Relevant bibliographies by topics / Metropolitan Museum of Art (New York, N.Y.)

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Metropolitan Museum of Art (New York, N.Y.)'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Metropolitan Museum of Art (New York, N.Y.).'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Metropolitan Museum of Art (New York, N.Y.)"

1

Kabylinskii, Boris Vasilievich. "Totem symbols in decorative traditions of the peoples of pre-Columbian America: conflict or harmony?" Культура и искусство, no. 7 (July 2020): 1–12. http://dx.doi.org/10.7256/2454-0625.2020.7.32827.

Full text
Abstract:
The object of this research is a totem symbol in decorative tradition of the peoples of pre-Columbian America. The subject of this research is the images of jaguar in the art of the Aztecs of Mesoamerica. The images of a human and jaguar are captured on the metal, stone and clay artifacts of pre-Columbian civilizations that are available to the public in Mexico City National Museum of Anthropology, Peruvian Museum of the Nation in Lima, Metropolitan Museum of Art in New York, and Smithsonian National Museum of Natural History in Washington, D. C. The research methodology is based on compilation of the results of fundamental research of the leading scholars of North American School of Anthropology. The article conduct a general systematization and brief analytics of scientific records on the specificity of Mesoamerican decorative tradition of totem symbols throughout an extensive period of time: 1500 BC – 400 AD (Olmec Civilization), III century BC – VII century AD (Teotihuacan Civilization), 900 BC – 200 AD (Chavín Civilization), 750 BC – 100 AD (Paracas Civilization), 2300 – 1200 BC (Kotosh Civilization), 1250 – 1470 AD (Chimú Civilization). The presented materials substantiate the thesis that jaguar as a totem symbol carried out the functions of unification and identification of ethnoses of Mesoamerica, reflecting relevant sociocultural trends at various stages of anthropogenesis. The novelty of this work consists in scientific systematization of the facts that the nuances of fusion of the images of human and jaguar in art objects of Aztec culture reflect a harmonious or turbulent frame of mind in pre-Columbian era.
APA, Harvard, Vancouver, ISO, and other styles
2

Casteras, Susan P. "Stephen Wildman and John Christian. Edward Burne-Jones: Victorian Artist-Dreamer. (Metropolitan Museum of Art.) New York: Harry N. Abrams, Inc. 1998. Pp. xi, 361. $75.00. ISBN 0-8109-6522-4." Albion 31, no. 4 (1999): 683–84. http://dx.doi.org/10.1017/s0095139000063912.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Bury, Stephen. "Developing NYARC: the New York Art Resources Consortium." Art Libraries Journal 36, no. 3 (2011): 25–30. http://dx.doi.org/10.1017/s0307472200017028.

Full text
Abstract:
NYARC is a consortium of New York art resources, initially including the libraries of Brooklyn Museum, the Frick Collection, Metropolitan Museum of Art and the Museum of Modern Art. The Metropolitan was not part of the Arcade (integrated libraries system) programme funded by the Andrew W. Mellon Foundation, and withdrew its designation as a NYARC entity in December 2010. This article gives a brief history of NYARC and examines whether it achieved its aims of sharing resources, making them more accessible to the public, and saving money.
APA, Harvard, Vancouver, ISO, and other styles
4

Budin, Stephanie Lynn. "The World Between Empires, Metropolitan Museum of Art, New York." Near Eastern Archaeology 82, no. 3 (September 1, 2019): 179–85. http://dx.doi.org/10.1086/705471.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Pawlikowska-Gwiazda, Aleksandra. "Terracotta oil-lamps from Egypt's Theban region in the collection of the Metropolitan Museum of Arts, New York." Ancient lamps from Spain to India. Trade, influences, local traditions, no. 28.1 (December 31, 2019): 641–57. http://dx.doi.org/10.31338/uw.2083-537x.pam28.1.28.

