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Journal articles on the topic 'Duke Museum of Art'

Author: Grafiati

Published: 27 February 2023

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1

Yarmohammad Touski, Golnar. "Modern Art in the Arab World: Primary Documents." Contemporaneity: Historical Presence in Visual Culture 7 (October 30, 2018): 110–12. http://dx.doi.org/10.5195/contemp.2018.264.

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Book Review: Anneka Lenssen, Sarah A. Rogers, and Nada M. Shabout. Modern Art in the Arab World: Primary Documents. New York: The Museum of Modern Art, in association with Duke University Press, 2018. 464 pp.; 49 ills.; 51 b/w ills. Paperback, $40 (1633450384, 9781633450387)

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Siegel, Jonah. "Owning Art after Napoléon: Destiny or Destination at the Birth of the Museum." PMLA/Publications of the Modern Language Association of America 125, no. 1 (January 2010): 142–51. http://dx.doi.org/10.1632/pmla.2010.125.1.142.

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A set of major old-master paintings looted from Spanish Royal Collections, including important canvases by Velázquez (fig. 1), Correggio, and others, was discovered in Joseph Bonaparte's baggage, abandoned along with the rest of his property as he fled from the Battle of Vitoria, which ended his tumultuous five-year reign as king of Spain in 1813. Years later the duke of Wellington offered to return the collection to the restored monarch. But Ferdinand VII—who owed his throne to the duke's victories—refused to take it. What in its day would have been called the return to legitimacy, the restoration of the Bourbon line after the defeat of Napoléon, did not result in the restitution of Napoleonic loot. The works remain at Apsley House, the duke's home in London, where they have been on display in the Waterloo Gallery since 1819, a usurper's booty transformed by its history into an emblem of royal generosity, gratitude, and military prowess (fig. 2). The collection is now part of the museum officially established at the duke's residence in 1947, following another European military cataclysm in which Britain prevailed.

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Bardovskaya, Larisa V. "Portraits of Grand Duke Ludwig of Hesse: Return after Neglect." Vestnik of Saint Petersburg University. Arts 11, no. 2 (2021): 172–85. http://dx.doi.org/10.21638/spbu15.2021.201.

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The article is dedicated to the attribution of two portraits of an unknown German general in the Tsarskoye Selo Museum collection. One of them is a ceremonial knee-high portrait, the other is a small head portrait of the same general. In addition, one portrait was purchased in 1997 at the “Lenfilm” stage properties, the other has always been in the museum. It was believed that the head portrait, by an unknown artist, depicted Grand Duke Ludwig of Hesse-Darmstadt — father of future Russian Empress Alexandra Feodorovna. The weak inscription at the bottom of the knee-high portrait states that it is a copy done by Heinrich R.Kröh in 1896 in Darmstadt, based on Heinrich von Angeli`s original. On the backs of both canvases, monograms from the personal collection of Empress Alexandra Feodorovna were found: the interwoven Russian letters “A” and “F” under a crown and “№ 8” (ceremonial knee-high portrait) and “№ 65” (head portrait). Both images date back to the famous “Family portrait of Grand Duke Ludwig of Hesse”, commissioned by Queen Victoria for the Drawing-room of her Osborne-House in London. In the queen’s letters, it is noted that Angeli had started to work on the head sketches immediately upon his arrival in 1878. Alexandra Feodorovna brought one of them, her father’s head sketch, with her to Russia. Also, in the year of 1878 Angeli painted the knee-high ceremonial portrait with the same regalia for Grand Duke Ludwig’s residence in Darmstadt. The portrait is known in copies executed by Ludwig Hofmann-Zeitz (Royal Collections, London) and Heinrich Kröh (now in Tsarskoye Selo Museum). The fate of Kröh’s replica happened to be tragic. First it was seen in a photograph of the Empress’s study in the Winter Palace of the 1900s made by St. Petersburg photographer Karl Kubesh. The photo shows companion portraits of the Empress’s parents. Both portraits disappeared after the 1917 Revolution. The knee-high portrait of Ludwig was badly damaged and as a result was included into the stage props of the studio as it was deemed unnecessary. After many decades, the portrait was returned to the Tsarskoye Selo Museum collection.

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Sobieraj, Leonard. "IN MEMORY OF MARIAN SOŁTYSIAK." Muzealnictwo 58, no. 1 (July 3, 2017): 0. http://dx.doi.org/10.5604/01.3001.0010.1578.

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Marian Sołtysiak, PhD, director of the Mazovian Museum in Płock (MMP) from 1961 to 1977, passed away on 20 November 2016. During his office, the museum was transformed into a supraregional institution, extended its collections, expanded its scientific and popularising activity, established contacts with academic and artistic circles, and acquired a new building in the Castle of the Mazovian Dukes. The most significant decision which set the institution’s further course was to start collecting Art Nouveau works, which now form the largest collection of Art Nouveau in Poland and is a showpiece of the museum. They also contributed to the network of museums in the Mazovian region, which led to the development of cultural life in our region. Marian Sołtysiak wrote publications devoted to our museum, one based on his PhD thesis The Mazovian Museum in Płock. Its history and social functions, as well as a memoir The Secesja with petrochemistry in the background. Once he left the MMP, he held important positions in various institutions in Warsaw; for example he was the organiser and first director of the Board of Historical Garden and Palace Conservation of the National Museum, Deputy Director of the Royal Castle in Warsaw, Director of the National Museum, Curator of the Arx Regia Publishing House of the Royal Castle in Warsaw, and Managing Director of the Patrimonum Foreign Enterprise. Sołtysiak was also an academic lecturer at the Pawel Wlodkowic University College in Płock and at the Pultusk Academy of Humanities, and a member of numerous Polish and international associations, museum boards, and scientific societies devoted to culture, protection of monuments and museology. For his indefatigable work for the protection of cultural heritage, he was given the award “For the guardianship of monuments” and the Annual Award from the Minister of Culture and National Heritage.

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Bobier, Kim. "Wangechi Mutu: A Fantastic Journey Nasher Museum of Art, Duke University, Durham, NC March 21–July 21, 2013." African Arts 46, no. 4 (December 2013): 90–93. http://dx.doi.org/10.1162/afar_r_00111.

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Kelders, Ann. "De Gouden Eeuw van de Bourgondisch-Habsburgse Nederlanden." Queeste 27, no. 1 (January 1, 2020): 63–70. http://dx.doi.org/10.5117/que2020.1.003.keld.

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Abstract The Royal Library of Belgium (kbr) has opened a new permanent museum showcasing the historical core of its collections: the luxurious manuscript library of the dukes of Burgundy. Centred around a late medieval chapel that is part of kbr’s present-day building, the museum introduces visitors to medieval book production, the historical context of the late medieval Low Countries, and the subject matter of the ducal library. The breadth of the dukes’ (and their wives’!) interests is reflected in the manuscripts that have come down to us, ranging from liturgical books over philosophical treatises to courtly literature. The Museum places late medieval book production squarely in its historical and artistic context. Visitors are not only introduced to the urban culture that provided a fruitful meeting place between artists, craftsmen, and patrons, but also to the broader artistic culture of the late Middle Ages. By presenting the manuscripts in dialogue with other forms of art such as panel paintings and sculpture, the exhibition stresses that artists at times moved between various media (e.g. illumination and painting) and were influenced by iconography in other forms of art.

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Findlen, Paula. "The 2012 Josephine Waters Bennett Lecture: The Eighteenth-Century Invention of the Renaissance: Lessons from the Uffizi*." Renaissance Quarterly 66, no. 1 (2013): 1–34. http://dx.doi.org/10.1086/670403.

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This essay explores the role that the eighteenth-century Uffizi gallery played in the invention of the Renaissance. Under the Habsburg-Lorraine rulers, and especially during the reign of Grand Duke Peter Leopold (r. 1765–90), changes to the Medici collections and the gallery’s organization transformed an early modern cabinet of curiosities, paintings, and antiquities into a space in which a historical narrative of art, inspired by rereadings of Giorgio Vasari’s Lives, became visible in a building he designed. A succession of Uffizi personnel was increasingly preoccupied with how to see renaissance, and more specifically Tuscan rinascita, in the collections. The struggles between the director Giuseppe Pelli Bencivenni and his vice-director Luigi Lanzi highlight how different understandings of the Renaissance emerged in dialogue with antiquarianism and medievalism. At the end of the eighteenth century the Uffizi would definitively become a museum of the Renaissance to inspire new forms of historical writing in the age of Michelet and Burckhardt.

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Stevenson, Christine. "Julie V Hansen and Suzanne Porter, The physician's art: representations of art and medicine, Durham, NC, Duke University Medical Center Library and Duke University Museum of Art, 1999, pp. 141, illus., £37.00 (hardback 0-9672946-0-6), £19.95 (paperback 0-9672946-1-4)." Medical History 45, no. 4 (October 2001): 559. http://dx.doi.org/10.1017/s0025727300068629.

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Zorach, Rebecca. "Susan E. Cahan. Mounting Frustration: The Art Museum in the Age of Black Power. Durham, N.C.: Duke University Press, 2016. 360 pp." Critical Inquiry 44, no. 1 (September 2017): 209–10. http://dx.doi.org/10.1086/694152.

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Johnson-Cunningham, Stephanie A. "Mounting Frustration: The Art Museum in the Age of Black Power by Susan E.Cahan, ed.,. Durham, NC: Duke University Press, 2016. 360 pages. Paperback: $34.95." Curator: The Museum Journal 60, no. 4 (October 2017): 541–45. http://dx.doi.org/10.1111/cura.12235.

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Smirnov, Georgy, and Tatyana Vyatchanina. "The Bergholtz Collection: Architectural Drawings of the Palaces in Jelgava and Rundale from Nationalmuseum (Stockholm)." Baltic Journal of Art History 20 (December 27, 2020): 145–72. http://dx.doi.org/10.12697/bjah.2020.20.05.

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The article deals with two Courland palaces built by the Duke ErnstJohann Biron in Mitau and Ruhental (today, respectively, Jelgava andRundale, Latvia) in connection with architectural drawings of theso-called Bergholtz collection, which is part of the Tessin-HårlemanCollection (THC) in Nationalmuseum in Stockholm. Twelve drawingsof the two Courland palaces make this collection of special interestto those interested in the art of the Baltic region.The first part of the paper is dedicated to the person of FriedrichWilhelm von Bergholtz and to his collection. Who was the creatorof the collection, what were the reasons to gather it and what otherdrawings are stored there? Born in the German duchy of Holstein,Bergholtz spent in all about 15 years in Russia. An extremely richand diverse collection of architectural drawings was gathered mainly(presumably totally) during his third visit in 1742–1746 as tutor ofKarl-Peter-Ulrich, heir to the Russian throne and future emperor ofRussia under the moniker Peter III. The circumstances of compilingthe collection and reasons for it are quite obscure. All the assumptionsmade by different authors remain mere guesswork. The greaterpart of the Bergholtz collection deals with St Petersburg and itssurroundings. All other drawings, numbering 174 in total, referto Moscow, to several provinces of the Russian empire and to theDuchy of Courland.The second part of the article reveals and describes 12 sheetsfrom the Bergholtz collection dedicated to the Baroque palaces inCourland constructed in the 1730s for duke Ernst Johann Bironaccording to the projects of the great architect Francesco Rastrelli.The research resulted in the discovery of seven sheets depicting plansand façades of the palaces in Ruhental, showing how they are almostexact copies of the original projects stored in the collection of theAlbertina museum in Vienna. Of the five drawings that representthe palace in Mitau, two are also copies of the Vienna sheets, andthree are copies of completed projects. Thus, the most valuable amongthe architectural drawings from the Bergholtz collection are threedrawings depicting the façade, and plans for two floors, of the palacein Mitau – the only known copies of Rastrelli’s project, the originalsof which have not yet been discovered.

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WEISER, PEG BRAND. "CAHAN, SUSAN E. Mounting Frustration: The Art Museum in the Age of Black Power. Duke University Press, 2016, 360 pp., 20 color + 93 b&w illus., $34.95 cloth.HEIN, HILDE. Museums and Public Art: A Feminist Vision. Cambridge, MA: Harvard Book Store, 2014, 2." Journal of Aesthetics and Art Criticism 75, no. 1 (January 2017): 91–94. http://dx.doi.org/10.1111/jaac.12336.

