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Journal articles on the topic 'Freer Gallery of Art'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Gómez González, Marisa. "Scientific Research on Ancient Asian Metallurgy. Proceedings of the Fifth Forbes Symposium at the Freer Gallery of Art." Ge-conservacion 5 (December 22, 2013): 149–50. http://dx.doi.org/10.37558/gec.v5i0.202.

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Scientific Research on Ancient Asian Metallurgy. Proceedings of the Fifth Forbes Symposium at the Freer Gallery of Art Editado por P. Jett, B. McCarty and J. G. Douglas Publicado por Archetype Publications Ltd. and Freer Gallery of Art, Smithsonian Institution. London, Los Angeles, 2012. 268 páginas, 297x210mm. ISBN. 9781904982722

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2

Steinberg, Arthur, Esin Atil, W. T. Chase, and Paul Jett. "Islamic Metalwork in the Freer Gallery of Art." Journal of the American Institute for Conservation 25, no. 2 (1986): 105. http://dx.doi.org/10.2307/3179631.

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3

Shu, Yue, and Reiko Yoshimura. "The Chinese Collection of the Freer Gallery of Art | Arthur M. Sackler Gallery Library." Art Libraries Journal 39, no. 2 (2014): 33–38. http://dx.doi.org/10.1017/s0307472200018290.

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The library of the Freer Gallery of Art | Arthur M. Sackler Gallery is considered one of the finest East Asian art research collections in the United States. The development and progress of the library’s Chinese Collection has mirrored the historical changes in the field of Chinese art studies in the last one hundred years. Today, the library collection has more than 90,000 volumes, including 17,437 Chinese language monographs and 836 serials in over 25,000 volumes. In a landscape of changing scholarship, technology and user demands, the library is balancing the use of printed materials and digital resources and collaborating with other libraries to continue to meet the needs of curators, researchers and visitors.

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Schneider, Karen. "“The Soul Sense of a Beautiful Thing”." Journal of Japonisme 7, no. 1 (March 18, 2022): 1–17. http://dx.doi.org/10.1163/24054992-07010001.

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Abstract Katharine Nash Rhoades, a painter, Charles Lang Freer’s assistant, and a member of the Stieglitz Circle, met Freer at Mount Kisco, New York, the country home of Asian art collectors Agnes and Eugene Meyer on June 29, 1913. Their friendship lasted until Freer’s death on September 25, 1919. Although their relationship was relatively short in duration, it was characterized by loyalty, warmth, and mutual respect. Rhoades and Freer shared the pursuit of beauty as the guiding principle in their lives. Rhoades’s paintings reveal the influence that the Japanese art in Freer’s collection had upon her work. She was instrumental in the creation of the Freer Gallery of Art as it is known today. This article, based on extensive research using primary sources, sheds new light on the relationship between Katharine Rhoades and Charles Lang Freer and the ways in which the art of Japan played a key role in their lives.

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Ojha, Hari Kumar. "Marry Shepherd Slusser: The Antiquity of Nepalese Wood Carving: A Reassessment." Himalayan Journal of Sociology and Anthropology 4 (May 9, 2011): 256–59. http://dx.doi.org/10.3126/hjsa.v4i0.4680.

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Marry Shepherd Slusser: The Antiquity of Nepalese Wood Carving: A Reassessment, Published by: University of Washington Press, Seattle and London in Association with the Freer Gallery of Art and the Arthur M. Sackler Gallery, Smithsonian Institution Washington DC (2010) Page: 315 xix, ISBN 978-0-295-99029-3 (hardback)DOI: http://dx.doi.org/10.3126/hjsa.v4i0.4680 Himalayan Journal of Sociology and Anthropology Vol.IV (2010) 256-259

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6

Stillwell, Joana. "Art Museum Exhibitions in the Library." International Journal of Librarianship 9, no. 2 (June 20, 2024): 103–7. http://dx.doi.org/10.23974/ijol.2024.vol9.2.376.

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Typically, museums are seen as the primary venue for exhibitions. However, an interest in library exhibitions has been growing as indicated by increased literature in the library field, albeit with a large focus on academic libraries. On a broader scale, library exhibitions continue to be under-researched as indicated by the continuing lack of library exhibition evaluation standards, library exhibition reviews, and exhibition-related professional training for librarians. In this 2021 study, interviews were conducted at eight Washington, DC-based art museum libraries: The National Gallery of Art, The National Museum of Women in the Arts, The American Art and Portrait Gallery, The Freer Gallery of Art and Arthur M. Sackler Gallery, The Hirshhorn Museum and Sculpture Garden, The National Museum of African Art, The Phillips Collection, and the George Washington University Textile Museum. This paper is an examination of the current state of exhibitions in art museum libraries and aims to establish a set of best practices to help foster the production of art museum library exhibitions.

