Journal articles: 'James A. Michener Art Museum'

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Thompson, Sarah E. "Hokusai and Hiroshige: Great Japanese Prints from the James A. Michener Collection of the Honolulu Academy of Arts. By Julia M. White. Seattle and London: The Asian Art Museum of San Francisco, in association with the Honolulu Academy of Arts and University of Washington Press, 1998. 270 pp. $45.00." Journal of Asian Studies 58, no. 4 (November 1999): 1156–57. http://dx.doi.org/10.2307/2658545.

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Atkinson, Jeanette, Tracy Buck, Simon Jean, Alan Wallach, Peter Davis, Ewa Klekot, Philipp Schorch, et al. "Exhibition Reviews." Museum Worlds 1, no. 1 (July 1, 2013): 206–40. http://dx.doi.org/10.3167/armw.2013.010114.

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Steampunk (Bradford Industrial Museum, UK)Framing India: Paris-Delhi-Bombay . . . (Centre Pompidou, Paris)E Tū Ake: Māori Standing Strong/Māori: leurs trésors ont une âme (Te Papa, Wellington, and Musée du quai Branly, Paris)The New American Art Galleries, Virginia Museum of Fine Arts, RichmondScott's Last Expedition (Natural History Museum, London)Left-Wing Art, Right-Wing Art, Pure Art: New National Art (Museum of Modern Art, Warsaw)Focus on Strangers: Photo Albums of World War II (Stadtmuseum, Jena)A Museum That Is Not: A Fanatical Narrative of What a Museum Can Be (Guandong Times Museum, Guandong)21st Century: Art in the First Decade (QAGOMA, Brisbane)James Cook and the Exploration of the Pacific (Art and Exhibition Hall of the Federal Republic of Germany, Bonn)Land, Sea and Sky: Contemporary Art of the Torres Strait Islands (QAGOMA, Brisbane) and Awakening: Stories from the Torres Strait (Queensland Museum, Brisbane)

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Taylor, Michael A., and John Fowles. "Lost & Found: 66 James Harrison (1819-1864)." Geological Curator 4, no. 3 (July 1985): 174. http://dx.doi.org/10.55468/gc754.

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Dr M.A. Taylor (Area Museum Council for the South West, c/o City of Bristol Museum and Art Gallery) and John Fowles (Lyme Regis (Philpot) Museum) write: 'It is now possible to answer the query made by one of us (J.F.) concerning the whereabouts of Harrison's correspondence with pioneer palaeontologists, summarised by Lang (1947), and of Harrison's juvenile specimen of the eponymous dinosaur Scelidosaurus harrisoni, figured and described by Owen (1861). All had been bequeathed to the Museum in 1937 by Harrison's youngest daughter. Miss Mary Harrison, together with other books and fossils. John Fowles has discovered that the letters are deposited in the Lyme Regis Borough Archives at the Dorset Record Office (DRO Lyme Archives Index, p.28,...

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GUNZBURG, DARRELYN. "ART AND ARTIFACT: THE MUSEUM AS MEDIUM BY JAMES PUTNAM." Art Book 17, no. 4 (November 2010): 56–57. http://dx.doi.org/10.1111/j.1467-8357.2010.01137_9.x.

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Anderson, Gillian B. "The Cue Sheets of James C. Bradford." Fontes Artis Musicae 71, no. 2 (April 2024): 132–66. http://dx.doi.org/10.1353/fam.2024.a933076.

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English Abstract: A new Excel file has been created using data from 211 cue sheets at the George Eastman House, ninety-one cue sheets at the Library of Congress, and the cue sheets in The American Organist . The Museum of Modern Art, New York (MoMA) has recorded scores reconstructed from the cue sheets of compiler James C. Bradford for its restorations of the films Rosita (Ernst Lubitsch, 1923), Forbidden Paradise (Lubitsch, 1924), and The Cat and the Canary (Paul Leni, 1927). Together these developments enable us to evaluate the work of the most prolific compilers of cue sheets, James C. Bradford and to begin to understand the complex role cue sheets actually played in the accompaniment of music for 'mute' films. French Abstract: Un nouveau fichier Excel a été créé à partir des données de 211 feuilles de repérage conservées à la George Eastman House, de 91 feuilles de repérage conservées à la Library of Congress et des feuilles de repérage publiées dans The American Organist . Pour ses restaurations des films Rosita (Ernst Lubitsch, 1923), Forbidden Paradise (Lubitsch, 1924) et The Cat and the Canary (Paul Leni, 1927), le Museum of Modern Art, New York (MoMA) a enregistré des partitions reconstituées à partir des feuilles de repérage du compilateur James C. Bradford. Ces développements nous permettent d'évaluer le travail de James C. Bradford, le plus prolifique des compilateurs de feuilles de repérage, et de commencer à comprendre le rôle complexe que les feuilles de repérage ont réellement joué dans l'accompagnement de la musique des films muets. German Abstract: Eine neue Excel-Datei wurde unter Verwendung von Daten aus 211 cue sheets vom George Eastman House , 91 cue sheets der Library of Congress und den cue sheets in The American Organist erstellt. Das Museum of Modern Art, New York (MoMA) hat für seine Restaurierungen der Filme Rosita (Ernst Lubitsch, 1923), Forbidden Paradise (Lubitsch, 1924) und The Cat and the Canary (Paul Leni, 1927) Partituren erstellt, die aus den cue sheets des Zusammenstellers James C. Bradford rekonstruiert wurden. Zusammengenommen ermöglichen uns diese Vorbereitungen, die Arbeit von James C. Bradford, des produktivsten Verfassers von cue sheets , zu bewerten und damit ein Verständnis zu erlangen, welche komplexe Rolle cue sheets tatsächlich bei der Musikbegleitung für Stummfilme spielten.

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Ananiev, V. G. "J. A. Schmidt on the research departments of museum galleries." Vestnik of Saint Petersburg State University of Culture, no. 4 (45) (December 2020): 11–14. http://dx.doi.org/10.30725/2619-0303-2020-4-11-14.

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One of the most topical issues in the museum history is the question of the relationship between international and national principles in museum practice and museological thought. In this article, using the example of a report read by the curator of the Hermitage Picture Gallery, James Alfredovich Schmidt (1876–1933) at the Institute of Art History in 1926, the author shows the connection between international trends and early Soviet museological thought. Schmidt’s report is based on the idea of the need to divide the collection of an art museum (picture gallery) into two parts. One part should include the most significant works and be intended for the public. The second – the research department – should be oriented to the work of experts. We find the same ideas in the most significant international research projects in museology of the era – volumes of articles «Museums: An International Study on the Reform of Public Galleries» (1931) and «Museography: Architecture and Organization of Art Museums» (1935). The author establishes a connection between these ideas and the concept of the canon, which was forming in this period, in relation to the history of art.

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Kalbermatten, Syra. "The ‘Assetization’ of Art on an Institutional Level—Fractional Ownership Implemented in the Royal Museum of Fine Arts Antwerp." Arts 13, no. 1 (January 11, 2024): 16. http://dx.doi.org/10.3390/arts13010016.

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This article explores the innovative collaboration between the Rubey platform and the Royal Museum of Fine Arts, Antwerp. Through the tokenization of the artwork Carnaval de Binche by James Ensor, this platform made it possible for interested investors to purchase blockchain-registered Art Security Tokens within this artwork and become co-owners of it—at least from an economic perspective. Although fractional ownership platforms for art have been established before, this is the first time an art investment opportunity like this has materialized itself in an explicit partnership with a museum. The tokenized artwork will be held on public display within the Royal Museum of Fine Arts Antwerp, for a period of ten years—a significant departure from the usual practice of storing such pieces in a storage vault—before it will be sold again. This article contextualizes this practice within both the ‘assetization’ of art that has increased in recent decades and the financial challenges facing Belgian—more broadly speaking, European—public museums. Based on a limited number of interviews with the stakeholders and desk research, this article subsequently explores the more practical benefits and concerns of a collaboration like this and presents an analysis of this practice drawing upon publications within the field of economic sociology. Since we find ourselves only at the beginning of this partnership, some questions will be raised for further research.

