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Journal articles on the topic 'Houston Museum of Fine Arts'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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1

Ross, Doran H. "African Art at the Museum of Fine Arts, Houston." African Arts 36, no. 3 (October 1, 2003): 34–94. http://dx.doi.org/10.1162/afar.2003.36.3.34.

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2

Schieber, Roman, Thiemo Fildhuth, Matthias Oppe, and Thorsten Helbig. "Herausforderungen bei der Realisierung des Museum of Fine Arts, Houston." ce/papers 2, no. 1 (May 2018): 25–39. http://dx.doi.org/10.1002/cepa.628.

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3

Giral, Angela, and Jeannette Dixon. "The virtual museum comes to campus: two perspectives on the Museum Educational Site Licensing Project." Art Libraries Journal 21, no. 1 (1996): 14–17. http://dx.doi.org/10.1017/s0307472200009706.

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The Getty Art History Information Program has joined with MUSE Educational Media in a project bringing together seven universities and seven art museums for the purpose of making digital images of works of art available for study and teaching via campus networks. Beyond the immediate benefits to its participants, the project is designed to develop methods and guidelines for the academic use of digitized museum-owned materials at colleges and universities. Columbia University and the Houston Museum of Fine Arts are two of the participants in the project, which is remarkable for the level of collaboration which it is achieving between museums and universities.
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4

Miller, Phyllis K., Beth B. Schneider, Dennis Black, LaNell Clark, and Georgeann Wrinkle. "Instructional Resources: Learning through Art: The Museum of Fine Arts, Houston." Art Education 47, no. 4 (July 1994): 25. http://dx.doi.org/10.2307/3193486.

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5

Schneider, Beth B. "An Interpretive Master Plan at the Museum of Fine Arts, Houston." Journal of Museum Education 33, no. 3 (September 2008): 277–82. http://dx.doi.org/10.1080/10598650.2008.11510610.

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6

Hilcken, Jonas, and Felix Schmitt. "Bonded Glass Tubes as Translucent Jacket of the Museum of Fine Arts in Houston – Design, Engineering and Testing." ce/papers 4, no. 6 (December 2021): 47–58. http://dx.doi.org/10.1002/cepa.1625.

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7

Benedettino, Vincenza. "Ludwig Mies van der Rohe, James Johnson Sweeney e Werner Haftmann: mettere in scena l’arte moderna a Houston e Berlino." Opus Incertum 9 (December 13, 2023): 74–85. http://dx.doi.org/10.36253/opus-14842.

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This article aims to trace the history of the exhibition device created by Ludwig Mies van der Rohe (1886-1969) at the Neue Nationalgalerie in Berlin, used during the mandate of the museum’s first director, Werner Haftmann (1912-1999), from 1967 to 1974. The solution devised by the architect for the glass hall on the ground floor of the museum, intended for temporary exhibitions and characterised by a completely open space with no walls, consisted of a set of panels suspended from the ceiling by metal cables that could be freely mounted, modulated and dismantled. They were ideally intended to meet the specific museographic requirements of each exhibition and different types of artwork. By analysing the displays of some of the major exhibitions at the Neue Nationalgalerie, the role played by James Johnson Sweeney (1900-1986), director of the Museum of Fine Arts, Houston, in the realisation of Mies van der Rohe’s ideas and exhibition projects in Cullinan Hall, a wing of the museum built by the architect in 1958, and the relationship between museography, works of art, museum space and visitors will be discussed and critical issues will be highlighted.
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8

Barriendos, Joaquín. "Latinoamericanismo Digital: Arte latinoamericano y humanidades digitales en Estados Unidos." Quaderni Culturali IILA 3, no. 3 (February 11, 2022): 15–29. http://dx.doi.org/10.36253/qciila-1550.

