Relevant bibliographies by topics / Exhibitions - History - 19th century

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Academic literature on the topic 'Exhibitions - History - 19th century'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 February 2022

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Journal articles on the topic "Exhibitions - History - 19th century"

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Johnston, Ewan. "Reinventing Fiji at 19th-century and early 20th-century exhibitions." Journal of Pacific History 40, no. 1 (2005): 23–44. http://dx.doi.org/10.1080/00223340500082459.

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Zychowicz, Karolina. "The Exhibition-Organising Activity of the Committee for Cultural Cooperation with Foreign Countries (1950–1956) Based on the Example of Selected Exhibitions at the Zachęta Central Bureau of Art Exhibitions." Ikonotheka 26 (June 26, 2017): 63–94. http://dx.doi.org/10.5604/01.3001.0010.1673.

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The documentation of the Committee for Cultural Cooperation with Foreign Countries, which was an offi cial agency active in the years 1950–1956, is currently deposited at the Central Archives of Modern Records in Warsaw and constitutes an invaluable source for any Polish scholar interested in the history of exhibitions. It contains large amounts of interesting data which make it possible to ascertain the character of Polish exhibitionorganising activity in the fi rst half of the 1950s. In the six years of its existence the Committee organised ca. one hundred exhibitions. The essay concerns exhibitions hosted in the main building of the Central Bureau of Art Exhibitions, i.e. the Zachęta. Foreign exhibitions prepared by the Committee were intended to justify the state’s cultural strategy based on promoting the aesthetics of Socialist Realism, which programmatically referred to 19th-century Realism and its historical traditions. Exhibitions of art produced in the countries of the Eastern bloc presented the local version of Social Realism plus 19th-century painting that could be described as “Critical Realism”. Bringing to Poland exhibitions of folk art from the “brotherly” countries of the Eastern bloc was an important element of the Committee’s policy, as in the years 1949–1956 attempts were made to use folk art in the process of remodelling the country in the Socialist spirit. The Committee for Cultural Cooperation with Foreign Countries was established in 1950 in order to centralise, expand and politicise artistic exchange. On the whole, however, the idea to centralise all of the cultural exchange with foreign countries turned out to be a utopia. In 1955, just as the so-called thaw was beginning, the Ministry of Culture and Art offered the proposal to decentralise the exchange and to dissolve the Committee.
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Cuypers, Constant. "A computerised compilation of contemporary art at Dutch exhibitions in the 19th century (CADENS)." Art Libraries Journal 12, no. 1 (1987): 42–44. http://dx.doi.org/10.1017/s0307472200005058.

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CADENS is a project based at the Institute of Art History at the University of Nijmegen. The intention is to provide comprehensive access to information on contemporary art contained in all Dutch 19th century art exhibition catalogues, by means of a computer database. Two publications, a directory of artists and a keyword index, are envisaged.
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Martínez, Miriam Velázquez. "The Franz Mayer Collection and the Rogerio Casas-Alatriste H. Library." Art Libraries Journal 37, no. 4 (2012): 27–30. http://dx.doi.org/10.1017/s0307472200017715.

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The existence of the Franz Mayer Museum is due to the German philanthropist and naturalized Mexican, Franz Gabriel Mayer Traumann Altschul (1882-1975), who bequeathed to the Mexican people his library and decorative arts collection. Considered the most important of its kind in the country, it includes works from the 16th through the 19th centuries, from America, Europe and Asia. It is located in Mexico City, in a building dating from the second half of the 16th century, and celebrated its 25th anniversary in 2011. The Library, which is open to researchers, is currently made up of around 22,000 volumes, and specializes in decorative arts and the history of Mexico in the 19th century, among other subjects. As well as displaying the Mayer Collection the Museum also presents temporary exhibitions on decorative arts, contemporary design and photography, while the library holds two exhibitions a year highlighting the bibliographic collections.
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Raffai, Judit, and Ferenc Németh. "Representation of 19th century Serbian folk architecture from Banat in the ethnographic village of the Hungarian Millennium Exhibition (1896)." Zbornik Matice srpske za drustvene nauke, no. 166 (2018): 281–94. http://dx.doi.org/10.2298/zmsdn1866281r.

