecuado para el desarrollo de prácticas pedagógicas. Para ello, se analizan informes de Exposiciones Universales, catálogos de industrias y diccionarios pedagógicos, los cuales ayudaron en la identificación de argumentos que abogaban por la construcción de pupitres escolares que atendieran un patrón de demandas transmitidas en tales eventos. En esta investigación fue posible observar un efecto desbordante de las demandas difundidas en las Exposiciones Universales con respecto a los conocimientos y tecnologías empleadas en la construcción de muebles escolares, así como la elaboración de un conjunto de estrategias dirigidas a la adecuación de las escuelas primarias de acuerdo con los modelos considerados ideales para la escolarización de la infancia.Palabras clave: Mobiliario escolar. Exposiciones Universales. Cultura material escolar.
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Guze, Justyna. "CATALOGUES OF ENGRAVINGS – ITALIAN ONES FROM THE NATIONAL MUSEUM IN WROCŁAW AND FRENCH ONES FROM THE NATIONAL MUSEUM IN SZCZECIN." Muzealnictwo 59 (June 26, 2018): 93–97. http://dx.doi.org/10.5604/01.3001.0012.1437.
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At the turn of 2017 and 2018, with the date 2017 printed in the colophon, two catalogues of engravings’ collections were published: old Italian prints from the collection of the National Museum in Wrocław, and French prints from the National Museum in Szczecin. The collection of Wrocław contains groups of artworks by the best Italian engravers from the Renaissance to the 18th century, and a small representation of the 19th century. An introduction to the catalogue gives the history, the scope and the contents of the collection as well as the brief history of the engraving art on the Apennine Peninsula. The catalogue itself is glossed, giving references to the latest research, preceded by biographical notes of encyclopaedic character. This well illustrated and thoroughly edited catalogue, organised in a user-friendly alphabetical order, is a compendium useful not only for art historians. The catalogue published by the National Museum in Szczecin has the same title as the exhibition of French engravings from its collection. It is a combination of both the exhibition and the collection catalogue. Hence its specific layout corresponding rather with the narration of an exhibition than a catalogue’s criteria. Both the encyclopaedic profiles of artists and the following glosses are accompanied by selected bibliography; its full version together with extensive academic references can be found at the end of the volume. The collection of over 600 prints has been divided not in alphabetical or chronological order but in accordance with an academic hierarchy of subjects. Engravings for art reproduction purposes prevail in Szczecin collection although original works of famous artists are also included. The publication of both catalogues allows us to learn more about the engravings in Polish public collections, i.e. the ones of national museum in Szczecin and Wrocław. It also gives the history of Polish collections after 1945, affected by the previous losses of the World War II. Undoubtedly, the sign of the times and the presence of Poland in the united Europe is the publication of the Italian engravings’ collection from Wrocław, which was kept before in the Academy of Arts in Berlin. Great care has been taken to prepare both catalogues in terms of their typography, although the illustrations in the French engravings’ catalogue would be of more benefit if were somewhat larger.
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Carollina, Donna. "Pemanfaatan Sampah Spraycan sebagai Katalog Pameran “Voice of Wall 6 Hours Exhibition”." Jurnal Bahasa Rupa 1, no. 1 (2017): 35–42. http://dx.doi.org/10.31598/bahasarupa.v1i1.145.
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The rampant of graffiti activity in Yogyakarta has an impact on increasing the amount of spraycan waste that became the main tools in this activity. The utilization of spraycan waste then becomes an interesting thing, as shown in the street art exhibition catalog “Voice of Wall 6 Hours Exhibition”. This exhibition used spraycan waste as a catalog exhibition. Thus this catalog exhibition has been interesting thing to study. This study uses qualitative descriptive method to get a systematic, factual, and accurate description of the utilization of spraycan waste as the exhibition catalog of “Voice of Wall 6 Hours Exhibition”.
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Dukas, Martha L. P. "The COBRA program." Art Libraries Journal 10, no. 3 (1985): 43–49. http://dx.doi.org/10.1017/s0307472200004284.