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El International Center for the Arts of the Americas (ICAA) del Museum of Fine Arts, Houston (MFAH) puso en línea en 2012 la primera fase del archivo ICAA Documents Project, un ambicioso repositorio digital de documentos primarios del arte latino y latinoamericano del siglo XX. Este artículo analiza la arquitectura documental del ICAA Documents Project tomando en cuenta las coyunturas que están experimentando en la actualidad las Humanidades Digitales en, desde y sobre América Latina. El artículo presta especial atención a la manera en la que este proyecto utiliza el Art & Architecture Thesaurus (Getty Foundation) para construir sus categorías meta-descriptivas y voces autorizadas. A partir del análisis de lo que llamaremos latinoamericanismo digital, en el artículo se abordan aspectos relacionados con la gestión documental del arte latinoamericano en entornos museográficos estadounidenses, así como el impacto de las Humanidades Digitales para la investigación global del arte latinoamericano.
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9

Evans, Dallin. "Historians of Islamic Art Association 2023 Biennial Symposium, the Museum of Fine Arts, Houston, and Rice University, March 2–4, 2023." International Journal of Islamic Architecture 13, no. 2 (July 1, 2024): 485–88. http://dx.doi.org/10.1386/ijia_00154_5.

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10

Piniella Grillet, Isabel. "Ramírez, Mari Carmen and Tahía Rivero (2018). Contesting Modernity: Informalism in Venezuela, 1955–1975. Exhibition Catalog. Houston: Museum of Fine Arts. 272 pages." Iberoamericana – Nordic Journal of Latin American and Caribbean Studies 48, no. 1 (2019): 117–19. http://dx.doi.org/10.16993/iberoamericana.471.

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11

Grogan, Michael. "Texas Two Step: Ludwig Mies van der Rohe's Addition(s) to Houston's Museum of Fine Arts." Arris 31, no. 1 (2020): 88–107. http://dx.doi.org/10.1353/arr.2020.0008.

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12

Timte, Julie. "Between Sea and Sky: Blue and White Ceramics from Persia and Beyond, Museum of Fine Arts, Houston, Texas, November 21, 2020–May 31, 2021." International Journal of Islamic Architecture 11, no. 2 (July 1, 2022): 453–56. http://dx.doi.org/10.1386/ijia_00092_5.

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13

Kimm, Jong Soung. "The Legacy of Mies van der Rohe in Modern Movement and the Modern Architecture in Korea." Reuse, Renovation and Restoration, no. 52 (2015): 4–9. http://dx.doi.org/10.52200/52.a.rwd0uw0t.

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The following article is an edited version of the keynote presented at the 13th International docomomo Conference that took place in Seoul, Korea, on September 2014. The paper discusses how “Western” architecture was first introduced to Korean soil: a French Catholic missionary-architect built the Seoul Cathedral at the end of the 19th century. American and Canadian architects built educational buildings for the Protestant missionary-founded colleges in Korea. Japanese civil servant architects built some public buildings during the colonial rule. The work of two prominent Korean architects, Kim Chung-Up and Kim Swoo-Geun are discussed. The author discusses his education at Mies van der Rohe’s Illinois Institute of Technology (IIT) in mid-1950s, his work for the Master during the 1960s, and his teaching at IIT 1966 and 1978. He describes how his dual position of teaching at IIT and working for Mies gave him the opportunity to work on three projects of importance: the Mies Retrospective in Berlin in 1968; the exhibition proposal for the extension of the Museum of Fine Arts in Houston of 1969; the Toronto-Dominion Bank executive floor and Banking Pavilion of 1966–1968. The author discusses several works of Mies van der Rohe to “demystify” the general perception that Mies was a rigid aesthetician: how Mies van der Rohe would arrive at design decisions not always sticking to the module, grid and geometry, contrary to the conventional reading of his architecture. The author then discusses five works from his three decades of practice with sac International in Seoul, highlighting where Mies’ influences might be found in these works: the Korea Military Academy Library of 1982; Seoul Hilton Hotel of 1983; the Weight-lifting Gymnasium for ‘88 Seoul Olympics of 1986; Kyongju Museum of Art of 1991; and the SK Group Office Building in Seoul of 1999. The paper also reflects on its relationship to the main theme of the recent International docomomo Conference in Seoul, Expansion and Conflict.
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14

Soppelsa, Robert T. "Art and Power in the Central African Savanna: Sculpture of the Songye, Luba, Luluwa and Chokwe Peoples. The Menil Collection, Houston, September 26, 2008–January 4, 2009; The Cleveland Museum of Art, March 1–June 7, 2009; The de Young Museum, Fine Arts Museums of San Francisco, June 27–October 11, 2009." African Arts 42, no. 4 (December 2009): 84–86. http://dx.doi.org/10.1162/afar.2009.42.4.84.

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15

Self, Pamela. "Review - Hélio Oiticica: The Body of Colour Exhibition at the Museum of Fine Arts, Houston 10 December 2006 – 1 April 2007 Tate Modern, London 6 June – 23 September 2007 Catalogue by Mari Carmen Ramirez (ed.) Tate Publishing, London, 2006376 pp., 225 colour illus. ISBN 978-1-85437-698-5 £24.99 (pb)." Architectural Research Quarterly 11, no. 3-4 (December 2007): 335–37. http://dx.doi.org/10.1017/s135913550000083x.

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16

Graham, Robert. "War/Photography: Images of Armed Conflict and Its Aftermath, The Museum of Fine Arts, Houston, (11 November 2012–3 February 2013), The Annenberg Space for Photography (23 March– 2 June 2013), Corcoran Gallery of Art (29 June–29 September 2013), Brooklyn Museum (8 November 2013–2 February 2014) Anne Wilkes Tucker and Will Michels, with Natalie Zelt; with contributions by Liam Kennedy, Hilary Roberts, John Stauffer, Bodo von Dewitz, Jeff Hunt, and Natalie Zeldin, War/Photography: Images of Armed Conflict and Its Aftermath, The Museum of Fine Arts, Houston, 2012. Distributed by Yale University Press, 612 pp., 179 colour and 364 b/w illustrations, $90, ISBN: 9780300177381." RACAR : Revue d'art canadienne 39, no. 2 (2014): 113. http://dx.doi.org/10.7202/1027754ar.

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17

Chertogova, M. Y. "Album “The Kemerovo Regional Museum of Fine Arts”." Iskusstvo Evrazii [The Art of Eurasia], no. 3(18) (September 30, 2020): 209–10. http://dx.doi.org/10.46748/arteuras.2020.03.020.

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In 2019, as part of the events dedicated to the 50th anniversary of the Museum, the album "The Kemerovo Regional Museum of Fine arts" (now the Kuzbass Museum of Fine Arts) was published. This is the first publication about the Kuzbass Museum of Fine Arts — a regional cultural institution of the Kemerovo region, opened in 1969. The album is based on research that reveals the history of the Museum in its fundamental aspects: the origins, the ascetics, the buildings that housed the Museum, and the art collection. В 2019 году в рамках мероприятий, посвященных 50-летию музея, издан альбом «Кемеровский областной музей изобразительных искусств» (ныне Музей изобразительных искусств Кузбасса). Это первое издание о Музее изобразительных искусств Кузбасса (МИИК) — областном учреждении культуры Кемеровской области, открытом в 1969 году. Основой альбома является исследование, раскрывающее историю музея в ее фундаментальных аспектах: истоки, подвижники, здания, в которых размещался и размещается музей, и художественная коллекция.
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18

Bowen, Amanda. "Harvard’s Fine Arts Library: collections and services over 100 years." Art Libraries Journal 37, no. 1 (2012): 29–34. http://dx.doi.org/10.1017/s0307472200017314.

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The Fine Arts Library at Harvard University has served the needs of teaching faculty, art museum staff, art and architectural students, researchers and historians since the founding of the Fogg Art Museum in 1895. Library collections have been enhanced by gifts from faculty, museum publications received on exchange, and by the transfer of arts-related materials from other Harvard libraries. Although founded in the spirit of a museum library, the Fine Arts Library has increasingly developed its collections and services for a wide community of users in fields across the academic spectrum.
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19

Piotrovskaia, Anna A. "Systematising the Main Fund of the Museum of the Academy of Arts in 1948 (based on the materials from the archive of the Russian Academy of Fine Arts)." Университетский научный журнал, no. 79 (April 24, 2024): 106–10. http://dx.doi.org/10.25807/22225064_2024_79_106.

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The article is devoted to the important year in the history of the Museum of the Academy of Fine Arts. It was in 1948 that the restoration of the Museum began after the Great Patriotic War. The article was written on the basis of museum documents of that time, now stored in the Archive of the Russian Academy of Fine Arts and making it possible to study the lost museum valuables and the reasons for their loss. The article is extremely useful for art historians involved in the provenance of works of art, museologists and museum staff, as it publishes archival information that is being introduced into scientifi c circulation for the fi rst time.
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20

Серова, М. А. "Kasli and Kusa artistic iron castings in the collection of the Tula Museum of Fine Arts." Iskusstvo Evrazii [The Art of Eurasia], no. 1(32) (March 30, 2024): 174–87. http://dx.doi.org/10.46748/arteuras.2024.01.013.

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Статья посвящена обзору произведений каслинского и кусинского художественного литья из коллекции Тульского музея изобразительных искусств. Исследование проведено с целью систематизации сведений о предметах художественного литья из чугуна из коллекции музея, выявления неточностей в названиях произведений, установления авторства. Также привлечены имеющиеся сведения о подобных произведениях в собраниях других музеев, прежде всего Екатеринбургского музея изобразительных искусств, Нижнетагильского музея изобразительных искусств, Челябинского государственного музея изобразительных искусств и Златоустовского городского краеведческого музея. В результате уточнена атрибуция 24 произведений художественного литья, что позволяет внести коррективы в фондовую документацию Тульского музея изобразительных искусств, поправки в Государственный каталог Музейного фонда РФ и использовать более полную и точную информацию о предметах в их каталогизации и экспонировании. The article provides an overview of the Kasli and Kusa artistic iron castings from the collection of the Tula Museum of Fine Arts. The study aims to systematise information on art objects, to identify inaccuracies in the titles of works, and to establish authorship. Artistic features and catalogue data about similar works and in the collections of other museums, primarily the Ekaterinburg Museum of Fine Arts, the Nizhny Tagil Museum of Fine Arts, the Chelyabinsk State Museum of Fine Arts, and the Zlatoust City Museum of Local Lore were also subjected to comparative analysis. As a result, the attribution of 24 works of art casting has been specified. This will allow for corrections to be made in the collection documentation of the Tula Museum of Fine Arts, to the State Catalogue of the Museum Fund of the Russian Federation, and the use of more complete and verified information about the artworks in their cataloguing and exhibiting.
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21

Hubert, Erell. "Arts from Latin America at the Montreal Museum of Fine Arts." Latin American and Latinx Visual Culture 4, no. 1 (January 1, 2022): 93–100. http://dx.doi.org/10.1525/lavc.2022.4.1.93.

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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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22

Rusak, Sandra. "Instructional Resources: African Art: Virginia Museum of Fine Arts." Art Education 49, no. 5 (September 1996): 25. http://dx.doi.org/10.2307/3193610.

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23

Glessing, Jill. "Ori Gersht: History Repeating: Museum of Fine Arts, Boston." Public 24, no. 48 (December 1, 2013): 154–57. http://dx.doi.org/10.1386/public.24.48.154_5.

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24

Rubin, Eleanor. "Older Adults at the Museum of Fine Arts, Boston." Journal of Museum Education 26, no. 1 (December 2001): 7–9. http://dx.doi.org/10.1080/10598650.2001.11510432.

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25

Cheng, Jack. "Art and Empire at the Museum of Fine Arts." Near Eastern Archaeology 71, no. 4 (December 2008): 234–37. http://dx.doi.org/10.1086/nea20697194.

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26

Woodward, Richard B. "African Art at the Virginia Museum of Fine Arts." African Arts 20, no. 2 (February 1987): 28. http://dx.doi.org/10.2307/3336599.

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27

C.-B., P. "Japanese Garden at the Boston Museum of Fine Arts." Museum Management and Curatorship 8, no. 3 (September 1989): 329. http://dx.doi.org/10.1016/0260-4779(89)90083-6.

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28

Bakanova, Irina V. "To the 100th anniversary of Irina Antonova." Issues of Museology 13, no. 1 (2022): 121–39. http://dx.doi.org/10.21638/spbu27.2022.109.

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Pushkin Museum was often ahead of its time, laying the groundwork for major changes. For example, with the opening of the Museum of Private Collections as part of the State Museum of Fine Arts, the rehabilitation of private collecting in the country took place. The December Nights festival created by Irina Antonova in collaboration with the brilliant pianist Svyatoslav Richter in 1981 became a matrix of art festivals that took place in various museums of the country during the following decades. The Pushkin State Museum of Fine Arts was charged with promoting Western art in the USSR, of which it brilliantly took the advantage when started displaying works by Picasso, Matisse, Leonardo da Vinci’s Mona Lisa, masterpieces of drawing from the Albertina Museum in Vienna, Western European and American paintings from American museums and others famous exhibitions. This is the visible part of Irina Antonova’s dynamic activity. She approached academic work no less thoroughly, as well as the organization of study and cataloguing of the collection of the State Museum of Fine Arts. And, of course, much credit must go to Irina Antonova for preparing the program for the development and reconstruction of the Pushkin Museum, which has been repeatedly revised and is being finalized before our very eyes under the direction of Marina Loshak.
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29

Rahman, N. Vinky, and Rahmah Y.A. "Design of Medan Fine Art Museum with the Application of Futuristic Architecture." International Journal of Architecture and Urbanism 3, no. 3 (November 18, 2019): 324–33. http://dx.doi.org/10.32734/ijau.v3i3.3748.