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Harris, Anita L. "How a Revolutionary Art Became Official Culture: Murals, Museums, and the Mexican State by Mary K. Coffey. Durham, NC: Duke University Press, 2010." Visual Anthropology Review 29, no. 2 (September 2013): 165–66. http://dx.doi.org/10.1111/var.12019.

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Woźny, Marzena. "Rola Józefa Łepkowskiego w pozyskaniu dla krakowskich instytucji zbiorów Karola Rogawskiego i Bolesława Podczaszyńskiego." Kwartalnik Historii Nauki i Techniki 67, no. 4 (December 19, 2022): 79–93. http://dx.doi.org/10.4467/0023589xkhnt.22.036.16967.

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The Role of Józef Łepkowski in Acquiring the Collections of Karol Rogawski and Bolesław Podczaszyński for Krakow Institutions During many years of scientific activity, Józef Łepkowski (1826–1894), archaeologist, the first Polish professor of this discipline and protector of monuments, looked after the collections belonging to the Krakow Scientific Society (the predecessor of the Academy of Arts and Sciences), the Jagiellonian University, and the Czartoryski dukes for whom he acquired the collection items. The archaeological artifacts, works of art, works of artistic craftsmanship, collections of weapons, and other artifacts obtained by him constitute a valuable part of the resources of Krakow institutions to this day. The article shows the methods by which, in the 19th century, objects were acquired for state institutions, scientific societies and large, aristocratic collections. The author takes as an example the fate of the collections of Karol Rogawski (1820–1888) and Bolesław Podczaszyński (1822–1876). Encouraged by Łepkowski, Rogawski donated the book collection, archaeological artifacts, and works of art and crafts to the Jagiellonian University and the Czartoryski dukes. However, a specialized part of Podczaszyński’s collection – archaeological artifacts with notes on prehistoric finds from the territory of the former Polish-Lithuanian Commonwealth – was purchased by the Academy of Arts and Sciences as a result of Łepkowski’s efforts. Therefore, thanks to the long and complicated measures taken by this tireless researcher, museum expert, and protector of monuments, the collections survived in their entirety to the present day, avoiding the dispersion to which many other private 19th-century collections were subjected.

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Kraabel, A. T., and Eric M. Meyers. "Galilee throughout the Centuries: Confluences of Cultures. Papers presented at the Second International Conference on Galilee in Antiquity, Held at Duke University and North Carolina Museum of Art on January 25-27, 1997." American Journal of Archaeology 105, no. 3 (July 2001): 548. http://dx.doi.org/10.2307/507381.

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Tecau, Philip A. "The Primary Process of Jackson PollockJackson Pollock: Psychoanalytic Drawings. San Francisco Museum of Modern Art, July 2–August 30, 1992. Claude Cernuschi .Jackson Pollock: “Psychoanalytic” Drawings. Durham and London, Duke University Press, 1992." San Francisco Jung Institute Library Journal 11, no. 3 (September 1992): 67–70. http://dx.doi.org/10.1525/jung.1.1992.11.3.67.

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Ruffins, Fath Davis. "Susan E. Cahan. Mounting Frustration: The Art Museum in the Age of Black Power. Durham, NC: Duke University Press, 2016. xvi+344pp.; 93 black-and-white and 20 color illustrations, notes, bibliography, index. $34.95." Winterthur Portfolio 51, no. 2/3 (June 2017): 166–68. http://dx.doi.org/10.1086/695593.

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Miedema, Hessel. "Dido Rediviva, of: Liever Turks dan Paaps Een opstandig schilderij door Gillis Coignet." Oud Holland - Quarterly for Dutch Art History 108, no. 2 (1994): 79–86. http://dx.doi.org/10.1163/187501794x00369.