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Harper, Prudence O., Ann C. Gunter, and Paul Jett. "Ancient Iranian Metalwork in the Arthur M. Sackler Gallery and the Freer Gallery of Art." Journal of the American Oriental Society 116, no. 3 (July 1996): 567. http://dx.doi.org/10.2307/605190.

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8

Anderson, Jeffrey C. "A Twelfth-Century Leaf from the Byzantine Courtly Circle in the Freer Gallery of Art (Freer 33.12)." Gesta 35, no. 2 (January 1996): 142–48. http://dx.doi.org/10.2307/767178.

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9

Bell, Catherine. "Worshiping the Ancestors: Chinese Commemorative Portraits. By Jan Stuart and Evelyn S. Rawski. [Washington, DC and Stanford, CA: Freer Gallery of Art and the Arthur M. Sackler Gallery in association with Stanford University Press, 2001. 216pp. $75.00. ISBN 08047 4262 6.]." China Quarterly 173 (March 2003): 214–51. http://dx.doi.org/10.1017/s000944390343012x.

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This lovely book accompanies a show of ancestor portraits from the mid-15th to the 20th century held at the Smithsonian's Arthur M. Sackler Gallery in 2001. The Sackler's recently acquired collection, supplemented for the show with contributions from the Freer Gallery and private collections, consists of 85 paintings depicting mostly noble and upper-class men and women, probably sold by families caught in the disruptions of the late Qing.

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10

Li, Kin Sum (Sammy), Quanyu Wang, J. Keith Wilson, Fan Jeremy Zhang, Jody Ho Yee Cheung, Tsz Hin Chun, Sum Lam, et al. "DECORATED MODELS, REPLICATION, AND ASSEMBLY LINES FOR BRONZE INDUSTRIAL PRODUCTION IN 500 b.c.e. CHINA." Early China 44 (September 2021): 109–42. http://dx.doi.org/10.1017/eac.2021.9.

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AbstractThis article examines the earliest examples of replication of bronze objects of complicated structure in China. It uses four quadrupeds from the Freer Gallery (National Museum of Asian Art, Smithsonian Institution), the Asian Art Museum of San Francisco, the British Museum, and the Yūrinkan Museum in Kyōto as examples to illustrate the complex technology required in replicating bronzes. It provides evidence to define identical bronzes and proves that the four quadrupeds shared the same decorated model. The application of section-mold casting, spacers, clay cores, and mold section assemblage will be examined using 3D scanning, X-ray photography, computerized tomography (CT) scanning, and alloy composition analysis.

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11

Canby, Sheila R. "Elizabeth Sgalitzer Ettinghausen 1918–2016." Review of Middle East Studies 50, no. 2 (August 2016): 231–32. http://dx.doi.org/10.1017/rms.2016.137.

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Born in Austria in 1918, Elizabeth spent the World War II years in Istanbul where her father was professor of medicine at Istanbul University. This resulted not only in her learning Turkish but also in developing an interest in Byzantine art and archaeology, leading to a dissertation on Byzantine ceramics. In 1945 she married Richard Ettinghausen, who had recently joined the Freer Gallery of Art and was also lecturing at Princeton University. That marked the beginning of Elizabeth's ties with the town where she lived for many years. In 1966 Richard became Hagop Kevorkian Professor of Islamic Art at the Institute of Fine Arts and in 1969 he was appointed Consultative Chairman of the Department of Islamic Art at the Metropolitan Museum of Art. Meanwhile, in addition to pursuing her art–historical interests, Elizabeth was bringing up their two sons in Princeton. Today, the elder son teaches and practices medicine in Rochester, NY, and the younger is in international finance in Abu Dhabi.

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12

Smith, Cyril Stanley. "Islamic Metalwork in the Freer Gallery of Art. Esin Atil , W. T. Chase , Paul Jett." Isis 77, no. 3 (September 1986): 567–68. http://dx.doi.org/10.1086/354262.

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Owen, Lisa N. "Yoga: The Art of Transformation. Edited by DebraDiamond. Washington, DC: Freer Gallery of Art and Arthur M. Sackler Gallery, 2013. Pp. 328; plates, map. Cloth, $55.00." Religious Studies Review 40, no. 3 (September 2014): 170. http://dx.doi.org/10.1111/rsr.12159.

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14

Winfield, Pamela D. "Zen And “The Arts Of Devotion”: Mind Over Matter at the Smithsonian’s Freer Gallery of Art." CrossCurrents 72, no. 4 (2022): 394–404. http://dx.doi.org/10.1353/cro.2022.0036.

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15

Scott, David A. "Scientific Research in the Field of Asian Art: Proceedings of the First Forbes Symposium at the Freer Gallery of Art." Studies in Conservation 53, no. 1 (January 2008): 76–78. http://dx.doi.org/10.1179/sic.2008.53.1.76.

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16

Santos, Raquel, Ana Claro, Ana Serrano, Maria João Ferreira, and Jessica Hallett. "Textiles, Trade & Taste—Portugal and the World: A Project on the Global Circulation of Textiles and Dyes." Textile Museum Journal 47, no. 1 (2020): 187–95. http://dx.doi.org/10.1353/tmj.2020.a932820.