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Peck, William H. "Luxor Museum of Ancient Egyptian Art: Catalogue. James F. Romano , Klaus Parlasca , J. Michael Rogers." Journal of Near Eastern Studies 44, no. 3 (July 1985): 232–35. http://dx.doi.org/10.1086/373139.

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Fernández-Götz, Manuel. "‘Celts: art and identity’ exhibition: ‘New Celticism’ at the British Museum." Antiquity 90, no. 349 (February 2016): 237–44. http://dx.doi.org/10.15184/aqy.2015.193.

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Controversies about the ‘Celts’ have constituted an ongoing debate over the last few decades, with postures ranging from blank scepticism and denial, to critical revisions, but also to the maintenance of more traditional approaches. After a lively and overall useful debate in the pages of Antiquity between 1996–1998 (principally with articles by Vincent and Ruth Megaw vs Simon James and John Collis), Simon James's controversial volume The Atlantic Celts. Ancient people or modern invention? (1999) attracted considerable attention, both among scholars and the wider public, encouraging discussions about the relationship—if any—between modern Celtic identities and the ancient Celts. A major milestone was reached with the publication of John Collis's monograph The Celts. Origins, myths and inventions (2003), which is probably the best historiographical review about the construction of the concept and the different sources involved from Antiquity to modern times. One of his main points is that classical sources never referred to the presence of Celts on the British Isles and that the use of the term for the populations of ancient Britain was mainly an invention of the modern era (see also Morse 2005, How the Celts came to Britain). From a rather different perspective, new approaches based mostly on linguistics emphasise the crucial role of the Atlantic façade in the development of Celtic languages (Cunliffe & Koch 2010).

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Mihailova, Mihaela. "To Dally with Dalí: Deepfake (Inter)faces in the Art Museum." Convergence: The International Journal of Research into New Media Technologies 27, no. 4 (July 26, 2021): 882–98. http://dx.doi.org/10.1177/13548565211029401.

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This essay focuses on the nascent symbiotic relationship between deepfakes and art museums and galleries, as demonstrated by three case studies. The first one, housed at the Dalí Museum in St Petersburg, Florida, is a life-size talking avatar of the artist generated from archival footage. The second one, Warriors by James Coupe, revisits Walter Hill’s 1979 film of the same name using deepfake algorithms to insert visitors’ faces into key scenes, sorting them into gangs based on data-driven analysis of their demographic and economic markers. Finally, Gillian Wearing’s fake ad, Wearing Gillian, uses deepfake technology to enable a series of actors to appear on screen with the artist’s face as a way of interrogating questions of identity in a networked digital world. Based on these works, my article examines museums’ employment of deepfakes for advertising, audience engagement, and educational outreach, and the curatorial, ethical, and creative opportunities and challenges involved therein. While deepfake esthetics will be discussed wherever relevant, this is not a formalist analysis; my goal is not to focus on close readings of the deepfake pieces themselves, however fascinating their esthetics. Instead, I will look at the promotional and critical discourse around them in order to unpack the ways in which the acquisition of creative deepfake works by cultural institutions functions as a legitimizing force that is already shifting the narrative regarding the artistic value and social functions of this technology.

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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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Alzieu, Isabelle. "Sacralisantes lumières dans l’architecture de Tadao Andō." Figures de l'Art. Revue d'études esthétiques 17, no. 1 (2009): 159–78. http://dx.doi.org/10.3406/fdart.2009.875.

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À Naoshima, le Chichu Art Museum a été conçu par Tadao Andō comme une véritable oeuvre plastique présentant de manière permanente neuf pièces de Claude Monet, Walter de Maria et James Turrell et vient compléter un dispositif de lieux de l’art amorcé il y a déjà une quinzaine d’années par la Fukutake Art Museum Foundation. Dès le départ, l’architecte, soucieux d’intégrer son architecture au site, a choisi d’enfouir dans le relief montagneux plus de la moitié du volume d’exposition, ainsi que le complexe hôtelier qui complète la galerie. Le Chichu Art Museum reprend donc cette idée, le nom de “chichu” signifiant justement “à l’intérieur de la terre, souterrain”. Voué à exposer des oeuvres faisant de la lumière le sujet essentiel, le musée s’enfonce alors paradoxalement dans le sol. Au fil d’un parcours lent, salles et couloirs articulent des espaces tantôt aveugles et totalement cryptiques, tantôt parcimonieusement ouverts sur la lumière naturelle par des puits de jour zénithaux pour capter un morceau de ciel. Cette alternance des extrêmes fait de ce lieu de l’art un espace de contemplation, d’humilité, tout un monde d’intériorité, un espace introverti, replié sur lui-même et en même temps distillant au compte-goutte les éléments naturels que sont l’air et la lumière. Bien plus que dans un lieu pour l’art, un lieu de “ monstration” de l’art, le visiteur qui s’attend à seulement voir des oeuvres, est immergé dans un véritable espace plastique entièrement dédié à la lumière.

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Krebs, Victor J. "Between Mourning and Desire." Conversations: The Journal of Cavellian Studies, no. 6 (December 27, 2018): 6–13. http://dx.doi.org/10.18192/cjcs.v0i6.4097.

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During the month of November 1998, Stanley Cavell visited Caracas, Venezuela, invited by the Museum of Fine Arts and the philosophy department of Simon Bolivar University, to hold a three-day seminar on art and philosophy. During those days, Cavell presented and commented on the films Jean Dillman, by Chantal Ackerman and Sans Soleil by Chris Marker, as well as two lectures on material he was working on at that time: “The World as Things: Collecting Thoughts on Collecting,” which was published in a volume by the Guggenheim Museum with the Pompidou Center, where he also read that conference that same year (it later appeared in a final version in 2005 in Philosophy the Day After Tomorrow). The second lecture was “Trials of Praise,” where he talked about Henry James and Fred Astaire.

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Busciglio-Ritter, Thomas. "‘Covetable pictures’." Journal of the History of Collections 32, no. 1 (December 13, 2018): 73–90. http://dx.doi.org/10.1093/jhc/fhy059.

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Abstract Born in 1820, John Taylor Johnston is a pivotal figure in the history of American collecting. A pioneer in transatlantic art collecting, his numerous visits to Europe helped him develop his taste, enrich his possessions, and build a reliable network of artists and dealers. He then re-injected this experience into a rising New York art market, becoming the first collector to enjoy success through the weekly public opening of a domestic art gallery. Here he displayed his highly-praised collection of European and American paintings, comprising works by Vernet, Gérôme, Meissonier, Homer and Church. Along with his brother James, Johnston also founded the very first edifice in the United States devoted entirely to housing artists – the Tenth Street Studio Building, designed by architect Richard Morris Hunt. His reputation as a collector eventually led to his appointment as first president of the newly formed Metropolitan Museum in 1871.

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McKay, Andrew. "Preserving a legacy: an analysis of the role and function of the Mackelvie Trust Board, 1885−2010." Records of the Auckland Museum 53 (December 20, 2018): 17–25. http://dx.doi.org/10.32912/ram.2018.53.2.