Full text
Abstract:
The group of 17 oil lamps now in the Islamic Art Department collection of the Metropolitan Museum of Art (New York) was excavated in West Thebes in Upper Egypt by the Metropolitan Museum of Art expedition at the beginning of the 20th century. The assemblage was never fully published (apart from being included in the online MeT Collection database). The present paper documents the material in full, examining the collection and proposing in a few cases a new dating based on parallels from other sites.
APA, Harvard, Vancouver, ISO, and other styles
6

Clark, William W., and Charles T. Little. "Notable Recent Acquisitions, Metropolitan Museum of Art and the Cloisters, New York." Gesta 29, no. 2 (January 1990): 239–40. http://dx.doi.org/10.2307/767037.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Lilyquist, Christine. "Twelve Carnarvon Writing Boards and their Provenances." Journal of Egyptian Archaeology 105, no. 2 (December 2019): 157–75. http://dx.doi.org/10.1177/0307513319896277.

Full text
Abstract:
Research for the final report of a large Middle Kingdom tomb dug jointly by the fifth Earl of Carnarvon and The Metropolitan Museum of Art provides provenance information for 12 writing boards from Carnarvon tombs on the West Bank at Luxor. Through disparate records at the Griffith Institute Oxford, Egyptian Museum Cairo, and The Metropolitan Museum of Art New York, the tablets can now be assigned to a small area below or adjacent to Hatshepsut’s valley temple. The results put the texts into a broader cultural context at the same time that the study illustrates the fragility of information from excavations that deserve to be accurately and widely known.
APA, Harvard, Vancouver, ISO, and other styles
8

Jacknis, Ira. "Anthropology, Art, and Folklore." Museum Worlds 7, no. 1 (July 1, 2019): 109–33. http://dx.doi.org/10.3167/armw.2019.070108.

Full text
Abstract:
In the great age of museum institutionalization between 1875 and 1925, museums competed to form collections in newly defined object categories. Yet museums were uncertain about what to collect, as the boundaries between art and anthropology and between art and craft were fluid and contested. As a case study, this article traces the tortured fate of a large collection of folk pottery assembled by New York art patron Emily de Forest (1851–1942). After assembling her private collection, Mrs. de Forest encountered difficulties in donating it to the American Museum of Natural History and the Metropolitan Museum of Art. After becoming part of the Philadelphia Museum of Art, it finally found a home at the Pennsylvania State Museum of Anthropology. Emily de Forest represents an initial movement in the estheticization of ethnic and folk crafts, an appropriation that has since led to the establishment of specifically defined museums of folk art and craft.
APA, Harvard, Vancouver, ISO, and other styles
9

Laderman, Shulamit. "The Colmar Treasure: A Medieval Jewish Legacy, Metropolitan Museum of Art, New York." IMAGES 13, no. 1 (November 26, 2020): 180–87. http://dx.doi.org/10.1163/18718000-12340137.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Stokes-Rees, Emily, Blaire M. Moskowitz, Moira Sun, and Jordan Wilson. "Exhibition Review Essay and Reviews." Museum Worlds 7, no. 1 (July 1, 2019): 238–61. http://dx.doi.org/10.3167/armw.2019.070115.

Full text
Abstract:
Exhibition Review Essay:Exhibition without Boundaries. teamLab Borderless and the Digital Evolution of Gallery Space by Emily Stokes-Rees Exhibition Reviews:The Colmar Treasure: A Medieval Jewish Legacy. The Met Cloisters, The Metropolitan Museum of Art, New York by Blaire M. MoskowitzShanghai Museum of Glass, Shanghai; Suzhou Museum, Suzhou; and PMQ, Hong Kong by Moira SunThe Story Box: Franz Boas, George Hunt and the Making of Anthropology. Exhibition at the Bard Graduate Center Gallery in New York City (14 February–7 July 2019) and the U’mista Cultural Centre in Alert Bay, British Columbia (20 July–24 October 2019) by Jordan Wilson
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Metropolitan Museum of Art (New York, N.Y.)"