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This paper describes the establishment and scope of a new co-operative cataloguing venture involving the Library of Congress, Worldwide Books and the Boston Public Library, with the aim of increasing the number of catalogue records for exhibition catalogues which may be shared by other libraries. It is the revised version of a paper delivered to the ARLIS/UK & Eire Annual Conference in Bristol, April 1985.
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Evangelista, Carina. "The digital catalogue raisonné: When form is function." Art Libraries Journal 40, no. 2 (2015): 17–27. http://dx.doi.org/10.1017/s0307472200000171.
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A catalogue raisonné is the definitive, comprehensive, and annotated compilation of all the known works of an artist. Beyond the necessary, meticulous task of compilation of information, which typically takes years to complete, the need to keep the information updated is a perpetual concern. Because the lives of artworks continually evolve as ownership changes and exhibition and literature histories expand, publishing a catalogue raisonné in print presents a real challenge in keeping information current. This challenge is even more pronounced for active, living artists whose works completed subsequent to a published catalogue raisonné would require the publication of a new volume. A catalogue raisonné being ‘definitive’ actually evolves constandy, warranting a format that can accommodate that very flux. The Chuck Close catalogue raisonné, launched and maintained as an online publication, is used here to illustrate the advantages of digital publishing for catalogues raisonnés.
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Sludnyh, Anatoly V. "The Firm “F. Schwabe” in the Context of Russian Industrialization in the Second Half of the XIX – early XX century." Economic History 17, no. 1 (2021): 34–48. http://dx.doi.org/10.15507/2409-630x.052.017.202101.034-048.
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Introduction. The relevance of the stated topic is due to the significance of the problem of the formation of entrepreneurship as an important social component of industrial and post-industrial society. Many modern contradictory processes of post-industrial globalized society have analogs in the modernization of the second half of the XIX – early XX century. Materials and Methods. The modernization paradigm was chosen as the main strategy of the study, and this choice contributed to the identification of socio-political, socio-economic and socio-cultural influences on the formation of entrepreneurship in Russia. The history of the formation of the Schwabe company – from a small shop selling imported optics to a large enterprise – was considered in the context of the processes of industrialization in the optical industry as a whole. The technique of combining macro and micro-historical research was used. Results. The history of the formation of the company F. Schwabe reflected the peculiarities of the development of industrial society in Russia: the uneven course of the industrial revolution, dependence on imports, and technological backwardness were combined with high rates of development, the use of various mechanisms for expanding influence in the industry: publishing catalogs, opening new stores and branches throughout the Russian Empire, attracting capital from shareholders and investments from foreign banks, cooperation with educational institutions, the Boundary Office as consumers of optical devices, free packaging and delivery of goods to consumers, participation in Russian and international industrial exhibitions. Discussion and Conclusions. The Russian bourgeoisie has become an important socio-organizing factor in the development of the optical industry. Its vital activity played a significant role in the formation of industrial society. It is safe to say that the firm F. Schwabe was at the forefront of Russia’s modernization at the turn of the century. Working in a new promising sector of the economy – the production and sale of optical devices – the owners of the company actively conquered the market. The history of the Schwabe company is presented in the study not only as the evolution of production capacities and technologies, but also as the history of entrepreneurial experience, socio-cultural activities of the bourgeoisie, the continuity of entrepreneurial traditions and bourgeois values.
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Bozhko, E. M., and M. V. Spornik. "VALUE OF ARTIFICAL EDUCATOIN FOR ARCHITECTURAL LANDSCAPE AT THE MODERN STAGE." Regional problems of architecture and urban planning, no. 14 (December 29, 2020): 160–66. http://dx.doi.org/10.31650/2707-403x-2020-14-160-166.