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"Established to manage the art collections of one of Auckland city’s former businessmen, the Mackelvie Trust Board has operated for over 125 years. The Trust was set up to administer James Tannock Mackelvie’s(1824−85) collection of European paintings, books, decorative arts and objets de vertu including bronzes, clocks, coins and natural treasures now held at the Auckland Art Gallery, the Auckland War Memorial Museum and the Auckland Public Library. This article will explain how part of the collection came to be at the Auckland War Memorial Museum, how the Trustees administered the will, and how the Trust Board itself evolved to include professional expertise. The impact of this evolution on Mackelvie’s gifts and bequest and the collection’s development is one of the most important findings. After an evaluation of the collection’s management over time, it is concluded that while the Mackelvie Trust Board has always endeavoured to implement Mackelvie’s wishes, financial and physical restrictions led to certain compromises regarding control and display of the collection. Nevertheless, the Trustees have always acted in good faith and protected Mackelvie’s legacy for the enjoyment of future generations of Aucklanders and visitors to the city."

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Mihalache, Irina D. "Recipes as Culinary Communication in a Canadian Art Museum: Lobster Soufflé, Beef Stroganoff, and the Tensions of Gourmet Cooking in the 1960s." Gastronomica 18, no. 3 (2018): 28–41. http://dx.doi.org/10.1525/gfc.2018.18.3.28.

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This article proposes that recipes are a form of culinary communication, suggesting that a recipe's biography is one of communicative moments, negotiations, and multiple voices. This framework is applied to The Art of Cooking, a series of culinary demonstrations organized by the Women's Committee at the Art Gallery of Toronto in the 1960s. The events, featuring chefs such as James Beard and Dione Lucas, were organized around the logics of gourmet cooking but departed from it when faced with the realities of women's daily lives. The research is based on archival documents and media coverage of these very popular events, which offer an opportunity to explore the mythologies and narratives about gourmet cooking in the 1960s. This article argues that communications about a recipe are part of the recipe's evolving biography and need to be analyzed alongside ingredients, instructions, makers, and users. In addition, the article advocates for the inclusion of women's committees’ histories to those of art museums in North America.

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Winslow, Margaret. "Aesthetic Dynamics, Inc. Presents: Afro-American Images 1971." Journal of Curatorial Studies 8, no. 2 (October 1, 2019): 184–204. http://dx.doi.org/10.1386/jcs_00003_1.

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Abstract In February 1971, the artist collective Aesthetic Dynamics, Inc. presented its first major undertaking: an exhibition of over 130 works of art by 66 artists. Organized as a memorial to the late James A. Porter, Afro-American Images 1971 was presented at the National Guard Armory in Wilmington, Delaware. Many of the artists who participated in the show were well-established nationally; however, the location and inclusion of many artists known only to the local community resulted in the marginalization of this significant exhibition. In 2021, the Delaware Art Museum will restage the exhibition as a collaborative curatorial partnership with past and currents members of Aesthetic Dynamics, Inc. in an effort to counter this historical amnesia. Restaging as a curatorial methodology is a constructive means through which to aid in the recovery of the 1971 project, its archival record and its significance locally and nationally.

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Message, Kylie, Eleanor Foster, Joanna Cobley, Shih Chang, John Reeve, Grace Gassin, Nadia Gush, Esther McNaughton, Ira Jacknis, and Siobhan Campbell. "Book Review Essays and Reviews." Museum Worlds 7, no. 1 (July 1, 2019): 292–317. http://dx.doi.org/10.3167/armw.2019.070117.

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Book Review EssaysMuseum Activism. Robert R. Janes and Richard Sandell, eds. New York: Routledge, 2019.New Conversations about Safeguarding the Future: A Review of Four Books. - A Future in Ruins: UNESCO, World Heritage, and the Dream of Peace. Lynn Meskell. New York: Oxford University Press, 2018. - Keeping Their Marbles: How the Treasures of the Past Ended Up in Museums—And Why They Should Stay There. Tiffany Jenkins. Oxford: Oxford University Press, 2016. - World Heritage and Sustainable Development: New Directions in World Heritage Management. Peter Bille Larsen and William Logan, eds. New York: Routledge, 2018. - Safeguarding Intangible Heritage: Practices and Politics. Natsuko Akagawa and Laurajane Smith, eds. New York: Routledge, 2019. Book ReviewsThe Filipino Primitive: Accumulation and Resistance in the American Museum. Sarita Echavez See. New York: New York University Press, 2017.The Art of Being a World Culture Museum: Futures and Lifeways of Ethnographic Museums in Contemporary Europe. Barbara Plankensteiner, ed. Berlin: Kerber Verlag, 2018.China in Australasia: Cultural Diplomacy and Chinese Arts since the Cold War. James Beattie, Richard Bullen, and Maria Galikowski. London: Routledge, 2019.Women and Museums, 1850–1914: Modernity and the Gendering of Knowledge. Kate Hill. Manchester: Manchester University Press, 2016.Rethinking Research in the Art Museum. Emily Pringle. New York: Routledge, 2019.A Natural History of Beer. Rob DeSalle and Ian Tattersall. New Haven, CT: Yale University Press, 2019.Fabricating Power with Balinese Textiles: An Anthropological Evaluation of Balinese Textiles in the Mead-Bateson Collection. Urmila Mohan. Chicago: University of Chicago Press, 2018.

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Raengo, Alessandra, and Lauren McLeod Cramer. "A Conversation with Erin Christovale about You are mine. I see now, I'm a have to let you go." liquid blackness 5, no. 1 (April 1, 2021): 91–95. http://dx.doi.org/10.1215/26923874-8932605.

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Abstract Critical Art Encounters offer sustained and at times meditative engagements with contemporary artworks. This Critical Art Encounter is a kind of reprise, a return to a joint performance by visual artist Suné Woods, poet and theorist Fred Moten, and musician and theorist James Gordon Williams. Titled You are mine. I see now, I'm a have to let you go, the piece was performed live at the Hammer Museum during their 2018 biennial event “Made in L.A.” This special section of liquid blackness aims to sample the fully realized collaboration and audiovisual experimentation that took place in the largely improvised art event. This Critical Art Encounter includes the intimate ecological exploration that takes place in Woods's video work; Moten's poem “the general balm,” which was written in part for the performance and later published in his book of poetry and criticism all that beauty (2019); and finally, a conversation with Erin Christovale, an associate curator at the Hammer who helped organize the event. Although not all three artists are featured (Williams's original compositions can be heard in the footage from the performance), we were fortunate to expand this creative dialogue by including a curatorial perspective. Thus we are able to consider how this work expresses liquidity as both a concern of contemporary black art and a call to the congregation.

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Moten, Fred, Suné Woods, and James Gordon Williams. "You are mine. I see now, I'm a have to let you go." liquid blackness 5, no. 1 (April 1, 2021): 97–105. http://dx.doi.org/10.1215/26923874-8932615.

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Abstract Critical Art Encounters offer sustained and at times meditative engagements with contemporary artworks. This Critical Art Encounter is a kind of reprise, a return to a joint performance by visual artist Suné Woods, poet and theorist Fred Moten, and musician and theorist James Gordon Williams. Titled You are mine. I see now, I'm a have to let you go, the piece was performed live at the Hammer Museum during their 2018 biennial event “Made in L.A.” This special section of liquid blackness aims to sample the fully realized collaboration and audiovisual experimentation that took place in the largely improvised art event. This Critical Art Encounter includes the intimate ecological exploration that takes place in Woods's video work; Moten's poem “the general balm,” which was written in part for the performance and later published in his book of poetry and criticism all that beauty (2019); and finally, a conversation with Erin Christovale, an associate curator at the Hammer who helped organize the event. Although not all three artists are featured (Williams's original compositions can be heard in the footage from the performance), we were fortunate to expand this creative dialogue by including a curatorial perspective. Thus we are able to consider how this work expresses liquidity as both a concern of contemporary black art and a call to the congregation.

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Zagorskaya, S. G. "Spanish Paintings From Russian Collections. The Pushkin State Museum of Fine Arts will open an exhibition of Spanish painting from the collections in Russia." Cuadernos Iberoamericanos 11, no. 2 (July 18, 2023): 14–29. http://dx.doi.org/10.46272/2409-3416-2023-11-2-14-29.