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The Futuristic architecture is a concept that illustrates the planning and development is not based on something related to the past, but try to describe the future. The futuristic architecture concept is applied to bring a new style to the building. The purpose is to eliminate the ancient impression on the building of the Fine Art Museum in Medan. The Medan Fine Arts Museum was designed as a recreation and education place to learn about fine art. Other than a place to store and preserve works of art, The Museum also provides a variety of facilities. The methodology of these projects starts with literature studies, site selection, site observation, and concept design. After carrying out these steps, the concept of space and the shape of the Museum building can be determined. Therefore, by designing this Medan Fine Art Museum with the application of Futuristic Architecture, it is hoped can increase the attractiveness of visitors and make an educative recreational place in Medan.
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30

Odell, Jay Scott, and John Koster. "Keyboard Musical Instruments in the Museum of Fine Arts, Boston." Journal of the American Institute for Conservation 36, no. 1 (1997): 84. http://dx.doi.org/10.2307/3180086.

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31

Savelieva, Olga. "The History of the Fine Arts Museum: Names, Dates, Facts." Stephanos. Peer reviewed multilanguage scientific journal 30, no. 4 (July 31, 2018): 54–65. http://dx.doi.org/10.24249/2309-9917-2018-30-4-54-65.

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32

Kondoleon, Christine. "A Gold Pendant in the Virginia Museum of Fine Arts." Dumbarton Oaks Papers 41 (1987): 307. http://dx.doi.org/10.2307/1291568.

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33

Shulman, Ken, and George Katsiaficas. "An open letter to the museum of fine arts (MFA)." New Political Science 20, no. 4 (December 1998): 489–91. http://dx.doi.org/10.1080/07393149808429844.

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34

Azcue, Leticia. "Museum of the Royal Academy of Fine Arts in Madrid." Museum International 39, no. 3 (September 1987): 201–4. http://dx.doi.org/10.1111/j.1468-0033.1987.tb00693.x.

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35

Reed, Victoria. "Ardelia Hall: From Museum of Fine Arts to Monuments Woman." International Journal of Cultural Property 21, no. 1 (February 2014): 79–93. http://dx.doi.org/10.1017/s0940739113000325.

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Abstract:Ardelia Ripley Hall (1899–1979) served from 1946 until 1962 as the Fine Arts and Monuments Adviser to the U.S. Department of State. In this role she oversaw the recovery and restitution of movable cultural property that had been displaced during the Second World War. In spite of her vast accomplishments, almost nothing has been written on Ardelia Hall, and little is known about her life. She began her career at the Museum of Fine Arts, Boston, but personal circumstances led to her resignation in 1941. During the war, she was employed by the Office of Strategic Services. The expertise she established as an art historian working with the Roberts Commission at this time led to her appointment at the State Department in 1946. This essay traces for the first time Hall’s remarkable journey from curatorial researcher to adviser on international art restitution.
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36

Christison, Muriel B. "Le muséobus du Virginia Museum of Fine Arts, Richmond, Virginia." Museum International (Edition Francaise) 8, no. 2 (April 24, 2009): 125–31. http://dx.doi.org/10.1111/j.1755-5825.1955.tb00204.x.

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37

Smirnova, N. "Bactrian Coins in the Pushkin State Museum of Fine Arts." Ancient Civilizations from Scythia to Siberia 2, no. 3 (1996): 335–52. http://dx.doi.org/10.1163/157005795x00191.

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38

O'Connor, Maureen Sarah. "Education in Motion: The Virginia Museum of Fine Arts Artmobile, 1953 – 1994." Museum and Society 17, no. 1 (March 10, 2019): 19–36. http://dx.doi.org/10.29311/mas.v17i1.2780.