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Analyzing relevant and informative sources for acquaintance with modern fine art, catalogs of various art exhibitions, article questions and problems associated with the creation of architectural and landscape compositions are considered from a practical point of view. A significant role in art belongs to the architectural landscape, as a genre variety. Promising types of cities - Veduta (A. Canaletto, V. Bellotto) have become separate types of architectural landscape. The genre of painting is the Veduta, which developed in the eighteenth century in Venice. This is an image of views of the city and its environs. Lead amaze with its accuracy. At that time, such images served as photographs. The requirements for the paintings corresponded to their purpose: the accuracy of the image of objects, down to the smallest detail. With the advent of photography, the requirements for graphic images have lost their relevance. The camera can accurately capture the object, transmit small details better than the artist. The changes that are taking place in modern realistic painting are connected precisely with the appearance of photography. Many modern impressionists, trying to impress the landscape they saw, write sketches with wide, wide strokes. For the sake of such a technique, they ignore many important elements of the landscape in order to maximize the expressiveness of their work. Modern artists working in the realistic direction of the architectural landscape pay attention to color reproduction, color of painting, while paying due attention to drawing, linear perspective and construction. Painting and photography at the present stage are fundamentally different from each other. Painting corresponds to its name - living writing, generalization, typification and stylization of forms, the viewer's impression of lightness, airiness and illumination. Modern realistic painting is modified relative to the painting of the VIII-XIX centuries. This process is due to the technical development of the modern world, the advent of digital photography, new materials for creativity. Picturesque language goes into the language of flowers. Professional art education plays a fundamental role in understanding the landscape as a genre of painting. Education allows you to combine composition, the picturesque effect, which is an innovation in realistic landscape painting, for the complete deep impression of the viewer.
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Parks, Raymond, Elisabeth Kvaerne, Bjorn Aksdal, and P. A. Kjeldsberg. "Leve langeleiken! [Exhibition Catalogue]." Galpin Society Journal 44 (March 1991): 173. http://dx.doi.org/10.2307/842229.
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Ione, Amy. "Exhibition Catalogue: Visionary Anatomies." Leonardo 39, no. 2 (2006): 171–72. http://dx.doi.org/10.1162/leon.2006.39.2.171.
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Meurer, Susanne. "Exhibition and Catalogue Review." Parergon 30, no. 2 (2013): 157–58. http://dx.doi.org/10.1353/pgn.2013.0127.
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Welbel, Stanisław. "Käthe Kollwitz and Otto Nagel: Two Exhibitions of “Progressive Artists” at the Zachęta in the Framework of Cultural Cooperation with the German Democratic Republic." Ikonotheka 26 (June 26, 2017): 111–36. http://dx.doi.org/10.5604/01.3001.0010.1675.
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The essay focuses on a discussion of two exhibitions hosted at the Zachęta Central Bureau of Art Exhibitions in Warsaw that were organised in collaboration with the Committee for Cultural Cooperation with Foreign Countries. This Committee, which existed in the years 1950–1956, was an offi cial agency responsible for Poland’s cultural relations with foreign countries. Its programme refl ected the state policy and focused on cooperation with countries of the Eastern bloc. The events discussed in the essay were organised as part of the cooperation with the German Democratic Republic; they were solo exhibitions of the work of two German artists, Käthe Kollwitz in 1951 and Otto Nagel in 1955. They were linked by the person of the painter Otto Nagel, who, being the guardian of Kollwitz’s legacy, acted as the commissioner of her posthumous exhibition. The essay contains a critical analysis of the texts published in the catalogues and of other printed matter associated with the exhibitions as well as an analysis of related press reviews.
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Lorenc, Magdalena. "„Obok. Polska – Niemcy. 1000 lat historii w sztuce” jako przykład wystawy politycznej." Przegląd Politologiczny, no. 2 (June 19, 2018): 163–76. http://dx.doi.org/10.14746/pp.2013.18.2.14.
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The objective of the paper is to analyze and assess the institutional conditions of the exhibition entitled Side by Side. Poland – Germany. 1000 years of Art and History, organized in Martin-Gropius-Bau in Berlin between September 23, 2011 and January 9, 2012. In terms of the number of works of art presented this undertaking was unprecedented in the history of Polish- German relations. The exhibition, and the catalogue that accompanied it, were a part of the Cultural Program of the Polish Presidency in the EU Council in 2011, becoming an exemplification of the issue of the politicization of exhibition discourse, where works of art are utilized for political purposes. The theoretical inspiration for considering this topic was provided by Peter Vergo’s concept presented in his text The reticent object of 1987. In Vergo’s opinion, exhibitions are a cultural fact which is relatively rarely investigated in terms of the means, efforts, conditions and reasons that are necessary for their execution. And yet these institutional conditions, including their financing, the procedures for selecting the entities in charge of the project, the mechanisms for appoint the program board and honorary patronage have a considerable influence on the nature of the exhibition. Concentrating on institutional contexts serves the purpose of answering the question of how the realms of politics and art exhibitions permeate one another. The decisions made by the authorities to become involved in certain exhibition projects constitute the instruments for creating and executing selected public policies, primarily cultural policy. It is therefore impossible to assess the success of a given initiative without considering the political objectives set and achieved by the organizers of the exhibition Side by Side.