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Abstract: Textiles, Trade & Taste: Portugal and the World (TTT) is a project that aspires to bring new synergies to the field of textile studies by promoting different connections and interdisciplinary approaches involving art history, materials science, and conservation. The TTT research network is based at the Center for Humanities in the School of Social Sciences and Humanities at the Universidade NOVA de Lisboa and organizes workshops, conferences, tours, and lectures in museums and research institutions. The network’s artistic and historical research has ranged from collating archival material to stylistic and iconographic studies, with the aim of placing textile objects in their historical, artistic, technological, and sociocultural contexts. Chemical analysis and characterization of dyes, textile fibers, and precious metal threads have provided important evidence for identifying the origins of raw materials and finished textiles, and for developing improved conservation treatments for their preservation for future generations. Recent research has examined the global circulation of dyes in the early modern period, especially reds, and also reconstructed the production and consumption of Indian, Chinese, and Portuguese embroideries and Islamic carpets. In 2011, TTT’s work led to the classification of three “Salting” carpets as national treasures in Portugal. The team members have collaborated with national and international museums, including Museu Nacional de Arte Antiga and Calouste Gulbenkian Museum (Lisbon), as well as Abegg-Stiftung (Riggisberg), The Metropolitan Museum of Art (New York), Musée des Tissus, (Lyon), Museum für Islamische Kunst (Berlin), Museum für angewandte Kunst (MAK) (Vienna), Rietberg Museum (Zürich), Rijksmuseum (Amsterdam), George Washington University Museum and The Textile Museum (Washington, D.C.), National Gallery of Art (Washington, D.C.), and Victoria and Albert Museum (London). The team’s art historians contributed to the platform “Museum With No Frontiers” to develop the online exhibition Discover Carpet Art involving Portuguese museums. TTT’s scientists have strong links with the Freer Gallery of Art and Arthur M. Sackler Gallery (National Museum of Asian Art, Washington, D.C.), University of Zaragoza (Spain), Rijksdienst voor het Cultureel Erfgoed (Cultural Heritage Agency of the Netherlands, Amersfoort), and the University of Amsterdam. We have been encouraged by the positive response of the international community to the results of our initial research projects.

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17

Miyazawa, Masayori. "A Study on the Literature and Art concerning Saint Honen (1133-1212) in Freer Gallery and Musee Guimet." Journal of Research Society of Buddhism and Cultural Heritage, no. 3 (1995): l1—l12. http://dx.doi.org/10.5845/bukkyobunka.1995.l1.

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18

McCarthy, Blythe, Pamela Vandiver, Alexander Nagel, and Laure Dussubieux. "TECHNOLOGY OF EGYPTIAN CORE GLASS VESSELS." MRS Proceedings 1656 (July 18, 2014): 123–36. http://dx.doi.org/10.1557/opl.2014.710.

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ABSTRACTOur knowledge of glass production in ancient Egypt has been well augmented not only by the publication of recently excavated materials and glass workshops, but also by more recent materials analysis, and experiments of modern glass-makers attempting to reconstruct the production process of thin-walled core-formed glass vessels. The small but well preserved glass collection of the Freer Gallery of Art in Washington, D.C. was used to examine and study the technology and production of ancient Egyptian core-formed glass vessels. Previous study suggests that most of these vessels were produced in the 18th Dynasty in the 15th and 14th centuries BCE, while others date from the Hellenistic period and later. In an ongoing project we conducted computed radiography, x-ray fluorescence analysis and scanning electron microscopy on a selected group of vessels to understand further aspects of the ancient production process. This paper will provide an overview of our recent research.

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Aloiz, Emily, Janet Douglas, and Alex Nagel. "Investigation into Achaemenid Persian Painted Plasters and Glazed Bricks from Persepolis and Pasargadae in the Smithsonian's Freer Gallery of Art." Microscopy and Microanalysis 20, S3 (August 2014): 2042–43. http://dx.doi.org/10.1017/s1431927614011945.

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20

Sari, Marchelia Gupita, and Imaniar Sofia Asharhani. "IDENTIFIKASI PENDEKATAN WHITE CUBE DAN REGIONALISME KRITIS PADA ARSITEKTUR GALERI SENI DI YOGYAKARTA." LANGKAU BETANG: JURNAL ARSITEKTUR 7, no. 2 (October 14, 2020): 163. http://dx.doi.org/10.26418/lantang.v7i2.39678.