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This essay explores five exhibitions created for the Virginia Museum of Fine Arts Artmobile, the first mobile art museum in the United States. The mission of the Artmobile was to bring works of art directly to citizens throughout the state of Virginia from 1953 to 1994. In analyzing educational and exhibition materials, such as exhibition booklets, audio guide recordings, press releases, and speeches, this research examines the educational philosophies of each exhibition in relation to contemporaneous museum education literature. Applying Tony Bennett’s analysis of the impact of culture on the social to the creation of educational philosophies, this essay argues that while the mission of the Artmobile remained constant, there was a shift in the educational objective from the development of cultured citizens through art appreciation and the improvement of public taste to fostering individual visual literacy and encouraging visitors to make art historical and personal connections.
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39

Sidorova, Irina B. "Heads, assistants and employees of the Museum of Arts and Antiques of Kazan University." Issues of Museology 13, no. 2 (2022): 280–300. http://dx.doi.org/10.21638/spbu27.2022.210.

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The article is devoted to the history of the Museum of Arts and Antiquities of Kazan University. There are different opinions in the literature about who should be considered the founder of the Museum of Arts and Antiquities, who was the first director, who, when and how carried out the reorganization of the museum. The chronological framework of the study — 1870–1922 — also includes the history of the Museum of Ethnography, Antiquities and Fine Arts, which was considered in the literature in terms of collecting local historical, archaeological and ethnographic collections, but in reality laid the foundation for the art collection of Kazan University. The article for the first time describes the circle of persons directly connected with the Museum of Arts and Antiquities of Kazan University, as well as with its predecessor — the Museum of Ethnography, antiquities and fine arts is presented in full. These are professors-heads N.A.Firsov, D.F.Belyaev, D.V.Ainalov, D.I.Naguyevsky, A.M.Mironov; keepers D.A.Korsakov, I.V. Sokolovsky, S.K.Kuznetsov, P.V.Traubenberg, assistants B.P.Denike and K.N.Kravchenko, unofficial assistants of heads, scientific consultants. Through their activities, the continuity of the development of museums, the results of the formation of the library and art collection are traced. The article traces the continuity of the development of museums, the results of the formation of a library and an art collection. The article focuses on the following aspects of the history of the Museum: the status of the museum, financial and logistical support, the number and composition of collections, the role of the museum in scientific, educational and educational work, fate in the Soviet era.
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40

Majewska, Aleksandra. "The Egyptian collection from Łohojsk in the National Museum in Warsaw." Światowit 57 (December 17, 2019): 249–57. http://dx.doi.org/10.5604/01.3001.0013.6854.

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The National Museum in Warsaw, founded in 1916, took over the function of the older Museum of Fine Arts in Warsaw, founded in 1862. Between 1918 and 1922, the National Museum was systematically enriched through donations by private persons and institutions. One of the most important collections, placed there in 1919, was that originating from an old private museum owned by the Tyszkiewicz family in Łohojsk, donated through the agency of the Society of Fine Arts ‘Zachęta’ in Warsaw. The museum in Łohojsk (today in Belarus, not far from Minsk) was founded by Konstanty Tyszkiewicz (1806–1868). The rich collection of family portraits, paintings, engravings, and other works of art was enriched in 1862 by Count Michał Tyszkiewicz (1828–1897), who bequeathed a substantial part of the Egyptian antiquities brought from his travel to Egypt in 1861–1862. The Łohojsk collection was partly sold by Konstanty’s son, Oskar Tyszkiewicz (1837–1897), but some of these objects were purchased in 1901 by a cousin of Michał Tyszkiewicz, who then donated them to the Society of Fine Arts ‘Zachęta’. At this stage, the whole collection amounted to 626 items, of which 163 were connected to Egypt. During World War II, the National Museum in Warsaw suffered serious losses. At present, the exhibits originating from Łohojsk include 113 original ancient Egyptian pieces, four forgeries, and 29 paper squeezes reproducing the reliefs from the tomb of Khaemhtat of the 18th Dynasty (Theban tomb no. 57).
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Drakopoulou, Eugenia. "An Optical Revolution and an “Unfortunate” Exhibition: “Van Eyck: An Optical Revolution,” Museum of Fine Arts, Ghent." Historical Review/La Revue Historique 17 (May 26, 2021): 383. http://dx.doi.org/10.12681/hr.27076.