1

Fabris, Margherita <1981&gt. "Gli arazzi con l'unicorno del Metropolitan Museum di New York." Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4286.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Plagens, Emily S. Hafertepe Kenneth. "Collecting Greek and Roman antiquities remarkable individuals and acquisitions in the Metropolitan Museum of Art, the Museum of Fine Arts, Boston, and the J. Paul Getty Museum /." Waco, Tex. : Baylor University, 2008. http://hdl.handle.net/2104/5259.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Paley, Valerie. "Founders and Funders: Institutional Expansion and the Emergence of the American Cultural Capital, 1840-1940." Thesis, 2011. https://doi.org/10.7916/D82F8VCF.

Full text
Abstract:
The pattern of American institution building through private funding began in metropolises of all sizes soon after the nation's founding. But by 1840, Manhattan's geographical location and great natural harbor had made it America's preeminent commercial and communications center and the undisputed capital of finance. Thus, as the largest and richest city in the United States, unsurprisingly, some of the most ambitious cultural institutions would rise there, and would lead the way in the creation of a distinctly American model of high culture. This dissertation describes New York City's cultural transformation between 1840 and 1940, and focuses on three of its enduring monuments, the New York Public Library, the Metropolitan Museum of Art, and the Metropolitan Opera. It seeks to demonstrate how trustees and financial supporters drove the foundational ideas, day-to-day operations, and self-conceptions of the organizations, even as their institutional agendas enhanced and galvanized the inherently boosterish spirit of the Empire City. Many board members were animated by the dual impulses of charity and obligation, and by their own lofty edifying ambitions for their philanthropies, their metropolis, and their country. Others also combined their cultural interests with more vain desires for social status. Although cohesive, often overlapping social groups founded and led most elite institutions, important moments of change in leadership in the twentieth century often were precipitated by the breakdown of a social order once restricted to Protestant white males. By the 1920s and 1930s, the old culture of exclusion--of Jews, of women, of ethnic minorities in general--was no longer an accepted assumption, nor was it necessarily good business. In general, institutions that embraced the notion of diversity and adapted to forces of historical change tended to thrive. Those that held fast to the paradigms of the past did not. Typically, when we consider the history and development of such major institutions, the focus often has been on the personalities and plans of the paid directors and curatorial programs. This study, however, redirects some of the attention towards those who created the institutions and hired and fired the leaders. While a common view is that membership on a board was coveted for social status, many persons who led these efforts had little abiding interest in Manhattan's social scene. Rather, they demanded more of their boards and expected their fellow-trustees to participate in more ways than financially. As the twentieth century beckoned, rising diversity in the population mirrored the emerging multiplicity in thought and culture; boards of trustees were hardly exempt from this progression. This dissertation also examines the subtle interplay of the multi-valenced definition of "public" along with the contrasting notion of "private." In the early 1800s, a public institution was not typically government funded, and more often functioned independent of the state, supported by private individuals. "Public," instead, meant for the people. Long before the income tax and charitable deductions for donations, there was a full range of voluntary organizations supported by private contributions in the United States. This dissertation argues that in a privatist spirit, New York elites seized a leadership role, both individually and collectively, to become cultural arbiters for the city and the nation.
APA, Harvard, Vancouver, ISO, and other styles
4

Kouyoumdjian, Mary. "Creating with Ghosts: Identity and Artistic Purpose in Armenian Diaspora." Thesis, 2021. https://doi.org/10.7916/d8-4fqv-ch76.

Full text
Abstract:
The creative submission for my dissertation includes two of my documentary works: They Will Take My Island, a thirty-minute multimedia collaboration with filmmaker Atom Egoyan for amplified string octet, electronic track, and film, commissioned by the Metropolitan Museum of Art; and Paper Pianos, a ninety-minute staged collaboration with director Nigel Maister and projection artist Kevork Mourad. The written submission for my dissertation is an examination of the ways in which experiences around transgenerational trauma inform and manifest in my creative practice. I offer a summary of my own family history of survivors of the Armenian Genocide and Lebanese Civil War, as well as a survey of displacement amongst the Armenian community in the past century. Furthermore, I discuss identity processing as diaspora and the act of cultural preservation, as inspired by genocide survivor, composer, priest, writer, and musicologist, Komitas Vardapet. I later examine these ideas in the context of creating They Will Take My Island and Paper Pianos, both of which were constructively motivated by transgenerational survivor’s guilt and draw from extra-musical documentary and horror genre practices.
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Metropolitan Museum of Art (New York, N.Y.)"