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Grabar, Oleg. "On Catalogues, Exhibitions, and Complete Works." Muqarnas 4 (1987): 1. http://dx.doi.org/10.2307/1523092.
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Grabar, Oleg. "ON CATALOGUES, EXHIBITIONS, AND COMPLETE WORKS." Muqarnas Online 4, no. 1 (1986): 1–6. http://dx.doi.org/10.1163/22118993-90000204.
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Houghton, Beth, and Gillian Varley. "A local approach to national collecting: a UK feasibility study for the co-operative collection of exhibition catalogues." Art Libraries Journal 14, no. 1 (1989): 38–43. http://dx.doi.org/10.1017/s0307472200006118.
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Exhibition catalogues, in spite of being an important aspect of art documentation, too often escape the notice of both libraries and bibliographies; their existence may be unsuspected and they may disappear without trace. With support from the British Library, ARLIS/UK & Eire is currently conducting a comprehensive survey of exhibition catalogue production and acquisition in England over a period of twelve months; the survey involves the active participation of art librarians throughout the country as regional co-ordinators and local collectors, and it constitutes a study of the feasibility of a permanent collecting network. Such a network is desirable, not least to supplement the national system of legal deposit and to provide data for inclusion in the British National Bibliography.
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Kestner, Joseph A. "Victorian Art History." Victorian Literature and Culture 26, no. 1 (1998): 207–19. http://dx.doi.org/10.1017/s1060150300002357.
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There has been an intriguing range of material published concerning Victorian painting since Victorian Literature and Culture last offered an assessment of the field. These books, including exhibition catalogues, monographs, and collections of essays, represent new and important sources for research in Victorian art and its cultural contexts. Most striking of all during this interval has been the range of exhibitions, from focus on the Pre-Raphaelites to major installations of such Victorian High Olympians/High Renaissance painters as Frederic, Lord Leighton and Sir Lawrence Alma-Tadema. Included as well have been exhibitions with a particular focus, such as that on the Grosvenor Gallery, and the more broadly inclusive The Victorians held at the National Gallery of Art in Washington D.C., this last being the most appropriate point of departure to assess the impact of Victorian art on the viewing public in the States.
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Dawson, Lawrence R., Margot Schevill, Sherifa Zuhur, and Elizabeth Bakewell. "Exhibition Catalogues and Book Reviews." Council for Museum Anthropology newsletter 10, no. 1 (1986): 21–29. http://dx.doi.org/10.1525/mua.1986.10.1.21.
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Robertson, Linda B., Mary Glowacki, and Margot Schevill. "Exhibition Catalogues and Book Reviews." Council for Museum Anthropology newsletter 10, no. 2 (1986): 39–47. http://dx.doi.org/10.1525/mua.1986.10.2.39.
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Bolotova, Alexandra I. "The Tretyakov Gallery Library." Art Libraries Journal 17, no. 2 (1992): 24–26. http://dx.doi.org/10.1017/s0307472200007781.
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The Library of the Tretyakov Gallery in Moscow contains over 50,000 books on Russian and foreign art. The collections date back to the gift, in 1899, of the library of P. M. Tretyakov. From 1918, the Library and the Gallery received the benefit of State support; the Library gained books from private collections and as a result of the closure of other museums, and it continued to receive donations. From 1931, copies of Russian publications on art were received on legal deposit, and many publications are additionally acquired in exchange for copies of the Gallery’s own publications. As well as books, the Library contains collections of manuscripts, of press-cuttings, and of exhibition invitation cards and posters. The Library maintains several card indexes, on Soviet art and the participation of Soviet artists in exhibitions, and of journal articles, illustrations, illustrators, and exhibition catalogues. The Library has itself published several reference books.