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Regionalisme dalam arsitektur kerap dibahas sebagai respon terhadap arsitektur modern yang bersifat univalen dan melunturkan nilai-nilai kesetempatan. Estetika galeri seni dengan pendekatan white cube yang berakar pada modernisme telah mengglobal atau melanda dunia, seperti halnya international style dalam arsitektur. Yogyakarta kini tengah menghadapi isu lokalitas dalam arsitektur yang dapat mencerminkan identitasnya sebagai kota seni dan budaya. Galeri seni memiliki peranan penting untuk menyebarkan kesenian kontemporer yang dinamis. Penelitian ini bertujuan untuk mengidentifikasi penerapan pendekatan white cube pada arsitektur galeri seni dan penerapan regionalisme kritis sebagai respon terhadap modernitas. Penelitian ini menggunakan metode penelitian deskriptif kualitatif. Analisis data dilakukan dengan komparasi antarkasus berdasarkan indikator dari regionalisme kritis dalam arsitektur. Penarikan kesimpulan berdasarkan kecenderungan penerapan white cube dengan indikator regionalisme pada kasus. Hasil penelitian menunjukkan bahwa pendekatan regionalisme ditemukan pada kasus yang menekankan tektonika, respon terhadap iklim, dan respon terhadap konteks sekitar. Karya seni di galeri seni Yogyakarta ternyata tidak serta merta dibebaskan dari konteks sekitar seperti halnya konsep white cube gallery.IDENTIFICATION OF WHITE CUBE APPROACH AND REGIONALISM IN ART GALLERY ARCHITECTURE IN YOGYAKARTA Regionalism in architecture is often discussed as a response to modern architecture, which contains a univalent value and attenuates the values of context. The aesthetics of art galleries with the concept of white cube rooted in modernism have become trend in the world and international style in architecture. Yogyakarta is currently facing locality in architecture that can reflect its identity as a city of arts and culture. Art galleries have an essential role in spreading dynamic contemporary art. This study aims to identify the white cube approach to art gallery architecture and critical regionalism to respond to modernity. This research uses descriptive qualitative research methods. Data analysis was conducted by comparisons between cases based on indicators of crucial regionalism in architecture. The conclusion is based on the tendency of applying white cube with indicators of regionalism in cases. The results showed that the regionalism approach was found in cases that emphasized tectonic aspects, responses to climate, and responses to the surrounding context. Artwork in the Yogyakarta art gallery is not necessarily freed from the surrounding context, such as the concept of the white cube gallery.

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Schuhmann, Leslie, and Christine Chagnon. "Collections Support Services (CSS) - 25 Years of Improving Access and Care to our Nation’s Collections." Biodiversity Information Science and Standards 2 (June 13, 2018): e25889. http://dx.doi.org/10.3897/biss.2.25889.

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Originally formed in the early 1980s as the Move Crew to move museum collections to the newly opened state of the art Smithsonian Institution’s Museum Support Center, Collections Support Services has evolved into a team of highly skilled museum professionals recognized as trusted experts, innovators, project managers, and problem solvers in all aspects of collections stewardship. We have packed, moved, and stored MILLIONS of objects across Smithsonian museums including the National Museum of Natural History and several of our art museums; the Freer Sackler Gallery, Hirshhorn Museum and Sculpture Garden, and National Museum of African Art. Our vast experience with Natural History collections has been with objects ranging from microscopic invertebrates, fragile bird eggs, 40’ war canoes, whale skulls, giant squids and EVERYTHING in between! Many of these collections came from overcrowded and dusty attics, basements, and warehouses prone to flooding, pest infestation, and poor climate control. We have spent the last 25 years moving these collections into our climate controlled storage pods furnished with new metal cabinets designed for long term preservation. Some of the unique packing and transportation methods we will highlight in this presentation are “airbags” that encompass fragile bird skeletons and uniform shipping containers made of ethafoam planks and old wooden drawers. In addition, we have designed and constructed aluminum pallets for oversized collections, specialized elephant skull pallets, and plaster jackets for paleo fossil specimens. These storage solutions have greatly improved access to collections by allowing researchers to study specimens with minimal handling necessary. This presentation will specifically demonstrate these and other dramatic improvements that we have made as well as highlight innovative solutions we developed to safely transport, store, and provide better access to our Natural History collections for future generations.

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Screech, Timon. "Twelve Centuries of Japanese Art from the Imperial Collections. By Ann Yonemura. pp. 224, 75 col. plates, map, table. Washington, Freer Gallery and Sackler Gallery in association with the Smithsonian Institution Press, 1998. £49.95." Journal of the Royal Asiatic Society 9, no. 1 (April 1999): 204–6. http://dx.doi.org/10.1017/s1356186300016321.

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23

Valdivieso Martínez, Beatriz. "Velázquez en el mercado de arte." VA-lN-ART (Valores e Interrelación en las Artes), no. 5 (2023): 115–24. http://dx.doi.org/10.12795/va-in-art.2023.i05.08.