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AbstractIn the Vleeshuis museum in Antwerp is a painting which is signed and dated G.COINGNET.FEC.1583 (note 1 and fig. 1). It allegedly represents 'Queen Dido, giving orders for Carthage to be built.' However, in the painting an architect is presenting the putative queen with a construction drawing (fig. 2) which bears the inscription PORTA DE LA GOLETA. La Goletta was a fortress built by Charles v to keep Tunis under Spanish control when he took possession of the city in 1535. In the 1560s, to cope with the threat of renewed Turkish attacks, La Goletta was substantially reinforced. Work was also begun on a new fort ('Nova arx') between Tunis and La Goletta. However, the Turks finally took both fortresses and the city itself in 1574. The conquest of 1574 is depicted and described in Civitates orbis terrarum by Braun and Hogenberg (note 7 and fig. 3). The authors suggest that the 'Nova arx' was modelled on the fortress of Antwerp. This edifice was built in 1568-69 by the Duke of Alva to subdue Antwerp, but after the initial success of the uprising against Spanish domination it was taken by the rebels and integrated in the city's fortifications. This was the situation in 1583, when Coignet painted his picture. The role assigned to the Antwerp guild of bricklayers and stone-masons in the painting is so prominent, that it is safe to assume that it was commissioned by the guild. In all probability it represents an anti-Spanish political programme. A further indication is provided by the drawing which is being presented to the queen; it bears a strong resemblance to the plan of Hadrian's port in ancient Ostia (note 11 and fig. 4). In Civitates orbis terrarum we read that the Turks, after their conquest of Tunis, razed the city's fortifications to the ground, replacing them by a naval port to make things as awkward as possible for the Catholic enemy. There is thus an obvious connection between La Goletta and a port of Antiquity; in that connection the role of the Turks also emerges. During the Dutch revolt against Spanish domination there was often talk of making overtures to the Turks, who, although not noted for their gentle disposition, were far more tolerant in matters of religion than the Hapsburgs. Indeed, one of the slogans of the revolt was 'sooner Turkish than popish'. There is also evidence of actual contacts between Antwerp and Constantinople during this period. The specific reference to La Goletta thus clearly indicates the intention of the painting: in analogy with the Turkish conquest of 1574, the Antwerp building trade guild assigned to Dido a new, allegorical role: that of ordering the conversion of a fortress erected by the enemy into a fortified port for the purpose of vexing the emperor of the Roman, c.q. the Roman-catholic realm. The link with the hated fortress which Alva had built for Antwerp is evident. There is little likelihood that plans were actually made to provide Antwerp with such a port; the painting probably had a propagandistic function. In 1585 the Duke of Parma definitively took the city for the king of Spain, and the fortress was separated from the fortifications again in order to quell any fresh uprisings. The fortress was pulled down in 1884; today the Museum of Fine Arts stands on the site.

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Goldman, Rachael B. "Annamaria Giusti,Pietre Dure: The Art of Semiprecious Stonework. Los Angeles: J. Paul Getty Museum, 2006. 264 pp., 300 color pls., bibliog., index. $85." Studies in the Decorative Arts 15, no. 2 (March 2008): 144–46. http://dx.doi.org/10.1086/652836.

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Mosher, Mike. "Money, Trains, and Guillotines: Art and Revolution in 1960s Japan by William A. Marotti. Duke University Press, Durham NC, U.S.A., 2013. 464 pp., illus. Trade, paper. ISBN: 978-0-8223-4965-5; ISBN: 978-0-8223-4980-8 and From Postwar to Postmodern: Art in Japan 1945–1989 edited by Doryun Chong, Michio Hayashi, Kenji Kajiya and Fumihiko Sumitomo. Museum of Modern Art, New York, NY, U.S.A., 2012; Distributed by Duke University Press. 464 pp., illus. Paper. ISBN: 978-00823-5368-3." Leonardo 47, no. 3 (June 2014): 301–2. http://dx.doi.org/10.1162/leon_r_00790.

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Korolkova, Elena. "Bracelet from Salamatino: Problem of Identifying Zoomorphic Images." Nizhnevolzhskiy Arheologicheskiy Vestnik, no. 2 (December 2019): 156–68. http://dx.doi.org/10.15688/nav.jvolsu.2019.2.10.