1

Richardson, Joy. Inside the museum: A children's guide to the Metropolitan Museum of Art. New York: Metropolitan Museum of Art, 1993.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Larissa, Bonfante, ed. New York: The Metropolitan museum of art. Roma: L'Erma di Bretschneider, 1997.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Hibbard, Howard. The Metropolitan Museum of Art. New York: Harrison House, 1986.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Brettell, Richard R. Museum masterpieces: The Metropolitan Museum of Art. Chantilly, VA: The Teaching Company, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

York, New. The Metropolitan Museum of Art guide. New York: The Museum, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

New York. The Metropolitan Museum of Art guide. Edited by De Montebello Philippe. 2nd ed. New York: The Museum, 1994.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

1940-, Burn Barbara, ed. Masterpieces of the Metropolitan Museum of Art. New York: Metropolitan Museum of Art, 1997.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Bell, Joseph L. Metropolitan zoo. New York: Metropolitan Museum of Art, 1985.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Bell, Joseph L. Metropolitan zoo. New York: Metropolitan Museum of Art, 1985.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Limited, Art Exhibitions Australia, and Gallery of Modern Art (Brisbane, Qld.), eds. European masterpieces from the Metropolitan Museum of Art, New York. Brisbane, Queensland: Queensland Art Gallery/Gallery of Modern Art, 2021.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Metropolitan Museum of Art (New York, N.Y.)"

1

Margolis, Oren. "The Book Half Open." In Openness in Medieval Europe, 289–310. Berlin: ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-23_15.

Full text
Abstract:
A small, blind-tooled volume sits on a table covered in green baize: one clasp is open, the other is closed; and a slip of paper emerges from it reading Veritas odium parit (truth breeds hatred). This detail occurs in the foreground of a portrait by Hans Holbein of a young man identified as the Cologne patrician Hermann von Wedigh III (Metropolitan Museum of Art, New York). A study of the physical features of the book and of the history of the brief text — actually an ancient and then Erasmian adage — leads to a new interpretation of the painting in the context of humanist friendship. The book is seen to be a multivalent simile for the work of art authored by the artist as well as for the sitter himself, raising questions about the implications for these of a medium that can be opened and closed. The half-open condition of the book is understood to reflect the complementary pressures of openness and closedness, accessibility and intimacy, that characterized the Renaissance republic of letters.
APA, Harvard, Vancouver, ISO, and other styles
2

Schmeelk, Suzanna. "Building an Artist’s Profile in Javascript: Integrating Data Analytics and the New York Metropolitan Museum of Art Open Dataset to Visualize Elements of an Artist’s Life." In Lecture Notes in Networks and Systems, 175–87. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-37717-4_12.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

"METROPOLITAN MUSEUM OF ART DEPARTMENT OF ISLAMIC ART NEW YORK, NEW YORK." In Enigmatic Charms, 187–217. BRILL, 2006. http://dx.doi.org/10.1163/9789047408529_020.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

"The Metropolitan Museum of Art, New York, comes into being." In The Collector's Voice, 66–71. Routledge, 2016. http://dx.doi.org/10.4324/9781315264448-17.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Stefanidou, Antonia. "The Onassis Stegi and Metropolitan Museum of Art in New York." In Handbook of Research on Museum Management in the Digital Era, 175–205. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-7998-9656-2.ch010.