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Este artículo analiza el mercado de subastas en torno a algunas obras de Velázquez desde los años noventa del pasado siglo a nuestros días. Pocas obras de Diego Velázquez se han vendido en subasta pública a lo largo de la historia. Esto es debido a que, al lograr convertirse en pintor de corte a temprana edad, sus obras en su mayoría pertenecían a la familia real y, por ende, son propiedad del estado español y están en casi en su totalidad en el Museo del Prado de Madrid. Algunos cuadros de Velázquez eran encargados asimismo por la alta aristocracia madrileña, duques y marqueses, alta burguesía e intelectuales, que fueron vendidos posteriormente por sus descendientes a grandes colecciones privadas y museos del mundo. Es necesario señalar a este respecto que en el siglo XIX el Deán López Cepero, aprovechando su condición de clérigo influyente, convenció a los frailes del Convento del Carmen Calzado para comprar una pareja de cuadros con las representaciones de la Inmaculada y San Juan Evangelista. Inmediatamente los volvió a vender para su propio beneficio económico al ministro de Gran Bretaña Bartholomew Frere, por lo cual actualmente se encuentran en la National Gallery de Londres. Y así surgen las ventas de cuadros de Velázquez en subastas.

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Markov, Atanas. "Extention of Creative Approaches Visual Artists by Augmented Reality (AR)." Cultural and Historical Heritage: Preservation, Representation, Digitalization 7, no. 1 (2021): 232–39. http://dx.doi.org/10.26615/issn.2367-8038.2021_1_018.

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There are currently over 3.8 billion smartphone users in the world (Reference from 01.2021). Mobile technologies are becoming an integral part of our lives and this undoubtedly provides a large and diverse environment for the expression of artists from all fields. Mobile technology is changing the way we encounter art. They do it mobile and the term "on demand" is extended to "on the go". The works are becoming more diverse and innovative and every person with a smartphone is a potential user of art. Most modern smart devices are now able to provide Augmented Reality (AR) experiences. AR is already used by innovative brands in trade and marketing, but AR can, and is used, and will be used more and more in the art world. We will no longer associate the visual arts with just visiting art galleries or theater and concert halls. Technologies such as augmented reality (AR), virtual reality (VR), mixed reality (MR) or generalize Extended Reality (XR) open up new creative possibilities for artists and new experiences for the audience. This not only gives new sensations to the audience, but also frees the art from the gallery, thus reaching a completely new audience. Keywords: Augmented Reality (AR), Interactive Art, Visual Art

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25

Chanchani, Nachiket. "The Antiquity of Nepalese Wood Carving: A Reassessment. By Mary Sheperd Slusser. Washington DC: University of Washington Press in association with the Freer Gallery of Art and the Arthur M. Sackler Gallery, Smithsonian Institution, 2010. 201 illus., xix, 315 pp. $75.00 (cloth)." Journal of Asian Studies 71, no. 2 (May 2012): 576–78. http://dx.doi.org/10.1017/s0021911812000526.

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Morgan, D. O. "The Baburnama. Memoirs of Babur, Prince and Emperor. Translated and edited by Wheeler M. Thackston. pp. 472, illus. New York, Oxford University Press, in association with the Freer Gallery of Art and the Arthur M. Sackler Gallery, Washington, D.C., 1996. US$39.95." Journal of the Royal Asiatic Society 9, no. 2 (July 1999): 296. http://dx.doi.org/10.1017/s1356186300011093.

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Shackle, Christopher. "WHEELER M. THACKSTON (ed. and tr.): The Jahangirnama: memoirs of Jahangir, emperor of India. xxv, 502 pp., frontispiece. New York and Oxford: Oxford University Press (in association with the Freer Gallery of Art and the Arthur M. Sackler Gallery), 1999. $65.00, £50.00." Bulletin of the School of Oriental and African Studies 64, no. 2 (June 2001): 268–308. http://dx.doi.org/10.1017/s0041977x01280161.

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Schulte-Wülwer, Ulrich. "Deutsch-dänische Kunstbeziehungen 1820 bis 1920." Nordelbingen: Beiträge zur Geschichte der Kunst und Kultur, Literatur und Musik in Schleswig-Holstein, no. 89 (December 2023): 115–68. http://dx.doi.org/10.38072/2941-3362/p6.

