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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 di

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4

Schneider, Karen. "“The Soul Sense of a Beautiful Thing”." Journal of Japonisme 7, no. 1 (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 u

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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 (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 Ar

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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 (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 (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, 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 assem

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11

Canby, Sheila R. "Elizabeth Sgalitzer Ettinghausen 1918–2016." Review of Middle East Studies 50, no. 2 (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 A

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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 (1986): 567–68. http://dx.doi.org/10.1086/354262.

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13

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 (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 (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

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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 produ

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19

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 (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 (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

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21

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 Sculptu

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22

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 (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 burguesí

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24

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 al

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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 (2012): 576–78. http://dx.doi.org/10.1017/s0021911812000526.

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26

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 (1999): 296. http://dx.doi.org/10.1017/s1356186300011093.

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27

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 (2001): 268–308. http://dx.doi.org/10.1017/s0041977x01280161.

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28

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 F

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29

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 per

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30

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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31

Burbano, Andrés, Ernest Edmonds, Daniel Cardoso Llach, et al. "Art Gallery." Leonardo 51, no. 4 (2018): 426–45. http://dx.doi.org/10.1162/leon_a_01694.

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32

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

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33

Jaiswal, Abhilasha. "ONLINE ART GALLERY." International Journal of Research -GRANTHAALAYAH 6, no. 6 (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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34

Wolfe, Rosalee J., Jodi Giroux-Lang, Lynn Pocock, and Karen Sullivan. "Student art Gallery." ACM SIGGRAPH Computer Graphics 32, no. 1 (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 (1998): 32–34. http://dx.doi.org/10.1145/281278.564627.

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36

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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37

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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38

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 (2001): 268–308. http://dx.doi.org/10.1017/s0041977x01270165.

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39

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

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40

Toledo, Tamara. "Sur Gallery." Latin American and Latinx Visual Culture 4, no. 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 backg

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Cushing, Deborah. "Art in Dispute at the Beaverbrook Art Gallery." International Journal of Cultural Property 15, no. 3 (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. Cen

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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 consum

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Blair, Jennifer. "Art Museum Image Gallery." Charleston Advisor 21, no. 3 (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 s

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44

Tucker, Alan. "The Art Gallery Problem." Math Horizons 1, no. 2 (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 (2011): 77–82. http://dx.doi.org/10.1080/00043389.2011.11877145.

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46

Wong, John, Jieliang Luo, Weidi Zhang, et al. "SIGGRAPH 2019 Art Gallery." Leonardo 52, no. 4 (2019): 400–422. http://dx.doi.org/10.1162/leon_a_01783.

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47

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

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48

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

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49

Weisberg, Gabriel. "Marie Nordlinger and the Bings." Journal of Japonisme 6, no. 2 (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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50

Shih, Tsui-Yii, and Zhi-An Liu. "Wrong Gallery." Journal of Cases on Information Technology 18, no. 3 (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

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