Full text
Abstract:
The chapter examines the special conditions that arose at the beginning of the pandemic of the coronavirus disease 2019 (COVID-19) as far as cultural organisations and audiences are concerned. Research findings on cultural organisations' digital transformation are presented as well as the case studies of Onassis Stegi and MET and the messages they transmitted at the beginning of the pandemic. A comparative analysis of their communication strategy in digital environment is attempted, drawing interesting conclusions as far as their effectiveness is concerned. The chapter ends with the findings of the audience research that was carried out to present whether digital transformation in the field of culture during that period was implemented, in order for organisations to survive and stay in touch with their audience. The research also focuses on the extent to which the public turned to digital culture in an unprecedented period.
APA, Harvard, Vancouver, ISO, and other styles
6

"From Private Collection to Public Good: The Metropolitan Museum of Art." In The New York Market for French Art in the Gilded Age, 1867–1893. Bloomsbury Visual Arts, 2022. http://dx.doi.org/10.5040/9781501358302.ch-6.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Lin, Jenny. "From Shanghai to New York by way of conclusion." In Above Sea, 147–53. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526132604.003.0006.

Full text
Abstract:
The conclusion considers the continued, widespread proliferation of the staid East-meets-West trope through a critique of the Metropolitan Museum of Art’s 2015 exhibition, “China: Through the Looking Glass.” Ruminating on the afterlives of East-meets-West exoticizations, the conclusion synthesizes the preceding ones by analyzing the exhibition’s loaded cross-cultural hybrids of art-fashion-celebrity culture and Sino-US corporate sponsorship. The chapter argues that “China: Through the Looking Glass” might have countered the critique that the exhibition did not adequately present contemporary Chinese culture by including some of the art and design projects presented throughout the book, summarizing the vital issues these projects raise.
APA, Harvard, Vancouver, ISO, and other styles
8

Rose, Louis. "Toward a Psychology of Art, 1919–32." In Psychology, Art, and Antifascism. Yale University Press, 2016. http://dx.doi.org/10.12987/yale/9780300221473.003.0002.

Full text
Abstract:
This chapter looks at how Kris' status as a convert to Catholicism temporarily provided him with professional and personal protection. His work abroad with international collectors, museum directors, and art patrons supplied a safety net beyond Austria if it became necessary. When the Metropolitan Museum of Art required an expert to catalog its cameo collection, it brought Kris to New York in 1929 to undertake the job. At the same time, Kris kept close track of deteriorating conditions in Austria and employed his contacts to find work abroad for his younger, Jewish colleagues. A liberal royalist in post-imperial Vienna, Kris remained convinced of the irreversible disintegration of Austrian political life. At his first meeting with Ernst Gombrich, he made sure that the young researcher understood fully the uncertainties attached to an art historical career in Vienna.
APA, Harvard, Vancouver, ISO, and other styles
9

Lena, Jennifer C. "The Museum of Primitive Art, 1940–1982." In Entitled, 41–69. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691158914.003.0003.

Full text
Abstract:
This chapter discusses the creation of the Museum of Primitive Art (MPA). The history of Michael C. Rockefeller's primitive art collection provides an ideal case study of the process of artistic legitimation. Through a detailed analysis of the complete organizational archive—including memos, publications, journals, and administrative paperwork—one can observe this process in detail. The small group of MPA administrators fought to promote artistic interpretations of the objects in the collection against the established view that they were anthropological curiosities. However, these objects were removed from their sites of production and early circulation and left in the care of American curators and tastemakers to make of them what they will; in Rockefeller's case, he leveraged them to produce capital he used in a struggle with other collectors and museum administrators. What he did not do is redistribute those resources toward living artists or register much hesitation about moving those objects to New York. Nor did he have to acknowledge the labor done by earlier advocates of these arts in black internationalist movements. Nevertheless, Rockefeller's triumph was the eventual inclusion of his collection in the Metropolitan Museum of Art (Met), as the Michael C. Rockefeller Wing.
APA, Harvard, Vancouver, ISO, and other styles
10

Tolles, Thayer. "The elephant in the room: George Grey Barnard's Struggle of the Two Natures in Man at The Metropolitan Museum of Art, New York." In Sculpture and the Museum, 115–31. Routledge, 2017. http://dx.doi.org/10.4324/9781315088259-7.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Metropolitan Museum of Art (New York, N.Y.)"