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The article is devoted to the analysis of zoomorphic images on a spiral gold bracelet from the Sarmatian burial of the 1st century AD in Salamatino village in Volgograd region, as well as the problem of interpreting the image of a fantastic animal on the bracelet ends. The stylistic and technological peculiarities of the jewelry can serve as indicators of cultural identity of the subject. The bracelet is made, most likely, by a barbarian craftsman modeled after some kind of non-locally made jewelry. The closest dupe in compositional and pictorial characteristics to the incomprehensible animal on the ends of the Salamatino bracelet is a fantastic creature on the pair of bracelets from the Oxus Treasure (British Museum), stylistically different from the images of Iranian art of the Achaemenid era. The origin of this pair of bracelets is unknown, however, some stylistic features allow for non-exclusion of the assumptions of Chinese or Central Asian jewelry production or the existence of certain jewelry workshops in a region affected by the cultural influence of both Iran and China. Another distant analogy in style for the pair of bracelets from the Oxus Treasure is represented by images of predatory animals on gold torcs from the Stavropol treasure. The chronological gap between the Salamatino bracelet and the jewelry from the Oxus and Stavropol treasures does not allow one to link them unequivocally, but the similarity features certainly indicate the presence of common cultural roots. Identifying a fantastic hybrid animal on the ends of the Salamatino bracelet as any specific mythological creature is not yet possible.

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Ferng, Jennifer. "Grand Designs: Labor, Empire, and the Museum in Victorian Culture by Lara Kriegel. Duke University Press, Durham, NC, U.S.A., 2007. 328 pp., illus. Hardcover ISBN: 978-0-8223-4051-5. Paper ISBN: 978-0-8223-4072-0." Leonardo 42, no. 2 (April 2009): 169–70. http://dx.doi.org/10.1162/leon.2009.42.2.169.

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Zilberg, Jonathan. "Museum Frictions: Public Cultures/Global Transformations Edited by Ivan Karp, Corrine Kratz, Lynn Szwaja and Tomas Ybarra-Frausto. Duke Univ. Press, Durham, NC, 2006. 632 pp., illus. Trade, paper. ISBN: 0-8223-3878-5; 0-8223-3894-7." Leonardo 41, no. 3 (June 2008): 290–91. http://dx.doi.org/10.1162/leon.2008.41.3.290.

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Ortíz Triviño, Jorge Eduardo, and Rodolfo Cipagauta. "A virtual art museum." Ingeniería e Investigación 26, no. 3 (September 1, 2006): 78–84. http://dx.doi.org/10.15446/ing.investig.v26n3.14754.

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This paper presents some indispensable technical aspects for designing an art museum based on virtual reality (VR) technology. A VR setting can be produced which is able to submerge users having a basic immersion level in a didactic, entertaining, cultural and artistic experience. Specialised tools, object-orientated programming language and low-cost peripheral equipment are suggested so that the VR experience can be developed and executed on reasonably-priced computers. The VR concept, characteristics, components, application and systems are analysed, as is the design for implementing it.

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Tollfree, Eleanor. "Art and the Museum." Art Book 8, no. 2 (March 2001): 3–5. http://dx.doi.org/10.1111/1467-8357.00235.

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Carrier, David. "The Art Museum Today." Curator: The Museum Journal 54, no. 2 (April 2011): 181–89. http://dx.doi.org/10.1111/j.2151-6952.2011.00080.x.

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Guffey, Elizabeth. "The Disabling Art Museum." Journal of Visual Culture 14, no. 1 (April 2015): 61–73. http://dx.doi.org/10.1177/1470412914565965.

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Blair, Jennifer. "Art Museum Image Gallery." Charleston Advisor 21, no. 3 (January 1, 2020): 15–19. http://dx.doi.org/10.5260/chara.21.3.15.

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Art Museum Image Gallery provides access through a subscription to museum collections of over 156,000 high-quality images sourced from the Art Archive of Picture Desk, Inc. and includes paintings, prints, ceramics, sculpture, and other art. The images span from 3000 B.C. to the present, with an emphasis on cultural and area studies. The price varies and is based on subscribers’ overlap with packages and other factors unique to institution needs, but primarily is on bracket determined by number of users. The interface could use improvement in its limiters. But individual item displays surpass similar products by providing comprehensive data including copyright privileges, the artist, original source, subjects with live links, description, and accession numbers. A link also provides a higher quality version of each image with downloadable capability. Art Museum Image Gallery is best suited for educational use and is ideal for academics, schools, the public, and the government.

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Offringa, Dirkie, and Suzelle Botha. "The Pretoria Art Museum." de arte 33, no. 57 (April 1998): 58–60. http://dx.doi.org/10.1080/00043389.1998.11761269.

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van Deventer, Anriet. "The Pietersburg Art Museum." de arte 33, no. 57 (April 1998): 61–62. http://dx.doi.org/10.1080/00043389.1998.11761270.

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Stylianou-Lambert, Theopisti. "Perceiving the art museum." Museum Management and Curatorship 24, no. 2 (June 2009): 139–58. http://dx.doi.org/10.1080/09647770902731783.

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Hebb, Timothy Tore. "Kalmar Museum of Art." Architectural Design 78, no. 6 (November 2008): 134–35. http://dx.doi.org/10.1002/ad.791.

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Hughston, Milan R. "NATIONAL MUSEUM OF AMERICAN ART, SMITHSONIAN INSTITUTION. National Museum of American Art." Art Documentation: Journal of the Art Libraries Society of North America 16, no. 2 (October 1997): 53–54. http://dx.doi.org/10.1086/adx.16.2.27948904.

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Imajo, Motoi. "New lighting for museum and museum of art." JOURNAL OF THE ILLUMINATING ENGINEERING INSTITUTE OF JAPAN 74, Appendix (1990): 177. http://dx.doi.org/10.2150/jieij1980.74.appendix_177.

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Miller, Jack, and Laurie B. Reese. "MUSEUM TOL: Confessions of an Art Museum Librarian." Art Documentation: Journal of the Art Libraries Society of North America 6, no. 4 (December 1987): 168–69. http://dx.doi.org/10.1086/adx.6.4.27947827.

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Yuliasari, Yuliasari, and Yeptadian Sari. "Penerapan Konsep Arsitektur Kontemporer pada Art 1 : New Museum and Art Space." Journal of Architectural Design and Development 1, no. 1 (June 30, 2020): 37. http://dx.doi.org/10.37253/jad.v1i1.718.

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Museum merupakan bangunan yang diperuntukkan sebagai tempat untuk pameran benda-benda karya seni yang memiliki nilai sejarah, seni dan ilmu. Namun pada kenyataannya, museum tidak lagi dianggap tempat penting karena kondisi beberapa museum di Indonesia kurang diperhatikan. Sehingga tingkat kunjungan masyarakat ke museum semakin menurun. Berdasarkan latar belakang tersebut maka perlu penerapan arsitektur kontemporer agar tempat yang tadinya dianggap demikian menjadi tempat yang menarik untuk dikunjungi masyarakat tanpa mengenal umur dan kalangan. Penelitian ini bertujuan untuk memahami penerapan prinsip-prinsip konsep arsitektur kontemporer pada bangunan museum dan penerapannya jika mengacu pada prinsip ruang yang terkesan terbuka. Metode dalam penelitian ini menggunakan prinsip konsep arsitektur kontemporer menurut Ogin Schirmbeck. Penerapan arsitektur kontemporer pada bangunan museum menghasilkan desain bangunan yang tidak biasa dan berbeda dari museum-museum pada umumnya.

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Carrier, David. "THE ART MUSEUM AS A WORK OF ART: THE J. PAUL GETTY MUSEUM." Source: Notes in the History of Art 22, no. 2 (January 2003): 36–44. http://dx.doi.org/10.1086/sou.22.2.23206841.

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Eskilson, S. "Museum Movies: The Museum of Modern Art and the Birth of Art Cinema." Journal of American History 93, no. 1 (June 1, 2006): 267–68. http://dx.doi.org/10.2307/4486181.

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Vossen-Delbrück, Else. "Libraries of art museums." Art Libraries Journal 12, no. 1 (1987): 12–13. http://dx.doi.org/10.1017/s0307472200004983.