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Russia holds the first largest collection of canvas by great Spanish masters outside of Spain, including paintings by El Greco, Murillo, Ribera, Zurbaran, Goya, and others. In November 2023 the Pushkin State Museum of Fine Arts presents an exhibition of Spanish paintings from its own collections, as well as the works of art from the Hermitage and regional museums. In this interview, Svetlana Zagorskaya, curator of Spanish painting at the Pushkin Museum, talks about the collections of Spanish painting in Russia, the history of their acquisition and meticulous work of attributing paintings. Particular attention is paid to Svetlana Zagorskaya’s discoveries of the authorship of the canvas by Jusepe de Ribera «Saint James the Greater» and the painting by Bartolomeo Murillo «Saint Catherine of Alexandria», which open the exposition of old masters in the main building of the Museum. The purpose of the upcoming exhibition, apart from being educational, is to show the cultural attraction of Spain and Russia, two countries at the extreme ends of Europe. Since the end of the 19th century many Russian artists visited Spain and looked for new motives for inspiration, at the same time Russian collectors bought a lot of works by Spanish artists. Thus, an invisible but strong cultural bridge was being built between the two countries, and it still exists in our time.

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McNulty, Tom. "A MARBLE QUARRY: THE JAMES H. RICAU COLLECTION OF SCULPTURE AT THE CHRYSLER MUSEUM OF ART. H. Nicholas B. Clark." Art Documentation: Journal of the Art Libraries Society of North America 17, no. 2 (October 1998): 59–60. http://dx.doi.org/10.1086/adx.17.2.27948977.

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Adams, Tarn. "Secret Identities in Dwarf Fortress." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 13, no. 2 (June 25, 2021): 22–25. http://dx.doi.org/10.1609/aiide.v13i2.12963.

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Chairs’ Note: In this invited industry case study, Tarn Adams discusses recent extensions to Dwarf Fortress’s systems for character deception. A noted opus in the history of videogames, Dwarf Fortress is a roguelike set in procedurally generated fantasy universes. It has been shown at the Museum of Modern Art and has been featured in The New York Times, The New Yorker, Wired, and many other press publications. Currently, Tarn and his brother, Zach Adams, are roughly midway through its famous 30-year development cycle. As Tarn explains in this paper, an upcoming update centered around artifacts—and what characters know about them—has had the fun consequence of necessitating that a certain class of non-player characters cultivate secret identities. This major extension has brought both technical and design challenges, as this paper illustrates. —James Ryan

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Robson, James. "Faith in Museums: On the Confluence of Museums and Religious Sites in Asia." PMLA/Publications of the Modern Language Association of America 125, no. 1 (January 2010): 121–28. http://dx.doi.org/10.1632/pmla.2010.125.1.121.

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Over the past decade the critical study of museums has matured, as the number of books, journals, and conferences devoted to all facets of museum studies has dramatically increased. While many approaches to the topic are possible, I would like to examine how museums in Asia function in religious ways and how religious sites, such as temples, have come to function as museums. Pursuing this tack might seem puzzling, or even controversial, to those familiar with Theodor W. Adorno's now well-known essay inveighing against the immuration of objects in museums, in which he emphasizes the unpleasant overtones of the German word museal (“museum-like”), used to describe “objects to which the observer no longer has a vital relationship and which are in the process of dying…. Museums are like the family sepulchers of works of art” (175). Adorno's essay articulates a sentiment about museums that was born in the past and has persisted down to the present. We hear echoes of Adorno's disdain and feelings of dehumanization, for example, in James Boon's recent essay “Why Museums Make Me Sad,” which expresses his own melancholic reaction to museums. If museums are merely mausoleums where dead objects are housed, how could they possibly function as religious sites? How could their contents ever provide religious inspiration?

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Timmermann, Anke. "Alchemy in Cambridge." Nuncius 30, no. 2 (2015): 345–511. http://dx.doi.org/10.1163/18253911-03002003.

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Alchemy in Cambridge captures the alchemical content of 56 manuscripts in Cambridge, in particular the libraries of Trinity College, Corpus Christi College and St John’s College, the University Library and the Fitzwilliam Museum. As such, this catalogue makes visible a large number of previously unknown or obscured alchemica. While extant bibliographies, including those by M.R. James a century ago, were compiled by polymathic bibliographers for a wide audience of researchers, Alchemy in Cambridge benefits from the substantial developments in the history of alchemy, bibliography, and related scholarship in recent decades. Many texts are here identified for the first time. Another vital feature is the incorporation of information on alchemical illustrations in the manuscripts, intended to facilitate research on the visual culture of alchemy. The catalogue is aimed at historians of alchemy and science, and of high interest to manuscript scholars, historians of art and historians of college and university libraries.

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Malone, Meredith, and Svea Braeunert. "To See Without Being Seen." Media-N 15, no. 1 (January 27, 2019): 39–56. http://dx.doi.org/10.21900/j.median.v15i1.46.

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This article revisits the curatorial concepts informing To See Without Being Seen: Contemporary Art and Drone Warfare a group exhibition we co-curated for the Mildred Lane Kemper Art Museum at Washington University in St. Louis in 2016. The exhibition was comprised of works by twelve international artists including, James Bridle, Tomas van Houtryve, Trevor Paglen, and Hito Steyerl, who work across a range of media, including photography, video, installation, web-based projects, games as well as site-specific and participatory projects. Each of these projects presented unique critical perspectives on image-making, weaving together art, activism, and research thereby treating the drone as a political object with aesthetic ramifications and trajectories. Drawing on the notion that the drone is a vision machine that is intended to remain invisible and hence possesses the power to see without being seen, our curatorial concept engaged warfare and surveillance on the level of their visual conditions, asking how certain images come into being while others stay hidden from public sight. Essential elements of that engagement based on the artworks we showed involved an examination of the drone’s global networks and geographies, the invisible culture of operative images, and measures to counter the drone’s god-like view by going unseen. The exhibition offered room for debate regarding political and perceptual changes that are actively affecting the ways in which we see the world and engage with each other.

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KITLV, Redactie. "Book Reviews." New West Indian Guide / Nieuwe West-Indische Gids 66, no. 1-2 (January 1, 1992): 101–61. http://dx.doi.org/10.1163/13822373-90002009.

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-Selwyn R. Cudjoe, John Thieme, The web of tradition: uses of allusion in V.S. Naipaul's fiction,-A. James Arnold, Josaphat B. Kubayanda, The poet's Africa: Africanness in the poetry of Nicolás Guillèn and Aimé Césaire. Westport CT: Greenwood, 1990. xiv + 176 pp.-Peter Mason, Robin F.A. Fabel, Shipwreck and adventures of Monsieur Pierre Viaud, translated by Robin F.A. Fabel. Pensacola: University of West Florida Press, 1990. viii + 141 pp.-Alma H. Young, Robert B. Potter, Urbanization, planning and development in the Caribbean, London: Mansell Publishing, 1989. vi + 327 pp.-Hymie Rubinstein, Raymond T. Smith, Kinship and class in the West Indies: a genealogical study of Jamaica and Guyana, Cambridge: Cambridge University Press, 1988. xiv + 205 pp.-Shepard Krech III, Richard Price, Alabi's world, Baltimore and London: Johns Hopkins University Press, 1990. xx + 445 pp.-Graham Hodges, Sandra T. Barnes, Africa's Ogun: Old world and new, Bloomington & Indianapolis: Indiana University Press, 1989. xi + 274 pp.-Pamela Wright, Philippe I. Bourgois, Ethnicity at work: divided labor on a Central American banana plantation, Baltimore MD: John Hopkins University Press, 1989. xviii + 311 pp.-Idsa E. Alegría-Ortega, Andrés Serbin, El Caribe zona de paz? geopolítica, integración, y seguridad, Caracas: Editorial Nueva Sociedad, 1989. 188 pp. (Paper n.p.) [Editor's note. This book is also available in English: Caribbean geopolitics: towards security through peace? Boulder CO: Lynne Rienner, 1990.-Gary R. Mormino, C. Neale Ronning, José Martí and the émigré colony in Key West: leadership and state formation, New York; Praeger, 1990. 175 pp.-Gary R. Mormino, Gerald E. Poyo, 'With all, and for the good of all': the emergence of popular nationalism in the Cuban communities of the United States, 1848-1898, Durham NC: Duke University Press, 1989. xvii + 182 pp.-Fernando Picó, Raul Gomez Treto, The church and socialism in Cuba, translated from the Spanish by Phillip Berryman. Maryknoll NY: Orbis, 1988. xii + 151 pp.-Fernando Picó, John M. Kirk, Between God and the party: religion and politics in revolutionary Cuba. Tampa FL: University of South Florida Press, 1989. xxi + 231 pp.-Andrés Serbin, Carmen Gautier Mayoral ,Puerto Rico en la economía política del Caribe, Río Piedras PR; Ediciones Huracán, 1990. 204 pp., Angel I. Rivera Ortiz, Idsa E. Alegría Ortega (eds)-Andrés Serbin, Carmen Gautier Mayoral ,Puerto Rico en las relaciones internacionales del Caribe, Río Piedras PR: Ediciones Huracán, 1990. 195 pp., Angel I. Rivera Ortiz, Idsa E. Alegría Ortega (eds)-Jay R. Mandle, Jorge Heine, A revolution aborted : the lessons of Grenada, Pittsburgh: University of Pittsburgh Press, 1990. x + 351 pp.-Douglas Midgett, Rhoda Reddock, Elma Francois: the NWCSA and the workers' struggle for change in the Caribbean in the 1930's, London: New Beacon Books, 1988. vii + 60 pp.-Douglas Midgett, Susan Craig, Smiles and blood: the ruling class response to the workers' rebellion of 1937 in Trinidad and Tobago, London: New Beacon Books, 1988. vii + 70 pp.-Ken Post, Carlene J. Edie, Democracy by default: dependency and clientelism in Jamaica, Kingston, Jamaica: Ian Randle Publishers, and Boulder CO: Lynne Rienner Publishers, 1991. xiv + 170 pp.-Ken Post, Trevor Munroe, Jamaican politics: a Marxist perspective in transition, Kingston, Jamaica: Heinemann Publishers (Caribbean) and Boulder CO: Lynne Rienner Publishers, 1991. 322 pp.-Wendell Bell, Darrell E. Levi, Michael Manley: the making of a leader, Athens GA: University of Georgia Press, 1990, 349 pp.-Wim Hoogbergen, Mavis C. Campbell, The Maroons of Jamaica, 1655-1796: a history of resistance, collaboration and betrayal, Granby MA Bergin & Garvey, 1988. vi + 296 pp.-Kenneth M. Bilby, Rebekah Michele Mulvaney, Rastafari and reggae: a dictionary and sourcebook, Westport CT: Greenwood, 1990. xvi + 253 pp.-Robert Dirks, Jerome S. Handler ,Searching for a slave cemetery in Barbados, West Indies: a bioarcheological and ethnohistorical investigation, Carbondale IL: Center for archaeological investigations, Southern Illinois University, 1989. xviii + 125 pp., Michael D. Conner, Keith P. Jacobi (eds)-Gert Oostindie, Cornelis Ch. Goslinga, The Dutch in the Caribbean and in Surinam 1791/1942, Assen, Maastricht: Van Gorcum, 1990. xii + 812 pp.-Rosemarijn Hoefte, Alfons Martinus Gerardus Rutten, Apothekers en chirurgijns: gezondheidszorg op de Benedenwindse eilanden van de Nederlandse Antillen in de negentiende eeuw, Assen/Maastricht: Van Gorcum, 1989. xx + 330 pp.-Rene A. Römer, Luc Alofs ,Ken ta Arubiano? sociale integratie en natievorming op Aruba, Leiden: Department of Caribbean studies, Royal Institute of Linguistics and Anthropology, 1990. xi + 232 pp., Leontine Merkies (eds)-Michiel van Kempen, Benny Ooft et al., De nacht op de Courage - Caraïbische vertellingen, Vreeland, the Netherlands: Basispers, 1990.-M. Stevens, F.E.R. Derveld ,Winti-religie: een Afro-Surinaamse godsdienst in Nederland, Amersfoort, the Netherlands: Academische Uitgeverij Amersfoort, 1988. 188 pp., H. Noordegraaf (eds)-Dirk H. van der Elst, H.U.E. Thoden van Velzen ,The great Father and the danger: religious cults, material forces, and collective fantasies in the world of the Surinamese Maroons, Dordrecht, the Netherlands and Providence RI: Foris Publications, 1988. xiv + 451 pp. [Second printing, Leiden: KITLV Press, 1991], W. van Wetering (eds)-Johannes M. Postma, Gert Oostindie, Roosenburg en Mon Bijou: twee Surinaamse plantages, 1720-1870, Dordrecht, Netherlands: Foris Publications, 1989. x + 548 pp.-Elizabeth Ann Schneider, John W. Nunley ,Caribbean festival arts: each and every bit of difference, Seattle/St. Louis: University of Washington Press / Saint Louis Art Museum, 1989. 217 pp., Judith Bettelheim (eds)-Bridget Brereton, Howard S. Pactor, Colonial British Caribbean newspapers: a bibliography and directory, Westport CT: Greenwood, 1990. xiii + 144 pp.-Marian Goslinga, Annotated bibliography of Puerto Rican bibliographies, compiled by Fay Fowlie-Flores. Westport CT: Greenwood Press, 1990. xxvi + 167 pp.

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Keen, Michael C. "David Ure and the first illustrations of British fossil Ostracoda." Journal of Micropalaeontology 12, no. 1 (August 1, 1993): 8. http://dx.doi.org/10.1144/jm.12.1.8.

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Abstract. 1993 is the bicenntenary of the publication of David Ure’s classic work, The History of Rutherglen and East-Kilbride, published with a view to promote the study of antiquity and natural history, and with it the start of studies in Britain of fossil ostracods. To commemorate this occasion, the 2nd. European Ostracodologists Meeting was held in the University of Glasgow July 23–27th, 1993.David Ure was born in 1750 the son of a weaver, a product of the Scottish enlightenment, who studied at Glagow Grammar School and then at the University of Glasgow. He was licensed to preach the gospel in 1783, and soon after was appointed Assistant Minister at East Kilbride, where he remained for seven years. During this time he collected material for his great work which was published after he had left East Kilbride for Newcastle.David Ure’s book was financed by public subscription, and amongst the 700 subscribers can be found many Professors from the Scottish Universities as well as the eminent geologists James Hutton and John Playfair. This was the heroic age of geology, when careful observations were leading to an understanding of basic principles. David Ure is often regarded as the "Father of Scottish Palaeontology". His book contains the first illustrations of fossils from Scotland, and is fairly unique for the period because his specimens are still preserved in the collections of the Hunterian Museum at the University of Glasgow and the City Museum and Art Gallery, Kelvingrove, Glasgow. The macrofossils are beautifully drawn, . . .

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Tait, John. "James P. Allen The Heqanakht papyri (Publications of the Metropolitan Museum of Art Egyptian Expedition Vol. 27). xvii+357 pages, 13 figures, 57 plates, 17 tables, CD-ROM. 2002. New York (NY): Metropolitan Museum of Art; 1-58839-070-5 hardback £35." Antiquity 79, no. 304 (June 2005): 464–65. http://dx.doi.org/10.1017/s0003598x00114280.

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Haigler, Daniella. "Osteo Preparation Lab: Preserving the Smithsonian Tradition of Collections Access and Collections-based Research." Biodiversity Information Science and Standards 2 (June 13, 2018): e26528. http://dx.doi.org/10.3897/biss.2.26528.

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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. Smithsonian’s Osteo Preparation Lab (OPL), in particular, maintains a long-standing tradition of collections access and collections-based research. This tradition of preparing and cataloging osteological specimens traces its origin to the beginning of the Smithsonian Institution itself. In the mid 1800's, James Smithson's legacy called for an Institution with a mission to pursue the “increase and diffusion of knowledge.” Under Spencer Baird, that mission later evolved into a system called collections-based research. This system involved preparing and curating animal specimens for scientific research, which was particularly important for the emerging field of comparative anatomy of vertebrate skeletons. Today, OPL staff work to catalogue and document vertebrate specimens, which contributes greatly to continuing the historic tradition of collections-based research done at Smithsonian Institution. The preparation and curation procedures of vertebrate specimens relies on the commitment of the OPL staff, as well as the use of dermestid colonies, composting, and other maceration techniques. The lab’s sizeable space and state of the art necropsy equipment for large animal dissections are used on a regular basis by visiting scientists studying vertebrate anatomy. Additionally, the OPL is integrally involved in tissue collection from animal remains, which are held by the museum for research purposes in both collections spaces at the museum and our unique biorepository at the museum support center (MSC). In terms of collections access, the osteology specimens in the museum’s research collections draw scientists from around the world. The research done on the specimens has resulted in many intriguing discoveries. In terms of public engagement and access, the Smithsonian Institution can boast maintaining a three hundred year old exhibition on vertebrate osteology, which began in 1881. The “Osteology: Hall of Bones” provides visitors with an opportunity to examine the skeletons of a vast array of vertebrate species, ranging from minute birds to giant mammals. The display, while mirroring the selection of species found in the original exhibit from the nineteenth century, enhances the user experience through the integration of modern technologies, like the app “Skin and Bones.” And so, despite the rather unpleasant smell and macabre nature of the work, the Osteo Prep Lab's activities are integral to both the public outreach and research activities of the Smithsonian Institution’s National Museum of Natural History.

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Kolbas, Judith. "When Silk was Gold: Central Asian and Chinese Textiles. By James C. Y. Watt and Anne E. Wardell with an essay by Morris Rossabi. pp. x, 238, New York, The Metropolitan Museum of Art in co-operation with the Cleveland Museum of Art, 1997. £40.00." Journal of the Royal Asiatic Society 9, no. 1 (April 1999): 177–80. http://dx.doi.org/10.1017/s1356186300016163.

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Greenthal, Kathryn. "American Sculpture in the Museum of American Art of the Pennsylvania Academy of the Fine Arts. Susan James-Gadzinski , Mary Mullen CunninghamAmerican Sculpture in the Metropolitan Museum of Art: Volume 1. A Catalogue of Works by Artists Born before 1865. Thayer Tolles , Lauretta Dimmick , Donna J. Hassler." Archives of American Art Journal 39, no. 1/2 (January 1999): 43–45. http://dx.doi.org/10.1086/aaa.39.1_2.1557869.

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Bois, Yve-Alain, and Benjamin H. D. Buchloh. "A Conversation with Manuel Borja-Villel." October, no. 184 (2023): 3–26. http://dx.doi.org/10.1162/octo_a_00481.

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Abstract One could argue that Manuel Borja-Villel fuses the position of the melancholic museum director, mourning the loss of the emancipatory projects of the recent past, with that of the activist utopian museum director, elaborating, if not enacting, the urgently needed changes necessary for a different future of institutional and cultural practices to be achieved. Since his initial appointment at the Tàpies Foundation in Barcelona in 1990 and continuing on to this January, when he left his directorship of the Reina Sofía, Borja-Villel has advanced, or rather re-embodied, the great tradition of the progressive museum director of the 1920s and ‘30s, from Alexander Dorner in Hannover to Alfred Barr in New York. Theirs was a tradition that defined the functions of the curator as being those of a scholar, cultivating historical memory as a form of collective enlightenment and visionary innovation as the dissemination of current critical thought and oppositional practice. As directors, they had imagined the museum to be an extension of the public sphere, one whose functions were comparable to those of libraries and the various faculties of the university: to collect and organize knowledge and critical and historical reflection in order to satisfy the largest possible public's desire for cultural literacy, beyond the inherited or enforced distinctions of class privileges. Unlike that of his contemporary American colleagues, Borja-Villel's institutional success was not the result of incessant compromises with the ever-intensifying demand to turn the museum's exhibitions into an expanded field of spectacle culture. Nor did he expand the museum's collections to serve as the affirmative substrate of speculative investment. Borja-Villel—until now protected by the legal principles of a recently restituted liberal-democratic state—could develop and sustain his exemplary practice of organizing truly historical exhibitions and building a formidable collection within the boundaries set by his comparatively limited access to public resources. Not to have yielded to those pressures, to private capital and its property control, is undoubtedly one of the reasons the newly emerging reactionary forces in Spain (as everywhere else) determined that it was time to conclude its support for the aspirations that had emerged from the oppositional practices of Conceptual art and institutional critique that had been formative for Borja-Villel (much more so than for any other museum director known to us in either Europe or the United States). Typically, to mention just a few examples, the first great comprehensive retrospective exhibition of Hans Haacke's work was organized by Borja-Villel, as were the first major European retrospectives of Marcel Broodthaers and James Coleman, of Lygia Clark and Nancy Spero. And another, equally ground-breaking exhibition (among dozens of others), Alice Creischer, Andreas Siekmann, and Max Jorge Hinderer's The Potosí Principle—one of the first comprehensive projects to construct a site-specific mirror for Spain's colonial history—could not have happened anywhere but at the Reina Sofía.

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Kuwayama, George. "East Asian Lacquer: The Florence and Herbert Irving Collection. By James C. Y. Watt and Barbara Brennan Ford. Metropolitan Museum of Art. Distributed by Harry N. Abrams, Inc., 1992." Journal of Asian Studies 52, no. 1 (February 1993): 134–36. http://dx.doi.org/10.2307/2059162.

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Kuwayama, George. "East Asian Lacquer: The Florence and Herbert Irving Collection. By James C. Y. Watt and Barbara Brennan Ford. Metropolitan Museum of Art. Distributed by Harry N. Abrams, Inc., 1992." Journal of Asian Studies 52, no. 01 (February 1993): 134–36. http://dx.doi.org/10.1017/s0021911800135144.

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Barton, Wayne D. "Pascal James Imperato. African Mud Cloth. The Bogolanfini Art Tradition of Gneli Traoré of Mali. Manhasset, N.Y.: Kilima House Publishers/Tenafly, N.J.: The African Art Museum of the S.M.A. Fathers, 2006. xvi + 103 pp. Photographs. References. Bibliography. $30.00. Paper." African Studies Review 50, no. 1 (April 2007): 210–11. http://dx.doi.org/10.1353/arw.2005.0091.

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Fine, Ruth E. "Landmark Events of ‘The Whistler Year’. The Etchings of James McNeill Whistler. An exhibition held at the Metropolitan Museum of Art, New York, 14 September — 11 November 1984; and at the Art Gallery of Ontario, Toronto, 24 November 1984 — 13 January 1985." RACAR : Revue d'art canadienne 12, no. 1 (1985): 54. http://dx.doi.org/10.7202/1073691ar.

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Peck, William H. "Temples and Tombs: Treasures of Egyptian Art from the British Museum. By Edna R. Russmann, Nigel Strudwick, and T. G. H. James. Seattle: University of Washington Press, 2006. Pp. 136 + 110 figs. $40." Journal of Near Eastern Studies 68, no. 3 (July 2009): 223–24. http://dx.doi.org/10.1086/614012.

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Engammare, Max. "James D. Clifton and Walter Melion, eds. Scriptures for the Eyes: Bible Illustration in Netherlandish Prints of the Sixteenth Century. Exhib. cat. New York: Museum of Biblical Art, 2009. 223 pp. index. illus. bibl. $49. ISBN: 978–0–9777839–3–9." Renaissance Quarterly 63, no. 2 (2010): 608–10. http://dx.doi.org/10.1086/655272.

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Broos, Ben. "The wanderings of Rembrandt's Portrait of Aeltje Uylenburgh." Oud Holland - Quarterly for Dutch Art History 123, no. 2 (2010): 89–107. http://dx.doi.org/10.1163/003067212x13397495480745.

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AbstractFor more than a century the only eyewitness account of Rembrandt's Portrait of an old woman (fig. 1) was a description made by Wilhelm Bode in 1883. At the time, he was unable to decipher the date, 1632; nor did he know anything about Aeltje Uylenburgh or the history of the panel. However, the painting's provenance has since been revealed, and it can be traced back in an almost unbroken line to its commission, a rare occurrence in Rembrandt's oeuvre. A pendant portrait, now lost, featured the preacher Johannes Sylvius, who is also the subject of an etching by Rembrandt dating from 1633 (fig. 2). Rembrandt had a close relationship with the Sylvius couple and he married their cousin Saskia Uylenburgh in 1634. After Aeltje's death in 1644, the couple's son Cornelis Sylvius inherited the portraits. We know that Cornelis moved to Haarlem in 1647, and that in 1681 he made a will bequeathing the pendants to his son Johannes Sylvius Junior. For the most part of a century they remained in the family. We lose track of the portrait of Johannes Sylvius when, in 1721, Cornelis II Sylvius refurbishes a house on the Kruisstraat in Haarlem. However, thanks to a handful of eighteenth- and nineteenth-century copies, it has been possible to reconstruct the trail followed by Aeltje. In 1778, a copy from Dessau turned up at auction in Frankfurt. It was bought under the name of Johann Heinrich Roos by Henriette Amalie von Anhalt-Dessau. There is a copy of this copy in the museum of Marseilles, attributed Ferdinand Bol (fig. 3). In 2000 an article in the Tribune de Genève revealed that the original had belonged to the Burlamacchi Collection in the eighteenth century, and was then thought to be a portrait of Rembrandt's mother. Jean-Jacques Burlamacchi (1694-1748), a prominent Geneva collector, acquired major works of art, including probably the Rembrandt portrait, while travelling in Holland and Britain around 1720. It was the heirs of Burlamacchi, the Misses de Chapeaurouge, who opened the famous collection to the public. In 1790 or thereabouts, the Swiss portrait painter Marc-Louis Arlaud produced a copy, now in the museum at Lausanne (fig. 4), which for many years was thought to be an autograph work by Rembrandt. The painter Georges Chaix also made a copy, which he exhibited in Geneva in 1823. This work still belongs to the artist's family; unfortunately it has not been possible to obtain an image. After the Burlamacchi Collection was sold in about 1825, the painting was referred to somewhat nostalgically as 'Un Rembrandt "genevois"'. It was bought for 18,000 francs by the Paris art dealer Dubois, who sold it to the London banker William Coesvelt. In 1828, Coesvelt in turn sold the portrait through the London dealer John Smith, who described it as 'the painter's mother, at the age of 62'. We know that the picture was subsequently acquired from Albertus Brondgeest by the banker James de Rothschild (1792-1868) for his country house at Boulogne, as this is mentioned in the 1864 description of Rothschild's collection by Charles Blanc. Baron James's widow, Betty de Rothschild, inherited the portrait in 1868 and it was in Paris that the Berlin museum director Wilhelm Bode (fig. 5) first saw the painting. In his description of 1883 he states that the woman was not, in his opinion, Rembrandt's mother. In 1886 the portrait fell to Betty's son, Baron Alphonse (1827-1905). Bode published a heliogravure of the work in 1897, which remained for many years the only available reproduction (fig. 6). Rembrandt's portrait of a woman was a showpiece in Baron Alphonse's Paris smoking room (fig. 7). Few art historians came to the Rothschild residence and neither Valentiner nor Bredius, who published catalogues of Rembrandt in 1909 and 1935, respectively, had seen the painting. Alphonse's heir was Baron Edouard de Rothschild, who in 1940 fled to America with his daughter Bethsabée. The Germans looted the painting, but immediately after the war it was exhibited, undamaged, in a frame carrying the (deliberately?) misleading name 'Romney' (fig. 8). In 1949, Bethsabée de Rothschild became the rightful owner of the portrait. She took it with her when she moved to Israel in 1962, where under the name of Bathsheva de Rothschild she became a well-known patron of modern dance. In 1978, J. Bruyn en S. Levie of the Rembrandt Research Project (RRP) travelled to Tel Aviv to examine the painting. Although the surface was covered with a thick nicotine film, they were impressed by its condition. Bruyn and Levie were doubtful, however, that the panel's oval format was original, as emerges from the 'Rembrandt-Corpus' report of 1986. Not having seen the copies mentioned earlier, they were unaware that one nineteenth-century replica was also oval (fig. 9). Their important discovery that the woman's age was 62 was not further investigated at the time. Baroness Bathsheva de Rothschild died childless in 1999. On 13 December 2000 the painting was sold by Christie's, London, after a surprising new identity for the elderly sitter had been put forward. It had long been known that Rembrandt painted portraits of Aeltje Uylenburgh and her husband, the minister Cornelis Sylvius. Aeltje, who was a first cousin of Rembrandt's wife, Saskia Uylenburgh, would have been about 60 years old at the time. Given that the age of the woman in the portrait was now known to be 62, it was suggested that she could be Aeltje. The portrait was acquired for more than 28 million US dollars by the art dealer Robert Noortman, who put it on the market as 'Aeltje' with a question mark. In 2005, Noortman sold the portrait for 36.5 million to the American-Dutch collectors Mr and Mrs De Mol van Otterloo. At the time, the Mauritshuis in The Hague felt that trying to buy the portrait would be too extravagant, while the Rijksmuseum was more interested in acquiring a female portrait from Rembrandt's later period. Aeltje was thus destined to leave the Netherlands for good. A chronicle of the Sylvius family published in 2006 shows that Aeltje Uylenburgh would have been born in 1570 (fig. 10), demonstrating that she could indeed be the 62-year-old woman depicted by Rembrandt in 1632. We know that Aeltje was godmother to Rembrandt's children and that Saskia was godmother to Aeltje's granddaughter. Further evidence of the close ties between the two families is provided by Rembrandt's etching of Aeltje's son Petrus, produced in 1637. It is now generally accepted that the woman in the portrait is Aeltje. She was last shown in the Netherlands at the 'Dutch Portraits' exhibition in The Hague. In February 2008 the Museum of Fine Arts in Boston announced that it had received on long-term loan one the finest Rembrandts still in private ownership.

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Hill, Charles C. "Morrice at Montreal. James Wilson Morrice 1865-1924. An exhibition held at the Montreal Museum of Fine Arts, 6 December 1985 — 2 February 1986; circulating to the Musée du Québec, 27 February — 20 April 1986, the Beaverbrook Art Gallery, Fredericton, 15 May — 29 June 1986, the Art Gallery of Ontario, Toronto, 25 July — 14 September 1986, and the Vancouver Art Gallery, 9 October — 23 November 1986." RACAR : Revue d'art canadienne 13, no. 1 (1986): 52. http://dx.doi.org/10.7202/1073558ar.

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Wegner, Susan E. "E. James Mundy with the assistance of Elizabeth Ourusoff de Fernandez-Gimenez. Renaissance into Baroque: Italian Master Drawings by the Zuccari, 1550-1600. (Milwaukee Art Museum in association with Cambridge University.) Cambridge and New York: Cambridge University Press, 1989. 315 pp. $75." Renaissance Quarterly 44, no. 2 (1991): 340–42. http://dx.doi.org/10.2307/2862723.

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Martens, Didier. "Un disciple tardif de Rogier de la Pasture: Maître Johannes (alias Johannes Hoesacker?)." Oud Holland - Quarterly for Dutch Art History 114, no. 2-4 (2001): 79–106. http://dx.doi.org/10.1163/187501701x00406.

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AbstractThe triptych which has hung above the main altar of Our Lady of the Immaculate Conception at Maria-ter-Heide (Brasschaat, near Antwerp) since the nineteenth century unfolds a highly unusual iconographical programme. The representation on the central panel is a 'Holy Kinship' with Saint Anne; the left and right shutters show a 'Tree of Jesse', and the 'Kinship of Effra and Ismeria' respectively. This unusual combination of themes, and the coat of arms of the abbey at Tongerlo on the staff of the kneeling donor on the left shutter, enable us to identify the triptych from an old description, predating 1615, of the art treasures in the abbey at Tongerlo. As early as 1888 canon Van Spilbeek was able to demonstrate on the basis of two entries in the abbey's ledgers that the retable was made around 1513-1515. It was commissioned by the then abbot of Tongerlo, Antonius Tsgrooten. The painter's name appears on both bills of payment of 1513-1515. He was called Johannes, and he was married to Marie Hoesacker. His apparent lack of a surname might intimate that he was a foundling. Hitherto, the triptych in Maria-ter-Heide was the only known work by 'Johannes'. The author suggests that he also painted the monumental triptych with scenes from the lives of Christ and Mary which has been on loan to the museum at Àvila since 1971 from the Provincial Council. In 1968 Karel G. Boon attributed this work to an anonymous North-Netherlandish painter. According to Boon the same artist painted two wings with John the Baptist and Saint Agnes (Paris, private collection) and a 'Baptism of Christ' (Madrid, private collection). 'Johannes' could be the maker of these three works. What is more, the painter of the triptych in Maria-ter-Heide could be credited with two retable wings which have been in the Museo de Santa Cruz in Toledo since the 19608. Their subjects are 'Saint Andrew with Saint Francis' and 'Saint James with Saint Antony of Padua'; on the back of these panels is a 'Visitation'. Judging by the numerous figures he borrowed from Rogier van der Weyden, 'Johannes' seems to have been fascinated by the great Brussels master. His interest in Van der Weyden's art and the fact that he worked for the abbot of Tongerlo suggest that he was active in Brabant. The Dutch elements which Boon claimed to recognise on the Àvila triptych are quite inconspicuous, proving how dangerous it is to determine an artist's provenance solely on the basis of aesthetic impressions. The iconographic programme on the triptychs in Maria-ter-Heide and Avila and the retable wings in Toledo is highly unusual. This indicates that they were not made for the open market on the painter's own initiative, but were ordered specially. Perhaps 'Johannes' ability to convert such iconographic programmes into pictures was one of the reasons for his success a success which, in view of the presence of two of his works in Castile, assumes an international dimension.

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Neill, Mary Gardner. "Beauty and Tranquility: The Eli Lilly Collection of Chinese Art. By Yutaka Mino and James Robinson. Indianapolis: Indianapolis Museum of Art, 1983. 368 pp. 32 Color Plates and 380 Black-and-White Illustrations. Chronological Table of Chinese Dynasties, Map of China, Selected Bibliography, Index of Chinese and Japanese Characters, Pronunciation Guide, Technical Appendix. $45 (cloth); $35 (paper)." Journal of Asian Studies 45, no. 1 (November 1985): 123–24. http://dx.doi.org/10.2307/2056839.

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Buntrock, Dana. "Review: Project Japan: Metabolism Talks … by Rem Koolhaas and Hans Ulrich Obrist; Kayoko Ota and James Westcott, eds.; Metaborisumu nekusasu by Hajime Yatsuka; Metabolism: The City of the Future; Dreams and Visions of Reconstruction in Postwar and Present-Day Japan by Mori Art Museum." Journal of the Society of Architectural Historians 72, no. 2 (June 1, 2013): 256–60. http://dx.doi.org/10.1525/jsah.2013.72.2.256.

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Johns, Elizabeth. "Book ReviewsEric M. Zafran, Damien Bartoli, Charles Pearo, and James F. Peck, with contributions by, Sylvia Svec. Exhibition catalog, In the Studios of Paris: William Bouguereau and His American Students. Edited and introduction by, James F. Peck; foreword by, Brian J. Ferriso. Tulsa, OK: Philbrook Museum of Art, 2006; distributed by Yale University Press. 211 pp.; 80 illustrations, checklist, index. $50.00." Winterthur Portfolio 42, no. 1 (March 2008): 86–87. http://dx.doi.org/10.1086/528910.

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Cannon, William J. "Rock Art in New Mexico. Polly Schaafsma. Museum of New Mexico Press, Santa Fe, 1992. vii + 175 pp., photographs, maps, works cited, index. ’29.95 (paper). - A Field Guide to Rock Art Symbols of the Greater Southwest. Alex Patterson. Johnson Books, Boulder, Colorado, 1992. xv + 256 pp., illustrations, indexes, bilblography. ’15.95 (paper). - Indian Rock Art of the Columbia Plateau. James D. Keyser. University of Washington Press, Seattle, 1992. 139 pp., photographs, maps, figures, glossary, bibliography, index. ’35.00 (cloth); ’17.50 (paper)." American Antiquity 59, no. 2 (April 1994): 379–80. http://dx.doi.org/10.2307/281943.

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Snape, Steven. "Christine Lilyquist with James E. Hoch & A.J. Peden. The tomb of three foreign wives of Tuthmosis III. xv+395 pages, 269 figures & plates, 7 tables. 2003. New York (NY): Metropolitan Museum of Art; 1-58839-070-5; New Haven (CT): Yale University Press; 0-300-10121-X hardback £85." Antiquity 79, no. 305 (September 2005): 720–21. http://dx.doi.org/10.1017/s0003598x00114772.

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Hendrix, John. "James R. Banker. Documenti fondamentali per la conoscenza della vita e dell’arte di Piero della Francesca. Istituzione Culturale Biblioteca Museo Archivi Storici Città di Sansepolcro. Selci-Lama: Editrice Pliniana, 2013. xvii + 238 pp. np. ISBN: 978-88-97830-16-0. - Keith Christiansen, ed. Piero della Francesca: Personal Encounters. Exh. cat. Metropolitan Museum of Art, New York, 14 January–30 March 2014. New Haven: Yale University Press, 2014. 96 pp. $19.95. ISBN: 978-0-300-19946-8." Renaissance Quarterly 67, no. 4 (2014): 1324–26. http://dx.doi.org/10.1086/679801.

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Dyson, Stephen. "Museums and the market in antiquities - JAMES CUNO (ed.), WHOSE CULTURE? THE PROMISE OF MUSEUMS AND THE DEBATE OVER ANTIQUITIES (Princeton University Press 2009). Pp. xii + 220, figs. 38. ISBN 978-0-691-13333-1. - CHRISTOPHER WHITEHEAD, MUSEUMS AND THE CONSTRUCTION OF DISCIPLINES: ART AND ARCHAEOLOGY IN NINETEENTH CENTURY BRITAIN (Gerald Duckworth & Co., London 2009). Pp. 160, figs. 7. ISBN 978 0 7156 3508 7. - JASON FELCH and RALPH FRAMMOLINO, CHASING APHRODITE. THE HUNT FOR LOOTED ANTIQUITIES AT THE WORLD'S RICHEST MUSEUM (Houghton Mifflin Harcourt, Boston 2011). Pp. 375, figs. 18. ISBN 978-0-15-101501-6." Journal of Roman Archaeology 25 (2012): 1004–7. http://dx.doi.org/10.1017/s1047759400002257.

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Journal articles on the topic 'James A. Michener Art Museum'

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