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Хертек, А. С. "Tuva and Mongolia: cooperation in the fine arts." Iskusstvo Evrazii [The Art of Eurasia], no. 3(22) (September 30, 2021): 116–25. http://dx.doi.org/10.46748/arteuras.2021.03.010.

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Статья посвящена культурным связям между Республикой Тыва и Монголией в связи со 100-летием российско-монгольских дипломатических отношений. Автор приводит обзор ряда фактов из истории тувинского и монгольского изобразительного искусства, совместных выставочных проектов. Так, ключевыми событиями, повлиявшими на творчество мастеров, стали первая крупная выставка тувинских художников и Нади Рушевой в Монгольской Народной Республике в 1984 году, другие выставки в Монголии, Москве и Туве, групповые обменные поездки монгольских и тувинских художников в XX–XXI веках. Важными для сотрудничества стали выставки 2017 года: рисунков Нади Рушевой в Улан-Баторе и восковых фигур «Хаан хаанов» из Музея Чингисхана (Улан-Батор) в Национальном музее имени Алдан-Маадыр Республики Тыва. The article is devoted to the issue of cultural ties between the Republic of Tyva (or Tuva) and Mongolia in view of the 100th anniversary of the Russian-Mongolian diplomatic relations. The author gives an overview of a number of facts from the history of Tuvan and Mongolian fine art, joint exhibition projects. Thus, the key events that influenced the work of the masters were the first large exhibition of Tuvan artists and Nadya Rusheva in the Mongolian People's Republic in 1984, other exhibitions in Mongolia, Moscow and Tuva, group exchange trips of Mongolian and Tuvan artists in the 20th and 21st centuries. Exhibitions of 2017 became important for the development of Tuvan-Mongolian cultural relations: drawings by Nadya Rusheva in Ulaanbaatar and wax figures “Khaan Khaans” from the Genghis Khan Museum (Ulaanbaatar) in the National Museum named after Aldan-Maadyr of the Republic of Tyva.
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LACOVARA, P., N. REEVES, and W. R. JOHNSON. "A Composite-Statue Element in the Museum of Fine Arts, Boston." Revue d'Égyptologie 47 (January 1, 1996): 173–76. http://dx.doi.org/10.2143/re.47.0.2003715.

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Gillerman, Dorothy. "A Mourning St. John in the Boston Museum of Fine Arts." Gesta 25, no. 1 (January 1986): 151–58. http://dx.doi.org/10.2307/766910.

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Crotts, John C., and Johan van Rekom. "Exploring and Enhancing the Psychological Value of a Fine Arts Museum." Journal of International Hospitality, Leisure & Tourism Management 1, no. 4 (March 5, 1999): 37–48. http://dx.doi.org/10.1300/j268v01n04_04.

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Smolensky, Eugene. "Municipal Financing of the U.S. Fine Arts Museum: A Historical Rationale." Journal of Economic History 46, no. 3 (September 1986): 757–68. http://dx.doi.org/10.1017/s0022050700046866.

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Municipal involvement in the finance of fine arts museums raises the question: Just which market failure serves to rationalize this public subsidy? Two contenders are prominent in the literature: decreasing costs and education externalities. The relationship of price to marginal cost provides an operational test to distinguish among the two rationales. Scattered data from the 1880s and 1890s as well as contemporary discussion indicate that, implausible as it may seem now, education externalities constituted the operational justification for the public subsidy.
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Harwood, Buie. "A Grand Opening: The New Improved Virginia Museum of Fine Arts." Interiors 1, no. 3 (November 2010): 283–87. http://dx.doi.org/10.2752/204191210x12875837764219.

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Crotts, John C., and Johan Van Rekom. "Exploring and Enhancing the Psychological Value of a Fine Arts Museum." Tourism Recreation Research 23, no. 1 (January 1998): 31–38. http://dx.doi.org/10.1080/02508281.1998.11014817.

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Messervy, Julie Moir. "Tenshin-en: a Japanese Garden at Boston's Museum of Fine Arts." Arnoldia 52, no. 3 (1992): 2–13. http://dx.doi.org/10.5962/p.251074.

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Bickford, Kathleen E., and Wendy A. Thomas. "Witnesses to Tradition: African Art in the Montreal Museum of Fine Arts and the Redpath Museum." African Arts 23, no. 2 (April 1990): 97. http://dx.doi.org/10.2307/3336910.

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