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In the last decade of the 18th century, the Danish state experienced a period of prosperity, which was characterized by a German-Danish cultural transfer in all intellectual fields. The first clouds were cast by the rise of an artistic self-confidence. Asmus Jacob Carstens from Schleswig and Ernst Meyer from Altona, who felt disadvantaged in the awarding of medals and protested vehemently, were expelled from the art academy in Copenhagen in 1781 and 1821. Nevertheless, the Copenhagen Art Academy had a strong attraction for numerous artists from northern Germany. In this respect, Caspar David Friedrich, Philipp Otto Runge and Georg Friedrich Kersting are primarily worthy of mention. The Danish sculptor Bertel Thorvaldsen was a strong link between the Germans and Scandinavians living in Rome throughout his life. The first cracks in the good bilateral relationship came with the strengthening of the national liberal movements. In 1842, the influential teacher at the Copenhagen Art Academy, N.L. Høyen, drew up a program aimed at repressing influences from abroad, especially from Germany. Not all artists heeded Høyens call for a return to national themes of history, folk life, and nature, so that two groups confronted each other in Denmark: the nationalists and the Europeans. With the German-Danish War of 1848/51 there was a rift, and with the war of 1864 the final break. Only after twenty years did the academies of Copenhagen and Berlin resume contact. From 1883 onwards, there were reciprocal visits, which led to Danish artists once again taking part in representative exhibitions in Berlin or Munich. Conversely, however, German artists were denied participation in exhibitions in Copenhagen, an exception being the International Art Exhibition on the inauguration of the Ny Carlsberg Glyptotek in Copenhagen in 1897. A spirit freed from all academic constraints also emanated from the artist colonies in Europe. In particular, the works of the Skagen painters were enthusiastically celebrated at exhibitions in Munich and Berlin, which led to some German painters traveling to the Danish artists' colony, where they were received without prejudice. However, at no time was there a balance in the official acceptance and appreciation of the art of the respective neighbouring country. While painters such as Michael Ancher and Peder Severin Krøyer sold works to renowned collectors and museums in Germany, no Danish Museum acquired the work of a German artist during the period under study. The Berlin painter Walter Leistikow, who was married to a Danish woman, worked hard to stimulate a German-Danish art transfer and succeeded in getting the leading Danish gallery owner Valdemar Kleis to offer German painters the opportunity to exhibit in Copenhagen for the first time in 1894, most of whom belonged to the group Die XI, a precursor of the Berlin Secession. The appreciation of the Skagen painters was replaced at the turn of the century by admiration works by F.J. Willumsen and Vilhelm Hammershøj. Hammershøj filled a room of his own at the Great Berlin Art Exhibition in 1900 with 14 works, and the Schulte Gallery in Berli While German admiration for Danish art peaked between 1890 and 1900, people in Denmark continued to look past the German art scene. This was also experienced by the artists' group Die Brücke, which sought foreign members soon after its founding. When Kleis presented works by the Brücke artists in Copenhagen in 1908, they too received only negative reviews. In March 1910, the time seemed ripe for a change of mood. The Berlin gallery owner Herwarth Walden strove to make his Sturm-Galerie a rallying point for the European modernist art movements. In July 1912, he rented the exhibition building of the secessionist group Den Frie in Copenhagen and held an exhibition of Italian Futurists there. When Walden was celebrated by the Danish press as a cosmopolitan who had brought modernism to Copenhagen, he showed works by the French Henri le Fauconier and Raoul Dufy, as well as the painters Marianne von Werefkin and Gabriele Münter, but the tenor of the press was again dominated by anti-German resentment. After the outbreak of World War I, Walden allowed himself to be abused by the German propaganda department of the German Secret and Intelligence Service, which strove to correct the image of Germans abroad as cultural barbarians. Walden showed works by Kandinsky, Klee, Kokoschka, Marc, and again Gabriele Münter at the Copenhagen artists’ cabaret Edderkoppen in the fall of 1917. He also planned an exhibition of Danish avant-garde in his Sturm Gallery in Berlin, but the artists had become suspicious in the face of German propaganda, which was celebrating a last military success. The exhibition was canceled. This did not prevent Walden from organizing an exhibition at Kleis’ art shop in Copenhagen shortly before the end of the war, under the guise of internationalism. This was Walden's largest and most ambitious project in Scandinavia. Of the 133 works exhibited, almost half came from Germany. The attempt to convince the Danes of the excellence of German art failed miserably, because the basic conviction was still: Everything that comes from Germany is bad. The opening took place on November 28 and ended on December 16, 1918, by which time the war was already over.

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Haigler, Daniella. "Collections Access and Custom Storage Solutions at the Smithsonian’s Museum Support Center." Biodiversity Information Science and Standards 2 (July 17, 2018): e26223. http://dx.doi.org/10.3897/biss.2.26223.

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The National Museum of Natural History is committed to long-term stewardship of collections and to supporting their use by scientists and the general public. This stewardship role is unique among other US natural history museums. As the nation’s natural history museum, the National Museum of Natural History has a mandated commitment to conserve and protect its collections in a manner that will assure their continued accessibility by future generations and maintain the National Museum of Natural History mission. A significant number of objects from the National Museum of Natural History are permanently stored at the Museum Support Center in Suitland, MD. This space not only includes collections from the National Museum of Natural History (NMNH), but also the Museum Conservation Institute (MCI), the National Museum of American History (NMAH), the Hirshhorn Museum and Sculpture Garden (HMSG), the Freer Sackler Gallery (FSG) and the National Museum of African Art (AfA) as well as several other museums. In terms of collections access and use, the museum support center has a team, Collections Support Services (CSS), dedicated to collections’ long-term care and preservation. Collections Support Services provides access and support for the 730,000 square feet of collections housed at MSC. CSS staff perform a variety of technical and labor tasks related to the cleaning, preparation, packing, transport, unpacking, and permanent storage of objects and specimens. This includes building custom aluminum pallets for oversized objects and whale skull cradles. Moreover, while the use of palletized storage is not a new concept in museum storage, the construction of Pod 4 at the Museum Support Center in Suitland, MD posed some unique challenges for the permanent storage of oversized collections. Pod 4 provides continuous rows of 2', 4' and 8' deep cantilevered open racking from floor to ceiling (22 feet high), and allows palletized objects to be moved and placed in the racking via forklift. Traditional wooden pallets are unacceptable by archival standards, as they are acidic by nature, bulky, heavy, not fire-retardant, and prone to pest infestation. Collections Support Services circumvented these issues by establishing an innovative system of customized aluminum pallets for collections’ long-term care and preservation. These pallets are durable and lightweight, and must pass several quality control tests that include dropping and jarring. They are also designed with multiple functions in mind for ease of use, storage, transport, and maintenance.

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Alexander, Olga. "Art Gallery." Frontiers: A Journal of Women Studies 43, no. 2 (2022): 202–7. http://dx.doi.org/10.1353/fro.2022.0020.

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Burbano, Andrés, Ernest Edmonds, Daniel Cardoso Llach, Skawennati, Nā ‘Anae Mahiki, Amy Fredeen, Dima Veryovka, et al. "Art Gallery." Leonardo 51, no. 4 (August 2018): 426–45. http://dx.doi.org/10.1162/leon_a_01694.

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Stradling, Bob. "Art gallery." Critical Perspectives on Accounting 15, no. 4-5 (May 2004): 542. http://dx.doi.org/10.1016/j.cpa.2003.11.003.

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Jaiswal, Abhilasha. "ONLINE ART GALLERY." International Journal of Research -GRANTHAALAYAH 6, no. 6 (June 30, 2018): 403–6. http://dx.doi.org/10.29121/granthaalayah.v6.i6.2018.1386.

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An online art gallery is new concept of selling and purchasing art works, both digital prints and traditional paintings are available on online sites. Basically, it is a user interface kind of web page on which buyer and seller both gets a platform for their jobs. Online art gallery is a time, energy and money saving web site concept. By this artist also can host their works and art curator can arrange auctions for art works.

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Wolfe, Rosalee J., Jodi Giroux-Lang, Lynn Pocock, and Karen Sullivan. "Student art Gallery." ACM SIGGRAPH Computer Graphics 32, no. 1 (February 1998): 30–33. http://dx.doi.org/10.1145/279389.564624.

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Wolfe, Rosalee J., Jodi Giroux, Lynn Pocock, and Karen Sullivan. "Student art gallery." ACM SIGGRAPH Computer Graphics 32, no. 3 (August 1998): 32–34. http://dx.doi.org/10.1145/281278.564627.

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Bila, Vonani. "Baloyi's art gallery." New England Review 38, no. 4 (2017): 11–12. http://dx.doi.org/10.1353/ner.2017.0088.

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Merkel, Jayne. "Yale Art Gallery." Architectural Design 77, no. 3 (2007): 110–15. http://dx.doi.org/10.1002/ad.469.

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Shackle, Christopher. "FARĪDU'DĪN ‘ATTĀR; translated by PETER AVERY: The speech of the birds, concerning migration to the real: the Mantiqu't-tair. xxii, 560 pp. Cambridge: The Islamic Texts Society, 1998. £45.00, £19.95 (paper). WHEELER M. THACKSTON (ed. and tr.): The Jahangirnama: memoirs of Jahangir, emperor of India. xxv, 502 pp., frontispiece. New York and Oxford: Oxford University Press (in association with the Freer Gallery of Art and the Arthur M. Sackler Gallery), 1999. $65.00, £50.00." Bulletin of the School of Oriental and African Studies 64, no. 2 (June 2001): 268–308. http://dx.doi.org/10.1017/s0041977x01270165.

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Brucker-Cohen, Jonah, Tine Bech, Anthony Rowe, Gaz Bushell, Liam Birtles, Chris Bennewith, Oliver Bown, et al. "Data Materialities Art Gallery: Introduction and Gallery." Leonardo 49, no. 4 (August 2016): 352–74. http://dx.doi.org/10.1162/leon_a_01289.

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Toledo, Tamara. "Sur Gallery." Latin American and Latinx Visual Culture 4, no. 1 (January 1, 2022): 110–21. http://dx.doi.org/10.1525/lavc.2022.4.1.110.

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This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and “Latinx Canadian art.” We aim to broaden the historical and current narratives of art and artists from Latin America north of the United States, taking into account Canada’s history of migration and its official bilingual status (French-English), multilingual and multicultural reality, and relationship with Indigenous peoples. Adding to the urgency of studying the presence of Latin American art in Canada, there is also a need to focus on the work of artists and curators with a Latin American background. They are developing languages of expression, practices, and aesthetics that no longer conform to the “Latin American art” category. It is thus essential to highlight the multiple artistic initiatives that are allowing them to gain visibility and recognition within both the local and global artistic milieus. We posit that today it is almost impossible to overlook both the historical and the ongoing presence of Latin American art and artists in Canada and the recent emergence of a vibrant, ever-expanding contemporary Latinx Canadian art scene. This section proposes six groundbreaking contributions that, from coast to coast, offer further data and analysis, case studies, and investigations into museum archives: from Vancouver to Montréal, from pre-Columbian art and material culture to contemporary art, from the Chilean diaspora of the 1970s to more recent migration waves, from curatorial strategies to the classroom.

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Cushing, Deborah. "Art in Dispute at the Beaverbrook Art Gallery." International Journal of Cultural Property 15, no. 3 (August 2008): 297–320. http://dx.doi.org/10.1017/s094073910808017x.

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AbstractA long-running dispute between the Beaverbrook Art Gallery and its benefactor foundations illustrates the need for documentation of gifts or loans of artwork. At issue in this dispute is ownership of over 200 of the paintings on display at the gallery valued at up to $200 million. None of the parties to the dispute has been able to produce records to establish that the paintings were either a gift or on loan to the Beaverbrook. Instead the parties have had to rely on newspaper and magazine articles, speeches, gallery catalogues, and export documents to substantiate their positions. Central to the dispute has been the role of the First Lord Beaverbrook and whether his actions amounted to a breach of his fiduciary duty to the gallery. This article examines the particulars of the parties' claims as well as the decisions that have been made to date. Final resolution of the dispute is not expected until all appeals have been decided.

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Jurėnienė, Virginija, and Dovilė Peseckienė. "Art Gallery Visitors’ Motivations." Informacijos mokslai 89 (June 5, 2020): 17–33. http://dx.doi.org/10.15388/im.2020.89.37.

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The article discusses the motivational factors of visual art institution consumers. Analysis includes Falk’s identity-related theory of motivation for visiting art institutions that discusses how visitors’ experience begins before visiting a museum and is focused on the consumer’s attitude (identity) validation. Consumers’ motivation to visit an art institution depends on not only the proposals provided by the institution and their value to the consumer, but also on accessibility, the environment, and the personnel’s communication. The article introduces the motivations, expectations of consumers of the services provided by Kaunas Picture Gallery as well as evaluation of the services and infrastructure provided by the organisation obtained during study Visitors’ Expectations in Visual Art Institutions.

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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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Tucker, Alan. "The Art Gallery Problem." Math Horizons 1, no. 2 (March 1994): 24–26. http://dx.doi.org/10.1080/10724117.1994.11974883.

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Murdoch, Antoinette. "The Johannesburg Art Gallery." de arte 46, no. 83 (January 2011): 77–82. http://dx.doi.org/10.1080/00043389.2011.11877145.

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Wong, John, Jieliang Luo, Weidi Zhang, Brigitta Zics, Özge Samanci, Adam Snyder, Gabriel Caniglia, et al. "SIGGRAPH 2019 Art Gallery." Leonardo 52, no. 4 (August 2019): 400–422. http://dx.doi.org/10.1162/leon_a_01783.

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Art Gallery, Ateneo. "Ateneo Art Gallery Retrospective." Perspectives in the Arts and Humanities Asia 4, no. 1 (March 28, 2014): 156. http://dx.doi.org/10.13185/1857.

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Smith, Sarah-Neel. "The Semiperipheral Art Gallery." Third Text 34, no. 2 (March 3, 2020): 271–90. http://dx.doi.org/10.1080/09528822.2020.1757239.

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Weisberg, Gabriel. "Marie Nordlinger and the Bings." Journal of Japonisme 6, no. 2 (August 26, 2021): 191–201. http://dx.doi.org/10.1163/24054992-06020004.

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Abstract The essay traces the role of Marie Nordlinger (1876-1961) against her ties with Siegfried Bing, Marcel Bing, Marcel Proust and Charles Lang Freer. Nordlinger first worked in the ateliers of art nouveau later becoming a confidante of the Bings who helped sell Japanese prints in the United States especially to Charles Lang Freer when she visited the country.

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Shih, Tsui-Yii, and Zhi-An Liu. "Wrong Gallery." Journal of Cases on Information Technology 18, no. 3 (July 2016): 13–28. http://dx.doi.org/10.4018/jcit.2016070102.

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This case gives a depiction of how the founder of Wrong Gallery, Ron, when facing the competition and operational mode of the traditional art gallery industry in Taiwan, capitalizes on the latest trend of emergent social media, and leads his team to break through the shackles or consumers' stereotypical impression. Ron has set up a brand-new age of art space with the brand thinking and innovative approaches, becoming a practical case in regard of the new-pattern art space. In an era where the total value of output from cultural and creative industries worldwide is rapidly increasing, this case's rich materials give readers a better understanding of the operation of an art gallery amongst the cultural and creative industries. This case allows readers to understand how an innovative enterprise's founder starts by analyzing industry situations, incorporates his/her personal strengths, and further determines the strategy application and implementation for the company's market position and business operation model.

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