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In the last quarter of the 19th century, national exhibitions had become popular in Hungary as well, following the examples of world exhibitions around Europe. A part of this process was the Hungarian Millennium Exhibition set up in 1896, which mobilised enormous energy and presented the ethnographic values of the region with special emphasis. In the Ethnographic Village of the exhibition, the counties of the country set up valid copies of 24 furnished farmhouses from their regions. Twelve of these houses were intended to present the folk culture of national minorities living in Hungary. The Toront?l County, among other things, exhibited a Serbian house type from Crepaja village and a copy of its furniture, as well as Serbian folk costumes from villages Melenci and Crepaja. A research preceded the exhibition. J?nos Jank?, an ethnographer from Budapest, conducted a fieldwork in the above mentioned settlements in 1894, with the support of the Toront?l County. During his trip, he made notes, photos and drawings. He summarised the results of his research on several occasions. After the closing of the exhibition, the objects were placed in the collection of the then-formed Museum of Ethnography in Budapest, where they can be found even today. In our work, we would like to publish the results of this research and exhibition in a wider context, since these data, drawings and photos, which are mostly unknown for the ethnography and cultural history of the region, originate from the earliest stage of professional ethnographic research in Banat.
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de Ceglia, Francesco Paolo. "The Importance of Being Florentine: A Journey around the World for Wax Anatomical Venuses." Nuncius 26, no. 1 (2011): 83–108. http://dx.doi.org/10.1163/182539111x569775.

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AbstractThis article reconstructs the 19th century history of events regarding a few female wax anatomical models made in Florence. More or less faithful copies of those housed in Florence's Museum of Physics and Natural History, these models were destined for display in temporary exhibitions. In their travels through Europe and the United States, they transformed the expression "Florentine Venus" into a sort of brand name used to label and offer respectability to pieces of widely varying quality.
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Brenni, Paolo. "Prizes, Medals and Honourable Mentions." Nuncius 34, no. 2 (2019): 392–420. http://dx.doi.org/10.1163/18253911-03402010.

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Abstract Ever since antiquity, medals that were often also remarkable works of art were used to mark the achievements and testify to the glory of a person or his bravery on the battlefield, or to celebrate or commemorate a particular event. Sovereigns and nobles wore medals as symbols of their power, wealth and achievements or distributed them as exceptional gifts in order to maintain or garner support. In the 19th century the use of medals increased dramatically. In fact, with the machine age a new class of heroes was born. These were the engineers, the technicians and the manufacturers who were industrializing the Western world. And these pioneers of technological progress became the new recipients of a tide of medals, diplomas and awards which were primarily distributed at the national, international and universal exhibitions and fairs which abounded during the last decades of the 19th and the first decades of the 20th centuries. This essay will focus on instrument makers, whose activities bridged science and industry. Their products represented the high technology of their day in the sector of precision instruments, and the most outstanding ones, judged to be deserving of an award, were selected following examination by a jury composed of specialists. But what were the criteria adopted by the jurors? Did political considerations influence their judgments? What were the importance and the significance of these awards? Did they have an impact on the instrument maker’s trade or were they just attractive souvenirs to be taken home from the exhibitions? Based on an analysis of many documents (reports, lists of medallists, catalogues, specialized articles, etc.) relating to industrial exhibitions held in Europe and the United States during the 19th century, the present essay provides an answer to these questions.
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Wolska, Anna. "HISTORY OF PHOTOGRAPHY ON THE EXAMPLE OF SELECTED PHOTOGRAPHIC TECHNIQUES. A PHOTOGRAPH AS AN OBJECT." Muzealnictwo 61 (August 26, 2020): 192–200. http://dx.doi.org/10.5604/01.3001.0014.3639.

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In the first part of the paper, the focus is on historical and technical aspects of the invention of photography, beginning with the first research works conducted by J.N. Niépce up to the patenting of daguerreotype in 1839 by L. Daguerre. In the further section of the paper emphasis is put on the fast spread of photography; short profiles of the first Polish photographers who contributed to promoting photography: J. Giwartowski, K. Beyer, W. Rzewuski, and M. Strasz, are given. Furthermore, the early-19th-century discourse between the artistic and photographic circles is briefly discussed, with some comments by e.g. E. Delacroix, P. Delaroche, Ch. Baudelaire, L. Daguerre quoted. Subsequently, the early displays of photographs in exhibitions and museums are described, e.g. during the 1851 First World Exhibition in London and at the South Kensington Museum in 1858. What follows this is a presentation of selected photographic techniques, shown against the events related to given inventions, e.g.: daguerreotype, salt print, techniques based on the collodion process, compounds of dichromates and chromates, calotype, cyanotype. Further, source reference is given to describe potential threats related to the degradation, damage, and a possible repair of images recorded in photographs. Another section of the paper is dedicated to presenting artistic movements in photography which formed in the late 19th century. The final part speaks of the questions related to e.g. storage humidity and temperature, display of photographic objects that are in museum collections, and pH of materials and frames; the author also reflects on the need to digitize collections.
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Shevtsov, N. V. "Magazine «Otechestvennye Zapiski » in the History of Russian Culture of the 19th Century." Concept: philosophy, religion, culture, no. 3 (November 17, 2019): 132–42. http://dx.doi.org/10.24833/2541-8831-2019-3-11-132-142.

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The literary magazine «Otechestvennye Zapiski» legitimately belongs to the realm of the most known and reputable periodicals in the history of Russian journalism. Its publishers did everything possible to refine the journalistic style of its content and to turn each issue or, a book, as they used to call them, into high-quality classical thick literary magazines. The magazine published articles and stories of various genres. All of them stood out in terms of the high-quality writing. Both, up-and-coming and established authors dreamed of a publication there. At the same time, all of them realized that it was crucial to write something special for «Otechestvennye Zapiski», something not to be found in any other magazine. For many years, the magazine had a reputation of journalism training school. Yet, not only had it shaped outstanding journalists. Many up-and-coming writers became famous after the magazine featured their first works. Those, who we call today the classics of Russian literature, were among them. The magazine discovered Mikhail Lermontov to the world by being the first publisher of his short novels «Bela», «Fatalist», and «Taman» which later became parts of the novel «A Hero of Our Time». Many poems of Lermontov found the readers through «Otechestvennye Zapiski». Some of the early works of Nikolay Gogol and Fyodor Dostoyevsky were first featured there. It was this magazine, where young Turgenev gave his early poems as well. Plays of Alexander Ostrovsky went to the stages of the leading theaters shortly after being published in «Otechestvennye Zapiski». Taking advantage of the glory of a brilliant literary and artistic magazine, “Otechestvennye Zapiski” made a great contribution to the Russian culture. From the first years of its existence, articles on the newly opened private art galleries, numismatic collections, libraries, and various art exhibitions began to appear on its pages. From the very beginning of its publication and up to its closure, the journal carried out an important educational mission.
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Apostolos-Cappadona, Diane. "Religion and the Arts: History and Method." Brill Research Perspectives in Religion and the Arts 1, no. 1 (2017): 1–80. http://dx.doi.org/10.1163/24688878-12340001.

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AbstractIn Religion and the Arts: History and Method, Diane Apostolos-Cappadona presents an overview of the 19th century origins of this discrete field of study and its methodological journey to the present-day through issues of repatriation, museum exhibitions, and globalization. Apostolos-Cappadona suggests that the fluidity and flexibility of the study of religion and the arts has expanded like an umbrella since the 1970s—and the understanding that art was simply a visual exegesis of texts—to now support the study of material, popular, and visual culture, as well as gender. She also delivers a careful analysis of the evolution of thought from traditional iconographies to the transformations once scholars were influenced by response theory and challenged by globalization and technology. Religion and the Arts: History and Method offers an indispensable introduction to the questions and perspectives essential to the study of this field.
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Dissertations / Theses on the topic "Exhibitions - History - 19th century"

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Couser, Kristie. "Exhibiting Berthe Morisot after the Advent of Feminist Art History." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/484.

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Feminist art historians reassessed French Impressionist Berthe Morisot (1841-1895) throughout the late twentieth and early twenty-first century, a period in which her work coincidentally received steady exposure in major museum exhibitions. This thesis examines how the feminist art historical project intersects with exhibitions that give prominence to Morisot’s work. Critical reviews by Morisot scholars argue that more frequent display of the artist’s work has not correlated to nuanced interpretation. Moreover, prominent feminist scholars and museum theorists maintain that curators virtually exclude their contributions. Attending to these recurrent concerns, this thesis charts shifts in emphases and inquiry in writing centered on Morisot to survey the extent to which curators convey new constructions of her artistic, social, and historical identities. This analysis will observe how distinct exhibition forms—the retrospective, the Impressionism blockbuster, and the gendered “women Impressionists” show—may frame Morisot’s work differently according to their organizing principles.
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Heizer, Alda Lucia. "Observar o ceu e medir a terra : instrumentos cientificos e a participação do Imperio do Brasil na Exposição de Paris de 1889." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/287043.

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Orientador : Maria Margaret Lopes<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Geociencias<br>Made available in DSpace on 2018-08-04T02:34:20Z (GMT). No. of bitstreams: 1 Heizer_AldaLucia_D.pdf: 6141642 bytes, checksum: 0983ba3a2e79903ed8c65ba8fac199e2 (MD5) Previous issue date: 2005<br>Resumo: A presente pesquisa tem por finalidade contribuir para a História das Grandes Exposições da segunda metade do século XIX, sublinhando a participação do Império do Brasil nesses grandes eventos, em particular na Exposição Universal de Paris de 1889. Consideramos possível, ao analisar os catálogos de instrumentos científicos, relatórios, memórias, revistas científicas, entre outras fontes, identificar pistas que nos revelam que o Império do Brasil pretendia desfazer a imagem de flor exótica nos trópicos. A partir da constatação de que os trabalhos acadêmicos realizados no Brasil sobre estes grandes eventos, dos anos de 1980 para cá, não se ocuparam da participação dos países da América Latina, este trabalho pretende se desenvolver na confluência de linhas de pesquisa que, embora plenamente articuláveis, permanecem, até hoje, em grande parte dissociadas na produção historiográfica nacional. Trata-se de pesquisas em História das Exposições Universais e a História dos Instrumentos Científicos<br>Abstract: This present research has the purpose to contribute for the history of the Great Expositions of the second half of the XIX century, underlining the participation of the Brazilian Empire on these events, in particular in the Paris Universal Exposition in 1889. We found it possible, when analyzing the scientific instrument¿s catalogues, reports, memories, scientific magazines, among other sources, to identify tracks that reveal to us that the Brazilian Empire intended to appear under the image of the ¿Exotic flower of the tropics¿. After discover that the academic works that were made in Brazil about these great events, from 1980 until today, disregard the participation of the Latin American countries, this work intend to be developed in the confluence of the lines of research , although they can be articulated, remains until today dissociated in the national history production. It¿s about research on the history of the Great Universal Expositions and the History of Scientific Instruments<br>Doutorado<br>Doutor em Ensino e História de Ciências da Terra
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Eellend, Johan. "Cultivating the Rural Citizen : Modernity, Agrarianism and Citizenship in Late Tsarist Estonia." Doctoral thesis, Stockholm : Huddinge : Department of History, Stockholm university ; Södertörns högskola [distributör], 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-7026.

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Brown, Carol. ""Museum spaces in post-apartheid South Africa": the Durban Art Gallery as a case study." Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1006231.

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This dissertation examines the history of the Durban Art Gallery from its founding in 1892 until 2004, a decade after the First Democratic Election. While the emphasis is on significant changes that were introduced in the post-1994 period, the earlier section of the study locates these initiatives within a broad historical framework. The collecting policies of the museum as well as its exhibitions and programmes are considered in the light of the institution 's changing social and political context as well as shifting imperatives within a local, regional and national art world. The Durban Art Gallery was established in order to promote a European, and particularly British, culture, and the acquisition and appreciation of art was considered an important element in the formation of a stable society. By providing a broad overview of the early years of the gallery, I identify reasons for the choice of acquisitions and explore the impact and reception of a selection of exhibitions. I investigate changes during the 1960s and 1970s through an examination of the Art South Africa Today exhibitions: in addition to opening up institutional spaces to a racially mixed community, these exhibitions marked the beginning of an imperative to show protest art. I argue that, during the political climate of the 1980s, there was a tension in the cultural arena between, on the one hand, a motivation to retain a Western ideal of 'high art' and, on the other, a drive to accommodate the new forms of people's art and to challenge the values and ideological standpoints that had been instrumental in shaping collecting and exhibiting policies in the South African art arena. I explore this tension through a discussion of the Cape Town Triennial exhibitions, organised jointly by all the official museums, which ran alongside more inclusive and independently curated exhibitions, such as Tributaries, which were shown mainly outside the country. The post-1994 period marked an opening up of spaces, both literally and conceptually. This openness was manifest in the revised strategies that were introduced to show the Durban Art Gallery 's permanent collection as well as in two key public projects that were started - Red Eye @rt and the AIDS 2000 ribbon. Through an examination of these strategies and initiatives, I argue that the central role of the Durban Art Gallery has shifted from being a repository to providing an interactive public space.
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Orr, Kirsten School of Architecture UNSW. "A force for Federation: international exhibitions and the formation of Australian ethos (1851-1901)." Awarded by:University of New South Wales. School of Architecture, 2006. http://handle.unsw.edu.au/1959.4/23987.

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In 1879 the British Colony of New South Wales hosted the first international exhibition in the Southern Hemisphere. This was immediately followed by the Melbourne International Exhibition of 1880 in the colony of Victoria and the success of these exhibitions inspired the Melbourne Centennial Exhibition, which was held in 1888 to celebrate the centenary of white settlement in Australia. My thesis is that these international exhibitions had a profound impact on the development of our cities, the evolution of an Australian ethos and the gaining of nationhood. The immense popularity and comprehensive nature of the exhibitions made them the only major events in late nineteenth-century Australia that brought the people together in an almost universally shared experience. The exhibitions conveyed official ideologies from the organising elites to ordinary people and encouraged the dissemination of new cultural sentiments, political aspirations, and moral and educational ideals. Many exhibition commissioners, official observers and ideologues were also predominantly involved in the Federation movement and the wider cultural sphere. The international exhibitions assisted the development of an Australian urban ethos, which to a large extent replaced the older pastoral / frontier image. Many of the more enduring ideas emanating from the exhibitions were physically expressed in the consequent development of our cities ??? particularly Sydney and Melbourne, both of which had achieved metropolitan status and global significance by the end of the nineteenth century. The new urban ethos, dramatically triggered by Sydney 1879, combined with and strengthened the national aspirations and sentiments of the Federation movement. Thus the exhibitions created an immediate connection between colonial pride in urban development and European and American ideals of nation building. They also created an increasing cultural sophistication and a growing involvement in social movements and political associations at the national level. The international exhibitions, more than any other single event, convinced the colonials that they were all Australians together and that their destiny was to be united as one nation. At that time, Australians began to think about national objectives. The exhibitions not only promulgated national sentiment and a new ethos, but also provided opportunities for independent colonial initiatives, inter-colonial cooperation and a more equal position in the imperial alliance. Thus they became a powerful impetus, hitherto unrecognised, for the complex of social, political and economic developments that made Federation possible.
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Lasheras, Peña Ana Belén. "España en París. La imagen nacional en las Exposiciones Universales, 1855-1900." Doctoral thesis, Universidad de Cantabria, 2010. http://hdl.handle.net/10803/10660.

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Esta investigación aborda la participación española en las exposiciones universales celebradas en París durante el siglo XIX. Se ha tomado una perspectiva global, analizando, por tanto, el conjunto de factores que conformaron la imagen de lo español en las cinco ediciones universales organizadas en París: las instituciones efímeras y organismos permanentes que se encargaron de la organización de la asistencia española, los espacios e instalaciones que se adecuaron en París para albergar las colecciones nacionales, los productos seleccionados para representar a España (obras de arte, minerales, libros, tejidos, máquinas, productos agrícolas, etc.), así como los visitantes y comisionados que acudieron a la entonces denominada capital cultural del siglo.<br>This research focuses on the Spanish participation in the international exhibitions held in Paris during the nineteenth century. It has been taken a global perspective, analyzing, therefore, all the factors that shaped the image of the Spanish in the five universal exhibitions organized in Paris: the ephemeral institutions and permanent organizations that were responsible for the Spanish attendance, the area and premises that were adapted in Paris to house the national collections, the items which were selected to represent Spain (works of art, minerals, books, fabrics, machines, agricultural products, etc..) as well as the visitors and commissioners who attended to the so-called cultural capital of the century at that time.
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Seniuta, Isabella. "Histoire du Eye Club : les valeurs de la photographie : Paris-New York (1960-1989)." Thesis, Paris 1, 2020. http://www.theses.fr/2020PA01H004.

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Cette thèse s’interroge sur l’invention d’une formule : The Eye Club. Inventée par l’historienne américaine Eugenia Parry, elle désigne un regroupement actif dans les années 1960-1990 composé de : Pierre Apraxine, Hugues Autexier, François Braunschweig, Françoise Heilbrun, André Jammes, Gérard Lévy, Harry Lunn, Philippe Néagu, Alain Paviot, Richard Pare, Sam Wagstaff et Robert Mapplethorpe. Ces douze figures vivent entre la France et les États-Unis et sont rattachées par plusieurs facteurs culturels et temporels. Ce «club» n’est pas à proprement parler un cercle de sociabilités, c’est une constellation, une nébuleuse faite de positionnements culturels épars et de projets artistiques divers. La question principale qui a guidé cette enquête est la suivante : en quoi ce Eye Club et ses acteurs, pris individuellement, ont-t-ils contribué à réévaluer la valeur commerciale, esthétique et institutionnelle, de la photographie dans les années 1960-1990 entre Paris et New York ? La chronologie démarre avec les engagements d’André Jammes dans le monde de la photographie au tournant des années 1960 et se termine en 1989, l’année de la mort de Mapplethorpe. L’enquête réalisée dans les archives et auprès des acteurs a fait émerger des noms connus, et d’autres, qui sont demeurés dans les coulisses de l’histoire. Cette étude se propose de lever le voile sur un réseau interdépendant d’acteurs, dont les intérêts communs pour la photographie ont permis de créer le marché de la photographie, tel que nous le connaissons aujourd’hui, et son institutionnalisation. Le premier volume de la thèse propose, dans une perspective transatlantique, une réflexion sur ce regroupement à partir des images et des correspondances. Le second volume rassemble vingt-quatre entretiens réalisés au cours des cinq années de recherche. D’abord avec les figures du Eye Club (Pierre Apraxine, Françoise Heilbrun, Richard Pare et Alain Paviot), puis avec les familles des acteurs du Eye Club et enfin avec diverses personnalités du monde photographique (Frish Brandt, Peter Bunnell, Denis Canguilhem, Sylviane De Decker, Viviane Esders, Patrick Faigenbaum, Philippe Garner, Maria Morris Hambourg, Susan Kismaric, Hans Peter Kraus Jr., Harold Jones, Baudoin Lebon, Eugenia Parry, Françoise Reynaud, Samia Saouma et Daniel Wolf). Ensemble, les deux volumes esquissent une histoire de rencontres entre des passionnés de photographie qui s’est principalement articulée sous une forme orale entre la France et les États-Unis dans les années 1960-1980<br>This thesis questions the invention of a phrase : The Eye Club. Invented by the American historian Eugenia Parry, it has been designating a grouping active in the 1960s-1980s composed of : Pierre Apraxine, Hugues Autexier, François Braunschweig, Françoise Heilbrun, André Jammes, Gérard Lévy, Harry Lunn, Philippe Néagu, Alain Paviot, Richard Pare, Sam Wagstaff and Robert Mapplethorpe. These twelve characters lived between France and the United States and are connected and related by several cultural and temporal factors. This grouping is not, strictly speaking, a circle of sociability, it is rather a constellation or a nebula made of scattered cultural positions and diverse artistic projects. The main question that guided this survey is the following: in what way does the Eye Club and its individual actors contributed to the re-evaluation of the commercial, aesthetic and institutional value of photography between the early 1960s and the late 1990s among Paris and New York ? The chronology begins with André Jammes' involvement in the world of photography and ends in 1989, the year of Mapplethorpe's death. An inquiry of archives and key players has brought to light some well-known names, and others that remained in the shadow of history. This study aims at unveiling an interdependent network of actors, whose common interests in photography have made it possible to establish, in one generation, the photography market as we know it today. The first volume of the thesis offers, from a transatlantic perspective; an investigation and analysis of this based on photographs and correspondences. The second volume brings together twenty-four interviews conducted over my five years of doctoral research. First with the main protagonists of The Eye Club (Pierre Apraxine, Françoise Heilbrun, Richard Pare and Alain Paviot), then with the families of The Eye Club and finally with various personalities from the world of photography (Frish Brandt, Peter Bunnell, Denis Canguilhem, Sylviane De Decker, Viviane Esders, Patrick Faigenbaum, Philippe Garner, Maria Morris Hamburg, Susan Kismaric, Hans Peter Kraus Jr, Harold Jones, Baudoin Lebon, Eugenia Parry, Françoise Reynaud, Samia Saouma and Daniel Wolf). Together, the two volumes sketch a history of encounters between photography enthusiasts that has, up to now, been mainly articulated in oral form between France and the United States in the 1960s and 1980s
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Mayo-Bobee, Dinah. "Shaping the Nation: Early 19th Century America." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/731.

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Bloom, Kelly. "Orientalism in French 19th Century Art." Thesis, Boston College, 2004. http://hdl.handle.net/2345/477.

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Thesis advisor: Jeffery Howe<br>The Orient has been a mythical, looming presence since the foundation of Islam in the 7th century. It has always been the “Other” that Edward Said wrote about in his 1979 book Orientalism. The gulf of misunderstanding between the myth and the reality of the Near East still exists today in the 21st century. Napoleon's invasion of Egypt in 1798 and the subsequent colonization of the Near East is perhaps the defining moment in the Western perception of the Near East. At the beginning of modern colonization, Napoleon and his companions arrived in the Near East convinced of their own superiority and authority; they were Orientalists. The supposed superiority of Europeans justified the colonization of Islamic lands. Said never specifically wrote about art; however, his theories on colonialism and Orientalism still apply. Linda Nochlin first made use of them in her article “The Imaginary Orient” from 1983. Artists such as Jean-Auguste-Dominique Ingres, Eugène Delacroix and Jean-Léon Gérôme demonstrate Said's idea of representing the Islamic “Other” as a culturally inferior and backward people, especially in their portrayal of women. The development of photography in the late 19th century added another dimension to this view of the Orient, with its seemingly objective viewpoint<br>Thesis (BA) — Boston College, 2004<br>Submitted to: Boston College. College of Arts and Sciences<br>Discipline: Fine Arts<br>Discipline: College Honors Program
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Schneider, Ulrich Johannes. "Teaching the history of philosophy in 19th-century Germany." Universitätsbibliothek Leipzig, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-161196.

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What does it mean to do philosophy historically, and when does the legend of philosophy begin? When Hegel tried to give a logical explanation of philosophy's history, was he doing the same thing as Eduard Zeller in his account of Creek thought, or Kuno Fischer in his narrative of modern philosophy? l do not believe so, and I shall sugges t in the following that we should carefully differentiate between the different activities commonly referred to as the history of philosophy. I will point out the enormous productivity of the 19th century in terms of printed books devoted to the history of philosophy. I will also point to the context in which these were produced and used rather than examining individual works or authors. There is an entirely new context in the 19th century, which is the study of philosophy. A proper culture developed around the historical interest in philosophy, and it is this culture I want to sketch here.
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Books on the topic "Exhibitions - History - 19th century"

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Sobieszek, Robert A. This edifice is colossal: 19th century architectural photography. International Museum of Photography at George Eastman House, 1986.

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(Sweden), Nationalmuseum, ed. Modern life: France in the 19th century. Nationalmuseum, 2012.

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Capistrano-Baker, Florina H. Multiple originals, original multiples: 19th century images of Philippine costumes. Ayala Foundation, 2004.

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History, Razgrad Museum of. Catalogue: Selected finds : archaeology : ethnography : Bulgarian history in the 15th-19th century. Parnas, 2004.

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History, Razgrad Museum of. Catalogue: Selected finds : archaeology : ethnography : Bulgarian history in the 15th-19th century. Parnas, 2004.

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Anne, Wallace Mary, Three Village Historical Society, and Cold Spring Harbor Whaling Museum., eds. The sailing circle: 19th century seafaring women from New York. Three Village Historical Society, 1995.

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Gallery, Whitworth Art. A decorative art: 19th century wallpapers in the Whitworth Art Gallery. Whitworth Art Gallery?, 1985.

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1960-, Pauli Lori, and McElhone John, eds. 19th-century British photographs from the National Gallery of Canada. National Gallery of Canada, 2011.

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Amsterdam, Hermitage, ed. At the Russian court: Palace and protocol in the 19th century. Hermitage Amsterdam, 2009.

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Centro comunale di cultura "Il ghetto" (Cagliari, Italy), ed. L'isola misurata: La cartografia storica della Sardegna da Alberto Ferrero Della Marmora all'Istituto geografico militare. Carlo Delfino, 2011.

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Book chapters on the topic "Exhibitions - History - 19th century"

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Hall, Robert A. "19th-Century Italian." In The History of Linguistics in Italy. John Benjamins Publishing Company, 1986. http://dx.doi.org/10.1075/sihols.33.11jal.

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Driel, Lodewijk van. "19th-Century Linguistics." In The History of Linguistics in the Low Countries. John Benjamins Publishing Company, 1992. http://dx.doi.org/10.1075/sihols.64.10dri.

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Roberts, Adam. "Early 19th-Century SF." In The History of Science Fiction. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-56957-8_6.

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Vannatta, Seth. "The 19th Century and History." In Conservatism and Pragmatism. Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137466839_4.

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Gallarotti, Giulio M. "The 19th century conferences." In A History of International Monetary Diplomacy, 1867 to the Present. Routledge, 2021. http://dx.doi.org/10.4324/9781315732435-3.

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Green, Michael D., and Theda Perdue. "Native-American History." In A Companion to 19th-Century America. Blackwell Publishers Inc., 2007. http://dx.doi.org/10.1002/9780470998472.ch16.

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Kay, A. Barry. "Landmarks in Allergy during the 19th Century." In History of Allergy. S. KARGER AG, 2014. http://dx.doi.org/10.1159/000358477.

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Franco, Raquel Campos, Lili Wang, Pauric O’Rourke, et al. "Civil Society History V: 19th Century." In International Encyclopedia of Civil Society. Springer US, 2010. http://dx.doi.org/10.1007/978-0-387-93996-4_529.

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DiCristina, Bruce. "Criminology in 19th-Century France." In The Handbook of the History and Philosophy of Criminology. John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781119011385.ch4.

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Sawaie, Mohammed. "An Aspect of 19th-Century Arabic Lexicography." In History and Historiography of Linguistics. John Benjamins Publishing Company, 1990. http://dx.doi.org/10.1075/sihols.51.1.20saw.

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Conference papers on the topic "Exhibitions - History - 19th century"

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Ismail, Amnah Saay, B. Jalal, M. Md Saman, and Wan Kamal Mujani. "19th Century Pahang Islamic Scholars in 'A History of Pahang'." In 2017 International Conference on Education, Economics and Management Research (ICEEMR 2017). Atlantis Press, 2017. http://dx.doi.org/10.2991/iceemr-17.2017.49.

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NECHITA, Constantin. "DECLINE HISTORY OF OAKS IN 20TH CENTURY FOR ROMANIAN EXTRA-CARPATHIAN REGIONS." In 19th SGEM International Multidisciplinary Scientific GeoConference EXPO Proceedings. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sgem2019/3.2/s14.087.

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Tleubekova, G. "Late 19th – early 20th century European travelers account of the nomadic people of Central Asia." In Scientific dialogue: Questions of philosophy, sociology, history, political science. ЦНК МОАН, 2020. http://dx.doi.org/10.18411/spc-01-07-2020-05.

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Stansfield, Billy, and William B. Ouimet. "HISTORY, MAPPING, AND PHYSICAL PROPERTIES OF 18TH – 19TH CENTURY RELICT CHARCOAL HEARTHS IN EASTERN CONNECTICUT." In 54th Annual GSA Northeastern Section Meeting - 2019. Geological Society of America, 2019. http://dx.doi.org/10.1130/abs/2019ne-328410.

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Shaidurov, Vladimir. "MIGRATIONS AND THEIR INFLUENCE ON THE ETHNIC COMPOSITION OF THE NORTHERN ASIAN POPULATION IN THE SECOND HALF OF THE 19TH CENTURY." In SGEM 2014 Scientific SubConference on ANTHROPOLOGY, ARCHAEOLOGY, HISTORY AND PHILOSOPHY. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b31/s10.068.

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Mitina, Rimma. "STAGES OF FORMATION AND DEVELOPMENT OF OFFICIAL PERIODICALS IN RUSSIAN PROVINCES IN THE 19TH CENTURY (FOR EXAMPLE NEWSPAPERS PERM PROVINCIAL GAZETTE)." In SGEM 2014 Scientific SubConference on ANTHROPOLOGY, ARCHAEOLOGY, HISTORY AND PHILOSOPHY. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b31/s10.076.

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Wozniakowski, Arkadiusz. "THE EASTERN BATTERY IN SWINOUJSCIE, POLAND � HISTORY AND ARCHITECTURE OF A PRUSSIAN COASTAL FORT FROM THE 19th CENTURY." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/5.3/s21.077.

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Brusa, Enrica, and Chiara Stanga. "Architettura fortificata tra conservazione e riuso: i progetti di restauro novecenteschi del forte di Castelfranco a Finale Ligure." In FORTMED2020 - Defensive Architecture of the Mediterranean. Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11501.

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Fortified architecture between preservation and reuse strategies: the twentieth century restoration projects of Castelfranco in Finale LigureThe town of Finale Ligure, situated on the western coast of Liguria, was the site of the Del Carretto Marquisate until the sixteenth century. After that, it was under the control of the Spanish Crown (seventeenth century) and it has been an independent territory of the Republic of Genoa for a long time. The three castles were built on the top of Finale hills and they were the symbol of its independence. Gavone castle, established on the top of the historical town, has been the site of the Marquisate since the twelfth century. S. Giovanni castle was built by the Spanish in order to improve the town defensive system in the second half of the seventeenth century. Castelfranco, built by the Genoese in the fourteenth century, was rehashed many times by the Spanish and in the nineteenth century by the Savoia family. The three castles still recall these historical events and are therefore witnesses of the Finale present and past history. They are the result of the different transformations occurred over the centuries. In recent times, Castelfranco has been opened to the public and today it houses art exhibitions and cultural events. The restoration of the castle is the last step of a long-lasting rehabilitation project history that has been developed since the 1900s, when the Municipality suggested to turn it into a hotel. The article analyses the restoration projects of Castelfranco that have been carried out in the first half of the twentieth century, which had different methodologies and approaches. Though this study the article highlights the perception that the town had about the castle, identifying the changes in the balance between reuse and conservation strategies after the first Italian preservation laws.
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FONSECA, Letícia Pedruzzi. "Graphic innovations implemented in the Brazilian press by Julião Machado in the end of the 19th Century." In Design frontiers: territories, concepts, technologies [=ICDHS 2012 - 8th Conference of the International Committee for Design History & Design Studies]. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/design-icdhs-075.

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Conti, Alessandro, Grazia Tucci, Valentina Bonora, and Lidia Fiorini. "HOW WERE THE TAPESTRIES IN THE SALA DI SATURNO OF PITTI PALACE ARRANGED? GEOMATICS AND VIRTUAL REALITY FOR ART CURATORS." In ARQUEOLÓGICA 2.0 - 9th International Congress & 3rd GEORES - GEOmatics and pREServation. Editorial Universitat Politécnica de Valéncia, 2021. http://dx.doi.org/10.4995/arqueologica9.2021.12175.

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Three-dimensional acquisition techniques, reality-based modelling and virtual reality are tools used in Digital Humanities prevalently for displaying the results of a study, but they can also suggest new methods of investigation to humanities scholars. In a case study regarding art history, these techniques made it possible to recreate the layout of the Sala di Saturno in Pitti Palace (Florence) in the 17th century, based on information obtained from archive documents on the tapestries designed for that hall and a 3D model expressly elaborated with geomatic techniques. The results were summarised in a video showed in 2019 during the exhibition on tapestries dedicated to Cosimo I de' Medici. A tool was also developed to assist exhibition and museum curators in their work. Through virtual reality, they can design temporary exhibitions or modify the display of the works of art in a museum in a realistic way, using visually and metrically accurate models of the pieces and exhibition rooms.
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