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With one exception Dutch art museum libraries date from the second half of the 19th century or later. In general, museum libraries reflect the scope of the museum they serve and exist primarily for the use of museum staff although the public are also admitted. Most now use the same cataloguing rules; manual catalogues are still commonplace but are likely to be displaced by the computer.

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Stone, Denise L. "The Secondary Art Specialist and the Art Museum." Studies in Art Education 35, no. 1 (1993): 45. http://dx.doi.org/10.2307/1320837.

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Nazarov, Anton Sergeevich. "ART REALM OF TODAY’S MUSEUM AND ART MEDIATION." Sphere of Culture, no. 2 (2022): 55–64. http://dx.doi.org/10.48164/2713-301x_2022_8_55.

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Lee, Eunjeok. "Art Museum Education to Form Art Subject Competencies." Korean Association For Learner-Centered Curriculum And Instruction 18, no. 9 (May 5, 2018): 955–77. http://dx.doi.org/10.22251/jlcci.2018.18.9.955.

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Stone, Denise Lauzier. "The Art Museum and the Elementary Art Specialist." Journal of Museum Education 17, no. 1 (December 1992): 9–11. http://dx.doi.org/10.1080/10598650.1992.11510190.

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Crampton, Sharon. "The art collection of Oliewenhuis Art Museum, Bloemfontein." de arte 37, no. 65 (January 2002): 98–101. http://dx.doi.org/10.1080/00043389.2002.11876993.

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Jacoby, Thomas. "ETHIOPIAN ART: THE WALTERS ART MUSEUM. Kelly Holbert." Art Documentation: Journal of the Art Libraries Society of North America 21, no. 2 (October 2002): 46. http://dx.doi.org/10.1086/adx.21.2.27949210.

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Moomaw, Kate. "Collecting participatory art at the Denver Art Museum." Studies in Conservation 61, sup2 (June 2016): 130–36. http://dx.doi.org/10.1080/00393630.2016.1190904.

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Barbosa, Ana Mae Tavares Bastos. "Art education in a museum of contemporary art." Museum International 41, no. 1 (March 1989): 45–49. http://dx.doi.org/10.1111/j.1468-0033.1989.tb00757.x.

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Darish, Patricia J. "African Art at the Indiana University Art Museum." African Arts 20, no. 3 (May 1987): 30. http://dx.doi.org/10.2307/3336475.

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Glesne, Corrine E. "Museum Art in Everyday Life." LEARNing Landscapes 5, no. 2 (May 2, 2012): 99–116. http://dx.doi.org/10.36510/learnland.v5i2.555.

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Art museums engage diverse audiences in multiple forms of learning. Based on qualitative research at seven academic institutions, this article focuses on the role academic art museums play in the everyday life of students and faculty, on how people become interested in art and art museums, and on possible contributions of campus art museums beyond use in classes and research.

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Gaber, Tammy. "Islamic Art and the Museum." American Journal of Islam and Society 31, no. 2 (April 1, 2014): 132–36. http://dx.doi.org/10.35632/ajis.v31i2.1048.

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This volume contains an impressive number of essays by authors from diversebackgrounds. What the title does not indicate is the reason for this publication– the conference “Layers of Islamic Art and the Museum Context” (held inBerlin during January 13-16, 2010) in cooperation with the Aga Khan Trustfor Culture, the Museum of Islamic Art in Berlin, and the “Europe in the MiddleEast – The Middle East in Europe” (EUME). The EUME is a Berlin-basedresearch program initiated by the Brandenburg Academy of Science, the FritzThyssen Foundation, Wissenschaftskolleg zu Berlin, and the Forum TransregionaleStudien. This publication drew upon the expertise of the Aga KhanNetwork and experts in Germany because it was originally to be a workshopfocused on the reorganization of Berlin’s Museum of Islamic Art (MIA) aswell as a study for Toronto’s Museum of Islamic Art, which will open thisyear and house the Aga Khan’s personal collection.The forum offers a certain diversity of voices regarding issues in general(the display of Islamic art around the world) and specific to the MIA at thePergamon Museum. Its twenty-nine essays are divided into five sections: “In-132 The American Journal of Islamic Social Sciences 31:2troduction,” ...

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