1

Rossi Rognoni, Gabriele, Marie Martens, Arnold Myers, and Jen Schnitker. "CIMCIM Call for Papers ‘Global Crises and Music Museums: Representing Music after the Pandemic’." In Global Crises and Music Museums: Representing Music after the Pandemic, edited by Mimi Waitzman and Esteban Mariño. CIMCIM, 2023. http://dx.doi.org/10.46477/seca7941.

Full text
Abstract:
The COVID-19 pandemic has arguably caused the biggest disruption to the museum and heritage sector since the Second World War. All over the world, museums have had to close, some never to reopen, and many have had to suspend their operations for prolonged periods. However, the disruption has also invited – sometimes forced – substantial changes in the way museums perceive themselves and their interactions with their audiences. This has included an increased focus on digital offers, a reconsideration of the human relationships with external as well as internal stakeholders, new ways to guarantee the preservation, documentation and availability of collections and revised financial and sustainability planning. Some of these changes will be transitory, while others are likely to leave permanent footprints on the identity of museums and the way they operate even after the emergency has passed. This conference will highlight and discuss some of the initiatives and innovations that emerged from the past year, with particular attention to curatorship, conservation, learning and participation, and documentation and research. Critical perspectives, as well as case studies are invited to focus on the long-term impact of the pandemic and on the way the identity of music museums, their value and relevance to society and research, and their ways of operating internally and externally may have been transformed. CIMCIM 2021 Conference Organising Committee Gabriele Rossi Rognoni (Royal College of Music, London, UK) Mimi Waitzman (Horniman Museum and Gardens, London, UK) Marie Martens (The Danish Music Museum, Copenhagen, Denmark) Arnold Myers (University of Edinburgh and Royal Conservatoire of Scotland, Glasgow, UK) Jen Schnitker (Metropolitan Museum of Art, New York, USA)
APA, Harvard, Vancouver, ISO, and other styles
2

Guedes, Pedro. "Healing Modern Architecture’s Break with the Past: Musings around Brazilian Fenestration." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a3990prwvx.

Full text
Abstract:
This paper focuses on the role of Brazilian architects in emancipating Modern Architecture from overly limiting orthodoxies. In particular, this study follows direct, if weak influences across the Pacific to Australia and stronger ones across the South Atlantic to Southern Africa, where Brazilian ideas found fertile ground without being filtered through Northern Hemisphere mediations. Official delegations of architects from Australia and South Africa went to Brazil seeking inspiration and transferable ideas achieved mixed success. Central to the theme of this essay is a recently discovered and unpublished manuscript. It is the work of Barrie Biermann who, upon graduation from the University of Cape Town sailed across to Brazil in 1946 to gain first-hand knowledge of the architecture that had achieved worldwide renown through the 1943 Brazil Builds exhibition at the Museum of Modern Art in New York (MoMA). Biermann’s close observations and discussions with several of Brazil’s leading architects helped him develop a fresh narrative that placed recent developments in a continuum linked to Portuguese colonial architecture that had taken lessons from the ‘East’. Published in a very abridged form in a professional journal in 1950, it lost much of the charm of the original, which, in addition to imaginative theoretical speculation, is enriched by evocative, atmospheric sketches, water colours and photographs. This study shows that South-South connections were quite independent and predated the influence of ‘scientific’ manuals of ‘how-to build in the tropics’ that proliferated from metropolitan centres in the mid-1950s, preparing for decolonization but perhaps also motivated by ambitions of engendering other forms of dependence. Brazilian ideas and examples of built work played an important role in bringing vitality to some of the architectures of Africa. They also engaged with crucial issues of identity and the production of buildings celebrating values beyond the utilitarian.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Metropolitan Museum of Art (New York, N.Y.)' for particular source types:
Journal articles Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography