Relevant bibliographies by topics / Museum in painting

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

Academic literature on the topic 'Museum in painting'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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Journal articles on the topic "Museum in painting"

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Miyashita, Tsutomu. "A New System to Appreciate the Visual Characteristics of a Painting." Leonardo 42, no. 4 (2009): 342–49. http://dx.doi.org/10.1162/leon.2009.42.4.342.

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A painting-viewing system is proposed as a tool to help painting appreciation and to improve the museum experience. This system simultaneously highlights certain visual characteristics of multiple paintings, thus informing users of the links between paintings and the semantic elements that may appear superficially different, and also conveying the art-historical explanation of those characteristics. Through this system's evaluation, the approach based on “the awareness of the visual characteristics” may be effective as a method of developing the user's interest in the paintings. When this system is placed in museums and galleries as a mediation tool, it will be useful to a viewer's preparation for the art-viewing experience. This paper presents the concepts behind the system's development and the results of the first survey as a piece of a larger project to explore the improvement of painting appreciation as a museum experience.
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Iranowska, Joanna. "What is a ‘Good’ Copy of Edvard Munch’s Painting? Painting Reproductions on Display." Culture Unbound 9, no. 1 (2017): 38–61. http://dx.doi.org/10.3384/cu.2000.1525.179138.

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Paintings in museums might occasionally be replaced by a photoprint mimicking the original. This article is an investigation of what constitutes a good reproduction of an artwork (oil painting) that is meant to be displayed. The article discusses what the usefulness of reproductions depends on, applying the Valuation Studies approach, which means the primary concern is with the practice of valuing itself. In other words, the study focuses on how museum experts evaluate reproduc-tions of oil paintings. The article analyses three cases of displaying digitally prin-ted copies of Edvard Munch’s oil paintings between 2013 and 2015 in the Munch Museum and in the National Gallery in Oslo. The study is based on a series of semi-structured interviews with the experts, working at and for the museums, that were involved in producing and exhibiting of the photoprints: curators, con-servators, museum educators, and external manufacturers. The interviews were grouped into five clusters, which I have chosen to call registers of valuing following Frank Heuts and Annemarie Mol (2013). The described valuation practices have to do with delivering experiences to the public, obtaining mimetic resemblance, solving ethical aspects, exhibitions’ budget, and last but not least, with the time perspective.
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Suparma Netra, I. Made, and Nyoman Wardi. "Konservasi Koleksi Lukisan Museum Le Mayeur." Humanis 23, no. 3 (2019): 216. http://dx.doi.org/10.24843/jh.2019.v23.i03.p08.

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As a result of human work, painting is a cultural heritage that has important values. The state of the structure of the paintings which is composed by organic materials makes the painting very vulnerable to the environmental influences and other causes of damage. This research aims to find out about the characteristics of the painting, the types of damage, the factors that cause damage, and its conservation techniques both preventive and and curative to painting collection of Le Mayeur Museum.The results of this research are expected to provide benefits and development of science in the field of archeology about the study of cultural heritage conservation. This study uses qualitative analysis, technology analysis, and comparative analysis. Data collection technique used are direct observation technique, interviews, and library reserach studies. The theories applied are Aesthetic Theory and Conservation Theory.The results obtained namely the characteristic of Le Mayeur’s paintings are representative with women’s theme and surroundings life, the coloring technique using plaque technique with oil paint, watercolor, traditional paint, and pastels color. Generally, there are several types of damage to the painting collection of Le Mayeur Museum, such as physical or mechanic damage, biotic damage, and chemical damage. Those types of damage are caused by physical factors,chemistry factors, biotic factors, and human factors. The conservation techniques carried out at the Le Mayeur Museum include preventive conservation and curative conservation. The preventive actions are carried out with control of temperature, air humidity, intensity of ultraviolet light, and control of air containing salt due to sea water vapor. The curative actions taken are semi-chemist medicine and painting restoration.
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Suhendroyono, Suhendroyono, and Novita Nugraheni. "MIXED MEDIA SEBAGAI ALTERNATIF PENCIPTAAN LUKISAN DI MUSEUM RUDY ISBANDI SURABAYA." Kepariwisataan: Jurnal Ilmiah 10, no. 02 (2016): 15–22. http://dx.doi.org/10.47256/kepariwisataan.v10i02.124.

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Mixed Media developments in the manufacture of paintings at the Museum Rudy Isbandi has evolved with new innovations to be able to attract the attention of visitors. Utilization of used goods for Mixed Media painting techniques as an alternative of making the painting a positive impact on the environment even though not all of the junk could dimanfaatakn to be a painting that transform media and creative. The use of second-hand goods can produce works of art that manifold visual and 3-dimensional character who is able to make the artists are interested in collecting. The facilities provided by the Museum Rudy Isbandi not been standardized to make visitors comfortable.
 Keywords: Rudy Isbndi Museum, Development of Mixed Media, Utilization of thrift, appeal used goods
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Zbuchea, Alexandra, and Loredana Ivan. "Painting Shades of Gray: How to Communicate the History of Communism in Museums." Romanian Journal of Communication and Public Relations 17, no. 2 (2015): 21. http://dx.doi.org/10.21018/rjcpr.2015.2.14.

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<p>Communication of sciences / arts lies at the core of a museum public activity. It is a special type of communication, meant to make the collections and the domain of the expertise of the museum accessible to a wide public in order to fulfill the special cultural and social role that museums have in the contemporary society. This cannot be achieved without the cooperation of visitors, as well as the museum stakeholders. For fruitful relationships, museums have to design their activity and public offer taking into account the characteristics as well as the interests of various segments of its audience. The present paper discusses the prerequisites for a successful museum exhibition. Special attention is given to designing an effective exhibition on the history of communism. By investigating the profile of the potential visitors for such an exhibition, the paper draws a framework to be considered when designing it. The discussion is timely, since in the last few years there are discussions and initiatives related with the establishment of a museum of communism.</p>
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Titarenko, E. M. "Russian painting of the 19th century in the context of the projective aesthetics of N.F. Fyodorov." Solov’evskie issledovaniya, no. 4 (December 15, 2019): 114–27. http://dx.doi.org/10.17588/2076-9210.2019.4.114-127.

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The article is dedicated to the insufficiently studied problem of N.F. Fyodorov’s projective aesthetics research connected to his interpretation of Russian painting of the 19th century. The objects of the analysis are such works of the philosopher as “The Question of Restoration of Kinship among Mankind. The Means for the Restoration of Kinship (Sobor)” (1880s), “About the Kremlin Walls Paintings” (1893), “Kremlin Walls” (1893), “The brilliant robber. (About Ge’s Painting “The Crucifixion”)” (1894), “Moscow Rumyantsev’s Museum by the Kremlin and the Monument to the Founder of this Museum in the Kremlin” (1898) and other works. The article considers N.F. Fyodorov’s analysis of paintings by A.A. Ivanov, N.N. Ge, V.V. Vereschagin, and I.E. Repin. The comparative investigation of the aesthetic program and artistic ideas of Ivanov and Fyodorov is based on the analysis of the painting “The Apparition of Christ before the People” (1858). The article traces the influence of the artist’s works on the conceptual and compositional creation of the “pictorial demonstration” of Fyodorov’s aesthetic supramoralism. It uncovers the specificity of the philosopher’s religious-philosophical discourse, defined by the iconographic traditions and imaginary system of Christian art. The analysis of Fyodorov’s texts dedicated to the paintings by Ge and Repin, reveals that he does not accept the aesthetic program of realism. The article defines the meaning of projective ecphrasis in Fyodorov’s critical account of Ge’s “Biblical cycle” as a theurgical project. The reception of Vereschagin’s painting is considered in the context of the historiosophical ideas of Fyodorov, based on the principles of Christian eschatology.
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Краснова, И. В. "An Electronic Сatalogue of Slobozhanshchina Icons of the Late 18th – Early 20th Centuries: Prerequisites for Creation, Purposes, Functions". Nasledie Vekov, № 1(25) (22 квітня 2021): 109–17. http://dx.doi.org/10.36343/sb.2021.25.1.009.

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В статье обосновывается необходимость создания виртуального каталога слобожанских икон и ставится цель разработки основных характеристик проектируемой электронной коллекции. Проведен анализ документальных источников, использованы результаты исследований российских и украинских ученых. Исследована история музеев Слободской Украины, собиравших произведения иконописи, изучено влияние событий ХХ в. на иконописное наследие Слобожанщины, которое вследствие атеистической кампании 1930-х гг. и действий оккупантов в период Великой Отечественной войны утратило единство и оказалось раздробленным между многочисленными музейными и частными коллекциями. Данный фактор, а также несомненная уникальность региональной иконописной традиции стали предпосылками к разработке концепции электронного каталога, который призван объединить все сохранившиеся на сегодняшний день произведения слобожанской иконописи. The article substantiates the need to create a virtual catalogue of Slobozhanshchina (Sloboda Ukraine) icons and sets the aim of developing the main characteristics of the projected electronic collection. Based on the use of systemic-historical and historical-genetic methods, documentary sources were analysed, the results of research of Russian and Ukrainian historians and culture scientists were studied. The history of museums in Sloboda Ukraine, which collected works of icon painting, is considered; special attention is paid to the Historical and Church Museum. Until the revolutionary events of 1917, this museum’s collections were constantly replenished with new exhibits. The history of the creation of the Museum of Ukrainian Art and the Central Art and History Museum named after Gregory Skovoroda (Museum of Sloboda Ukraine) is analysed. The influence of the events of the twentieth century on the icon-painting heritage of Sloboda Ukraine is considered. This heritage, as a result of the atheistic campaign of the 1930s and the actions of the occupiers during the Great Patriotic War, lost unity and was fragmented between numerous museum and private collections. The consequences of the German fascist invaders’ plunder of the museums of Sloboda Ukraine were especially grave: hundreds of thousands of exhibits were destroyed or taken out of the country. The fact of huge and often irreparable losses in the cultural heritage of Sloboda Ukraine by the middle of the twentieth century is stated. At present, the museums of Sloboda Ukraine have already collected a significant part of icon-painting works (about 500), but this number is not comparable with the richest heritage of Sloboda Ukraine of the beginning of the twentieth century. The author emphasises that a certain number of Slobozhanshchina icons continue to remain in churches and private collections in both Ukraine and Russia. Information about icons received from individuals is insufficient for attribution and museum documentation compilation, so many of the icons have not yet been fully introduced into museum circulation. The way out of this situation, according to the author, is to create an electronic catalogue of Slobozhanshchina icons, which will be a database of icon-painting works from museum and private collections with texts and images. The concept of the electronic catalogue has been developed. The catalogue is designed to unite all the works of Slobozhanshchina icon painting that have survived to date.
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Fragasso, Laura, and Nicola Masini. "Postprocessing of Infrared Reflectography to Support the Study of a Painting: The Case of Vivarini's Polyptych." International Journal of Geophysics 2011 (2011): 1–8. http://dx.doi.org/10.1155/2011/738279.

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Infrared (IR) reflectography is an imaging diagnostic technique widely used to study and evaluate the assessment of paintings' conservation state. The study case analyzed in this paper is related to a polyptych panel attributed to Vivarini's workshop conserved in the “Sigismondo Castromediano” Museum in Lecce. The painting's IR reflectography has been acquired through a CCD camera with spectral sensitivity ranging 400–1150 nm and manual positioning system. In order to offset the technological limits of the CCD camera, reflectograms have been processed through Principal Component Analysis and spectral indices. Postprocessing provided information related to the different pictorial drafting and restoration works, as well as emphasized graphic details and shadings, useful to improve the knowledge of the painting techniques.
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Horváth, János. "Rippl-Rónai József, mint Munkácsy tanítvány. Egy Rippl-Rónai által festett Munkácsy kép." Kaposvári Rippl-Rónai Múzeum Közleményei, no. 1 (2013): 305–14. http://dx.doi.org/10.26080/krrmkozl.2013.1.305.

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It is open to doubt, whether some of the paintings in the works of Munkácsy Mihály belongs to the master or some of his pupils. The problem was brought to light by the critiques, following the Munkacsy exhibitions organized in the last 7-8 years throughout Hungary, including Kaposvar.Rippl-Rónai József was one among the wide range of pupils who worked for Munkacsy in Paris at the end of the 19th centu-ry. In his Memoirs he described a curious case about a reduc-tive reproduction of his master’s painting, the “Two families”.The writer of the present study, also a Ripple Ronai researcher, identified this painting to be the one residing in the Munkacsy Mihaly Museum in Bekescsaba, called the Dogfamily. In the identification process the author has used another painting by Rippl-Rónai called “The interior of a room on the outskirt of Paris” as proof. It was painted approximately at the same time frame and in the same manner as the painting mentioned in Rippl-Rónai’s memoir.This is the first attempt to clarify the uncertainty around the originality of the paintings in the case of Munkacsy’s and Rippl-Rónai’s painting
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wissman, fronia e. "Renoir's Onions." Gastronomica 9, no. 2 (2009): 7–9. http://dx.doi.org/10.1525/gfc.2009.9.2.7.

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Pierre-Auguste Renoir's painting Onions, at the Clark Art Institute in Williamstown, Massachusetts, was painted in Naples in 1881. Renoir went to Italy in part to see the art of the Renaissance, especially the frescoes of Raphael. Onions is his response to frescoes, but not Raphael's. Instead, he was energized by seeing frescoes from Pompeii and Herculaneum that he saw installed in the National Archaeological Museum in Naples. Renoir's painting also is testimony to his difficulty in finding suitable models from whom to paint. A comparison is made with John Singer Sargent's contemporaneous paintings of onion sellers.
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Dissertations / Theses on the topic "Museum in painting"

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Lembersky, Yelena. "Transformation of painting into architecture : museum for the works of F. Lembersky." Thesis, Massachusetts Institute of Technology, 1994. http://hdl.handle.net/1721.1/68284.

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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1994.<br>Includes bibliographical references (p. 89-91).<br>Art and architecture share a common goal and similar formal principles. Their common goal is to express and abstract spiritual content through harmonious, pure and beautiful material form. The shared principles of form generation in art and architecture are abstraction, dematerialization, organization and construction of space. The similarity of purpose and formal principles allow art and architecture to inform each other. Artists have employed architectural elements as pure abstract form, and architects have applied art to formulate architectural intentions and resolve formal architectural problems. As well, artists and architects have collaborated often in the creation of single artistic or architectural projects. This thesis introduces a method of transforming painting into architecture. The formal methods found in selected paintings of the Russian painter Felix Lembersky (1913-1970) are used to generate the architectural form for the museum of these same paintings. The intention is to derive a form which is both rooted in architectural principles and is expressive of the art works to be exhibited within the museum.<br>by Yelena Lembersky.<br>M.Arch.
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Doughty, Elizabeth Lynn 1984. "Modern Individualism: Paintings by Oscar Howe before the Annual National Indian Painting Competition at the Philbrook Museum of Art, 1958." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10822.

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ix, 68 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.<br>In 1958 Yanktonai Sioux painter Oscar Howe's (1915-1983) submission to the Annual National Indian Painting Competition at the Philbrook Museum of Art was rejected for deviating too far from the established conventions of "traditional Indian painting." Howe's innovative use of style and his subsequent declarations against the premises of his rejection established the artist as a major figure in the development of Native American painting in the twentieth century. The existing literature on Howe is predominantly biographical and lacks contextual or stylistic analysis. In particular, an under-analyzed relationship is prevalent between his mature style and his early works. This thesis aims to address the social, cultural, educational, political, and stylistic influences that prepared the artist to evolve the formal aspects of his painting. This discussion will expand the discourse on Howe by revealing trends of continuity in the artist's transition from his earlier style to an experimental style and showing that neither is without the influence of the other.<br>Committee in Charge: Leland M. Roth, Chair; Joyce Cheng; Brian Klopotek
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Popescu, Diana. "Perceptions of Holocaust memory : a comparative study of public reactions to art about the Holocaust at the Jewish Museum in New York and the Israel Museum in Jerusalem (1990s-2000s)." Thesis, University of Southampton, 2012. https://eprints.soton.ac.uk/367397/.

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This thesis investigates the changes in the Israeli and Jewish-American public perception of Holocaust memory in the late 1990s and early 2000s, and offers an elaborate comparative analysis of public reactions to art about the Holocaust. Created by the inheritors of Holocaust memory, second and third-generation Jews in Israel and America, the artworks titled Your Colouring Book (1997) and Live and Die as Eva Braun (1998), and the group exhibition Mirroring Evil. Nazi Imagery/Recent Art (2002) were hosted at art institutions emblematic of Jewish culture, namely the Israel Museum in Jerusalem, and the Jewish Museum in New York. Unlike artistic representation by first generation, which tends to adopt an empathetic approach by scrutinizing experiences of Jewish victimhood, these artworks foreground images of the Nazi perpetrators, and thus represent a distancing and defamiliarizing approach which triggered intense media discussions in each case. The public debates triggered by these exhibitions shall constitute the domain for analyzing the emergent counter-positions on Holocaust memory of post-war generations of Jews and for delineating their ideological views and divergent identity stances vis-à-vis Holocaust memory. This thesis proposes a critical discourse analysis of public debates carried out by leading Jewish intellectuals, politicians and public figures in Israel and in America. It suggests that younger generations developed a global discourse which challenges a dominant meta-narrative of Jewish identity that holds victimization and a sacred dimension of the Holocaust as its fundamental tenets.
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Fournier, Anik Micheline. "Building nation and self through the other : two exhibitions of Chinese painting in Paris, 19331977." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82704.

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This thesis investigates Western exhibition practices and the problems that arise when they involve cross-cultural encounters. Two exhibitions of Chinese painting in Paris that were co-planned by French curators and Chinese artists will serve as case studies in this regard. The first exhibition is Exposition de la peinture chinoise held at the Musee du Jeu de Paume in 1933. The second show is Quatre artistes chinoises contemporaines held at the Musee Cernuschi in 1977. Using archival material, I will reconstruct the planning of the exhibitions and reveal diverging French and Chinese agendas. An examination of the press reviews of the two shows will demonstrate that location is key in the public reception of an exhibition. The analysis of the encounter of self and other underlying the two exhibitions will lead to a probing of Western exhibition practices and bring issues of power, authenticity and identity-making to the fore.
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Shamir, Barhum Ruth. "Painting at a cinematic glance the New Museum in films of the 1980's and 1990's /." E-thesis Full text, 1999. http://shemer.mslib.huji.ac.il/dissertations/W/JMS/001489438.pdf.

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Thesis (Ph.D.)--Hebrew University of Jerusalem, 1999.<br>Not included -- the illustrated album and the video tape with visual examples from all films. Under the supervision of Dimitri Segal and Abraham Kampf. Includes bibliographical references.
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Trempler, Jörg. "Das Wandbildprogramm von Karl Friedrich Schinkel : Altes Museum Berlin /." Berlin : Gebr. Mann, 2001. http://catalogue.bnf.fr/ark:/12148/cb39131321f.

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Richardson, Sarah Aoife. "Reading the History of a Tibetan Mahakala Painting: The Nyingma Chod Mandala of Legs Ldan Nagpo Aghora in the Royal Ontario Museum." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1396453697.

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He, Weiling. "Flatness transformed and otherness embodied: a study of John Hejduk's Diamond Museum and Wall House 2 across the media of painting, poetry. architectural drawing and architectural space." Diss., Georgia Institute of Technology, 2005. http://hdl.handle.net/1853/36608.

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To study architectural space in relation to other works of art, the author aims at understanding how meaning depends upon the medium within which it is formulated. More importantly, the process of re-stating a work from one medium to another requires analytically rigorous study at the level of design thinking. In this thesis, Piet Mondrian’s sixteen Diamond Compositions, George Braque’s Studio Series, and Jean Auguste Dominique Ingres’s Comptesse d'Haussonville will be studied as points of departure of John Hejduk¡’s two sets of architectural projects: the Diamond Series and the Wall House Series. Compositional similarities among these works will be discovered as the design means of Hejduk’s architecture. Moreover, these paintings suggest two design ends: C flatness and otherness. Hejduk’s poems about paintings and his architectural drawings will be examined as working media in which the two design ends are formulated. On this basis, the Diamond Series and the Wall House Series will be analyzed once again on the basis of how flatness and otherness are constructed in architectural space. In a way, Hejduk defines his own design means in the medium of architecture. It is noted that the re-statement of meaning in the medium of architecture involves both a retrospective understanding of the spatial structure and an embodied experience of the immediate spatial condition. Only when space makes sense independent of the references back to existing works in other media such as painting or poetry and the key design move is made will the readings of such works become architectural concepts. In the media of painting, poetry, architectural drawing, and architectural space, John Hejduk designs intention in its own right as part of the design process. Therefore, working across media entails far more than superficial references or fanciful representations. Rather, it is a serious investigation into the construction of medium-specific meaning, which the work of Hejduk clearly exemplifies. For the same reason, Hejduk’s work can be understood beyond personal or mystical expressions, becoming a tangible, logical, and thereby shared construction.
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Gimenez, Catalán Juan Pedro. "Exploring opportunities of complex LED colour mix systems for lighting in the art. Fine colour tuning a painting." Thesis, KTH, Ljusdesign, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-280015.

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Museums and the performing arts have very specific lighting requirements, not only in the technical aspects of their presentation, but also in regard to the communication and interpretation of artistic concepts. Thus, the design intent might have many different perspectives whereas the idea of being “neutral” is more complex to define. One of the critical aspects for the visual experience of art is colour, a subjective experience that can be conceptually approached from many perspectives, from science to the artistic realm.  This study starts by setting a theoretical framework in colour human vision, colour theory and colourimetry; and how this can be applied to lighting design concepts for exhibitions. The experimental part of this work explores some of the opportunities of complex LED colour mix systems in working with fine colour tuning and metamers. This investigation focusses on both the creation of the light stimuli and on how these lighting conditions can influence the perception and interpretation of a painting. In spite of its subjectivity, the perception of the art is contextualized with the colour theory background provided, the quantitative measurements performed and the results of an online survey. Additionally, the artist is interviewed in an attempt to gather views from the origin of the artwork to the viewer interpretation. This work might be useful to those with interest in the opportunities that quality LED technology, specifically colour mixing, offer for lighting design in exhibition and theatre environment. In fact, the complexity of exhibition lighting provides a perfect environment for research and experimentation, where improving the viewer experience is becoming an essential factor for museology.
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Huang, Michelle Ying Ling. "The reception of Chinese painting in Britain, circa 1880-1920 : with special reference to Laurence Binyon." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1020.

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The British understanding of Chinese painting owed much to Laurence Binyon (1869-1943) who enriched the British Museum’s collections of Oriental painting, and for almost forty years, published widely and delivered lectures in Britain and abroad. Binyon’s legacy is to be found in several archival resources scattered in Britain, America, Japan and China. This dissertation is a study of the reception of Chinese painting in early twentieth century Britain, and examines Binyon’s contribution to its appreciation and criticism in the West. By examining the William Anderson collection of Japanese and Chinese paintings (1881), I illuminate Anderson’s way of seeing Chinese pictorial art and his influence on Binyon’s early study of Oriental painting. I argue that the early scroll, The Admonitions of the Court Instructress, which Binyon encountered in 1903, ignited his interest in the study of traditional Chinese painting, yet his conception of Chinese pictorial art was influenced by Japanese and Western expertise. To reveal the British taste and growing interest in Chinese painting around 1910, Binyon’s involvements in major acquisitions and exhibitions of Chinese paintings at the British Museum, including the Sir Aurel Stein collection (1909) and the Frau Olga-Julia Wegener collection (1910), as well as his visits to Western collections of Chinese art in America and Germany, will be investigated. In order to understand the relevance and values of Chinese painting for the development of early twentieth-century British art, I also scrutinize how the principle of “rhythmic vitality” or qiyun shengdong, as well as the Daoist-and Zen-inspired aesthetic ideas were assiduously promoted in Binyon’s writings on Chinese painting, and how Chinese art and thought kindled British modernists to fuse art with life in order to re-vitalize the spirit of modern European art with non-scientific conceptions.
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Books on the topic "Museum in painting"

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Sacred painting: Museum. Harvard University Press, 2010.

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Borromeo, Federico. Sacred painting: Museum. Harvard University Press, 2010.

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Lisette, Vind Ebbesen, and Sieben Dorthe Rosenfeldt 1969-, eds. Malerikatalog: Katalog over Skagens Museums malerier = Painting catalogue : Skagens Museum paintings. Skagens Museum, 2012.

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N, Novouspenskiĭ, ed. The Russian Museum, Leningrad, painting. Aurora Arts, 1988.

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1853-1890, Gogh Vincent van, and Rijksmuseum Vincent van Gogh, eds. Van Gogh Museum. Waanders, 1997.

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Blanch, Santiago Alcolea i. The Prado Museum. 3rd ed. Ediciones Polígrafa, 2008.

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Blanch, Santiago Alcolea i. The Prado Museum. 3rd ed. Ediciones Polígrafa, 2008.

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Alcolea i Blanch, Santiago, 1951-, ed. The Prado museum. 2nd ed. Ediciones Polígrafa, 2002.

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Novouspenskiĭ, N. The Russian Museum. Izobrazitelnoye Iskusstvo Publishing House, 1987.

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Graham-Dixon, Andrew. Paper museum: Writings about painting, mostly. HarperCollins Publishers, 1996.

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Book chapters on the topic "Museum in painting"

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Parlewar, Prafulla. "Prince of Wales Museum: Revitalization of European Painting Store." In Building Pathology and Rehabilitation. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-55893-2_1.

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LYMBEROPOULOU / BIRMINGHAM, ANGELIKI. "THE MADRE DELLA CONSOLAZIONE ICON IN THE BRITISH MUSEUM: POST-BYZANTINE PAINTING, PAINTERS AND SOCIETY ON CRETE." In JAHRBUCH DER ÖSTERREICHISCHEN BYZANTINISTIK. Verlag der Österreichischen Akademie der Wissenschaften, 2003. http://dx.doi.org/10.1553/joeb53s239.

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Klein, Peter. "Dendrochronological Analyses of Netherlandish Paintings." In Museums at the Crossroads. Brepols Publishers, 2003. http://dx.doi.org/10.1484/m.mac-eb.3.1803.

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Squires, James, and Pamela Skiles. "Analysis of Modern Paints and Conservation at the Clyfford Still Museum." In Conservation of Modern Oil Paintings. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19254-9_11.

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Faries, Molly. "Technical Studies of Early Netherlandish Painting: A Critical Overview of Recent Developments." In Museums at the Crossroads. Brepols Publishers, 2003. http://dx.doi.org/10.1484/m.mac-eb.3.1800.

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Ainsworth, Maryan Wynn. "What’s in a Name? The Question of Attribution in Early Netherlandish Painting." In Museums at the Crossroads. Brepols Publishers, 2003. http://dx.doi.org/10.1484/m.mac-eb.3.1808.

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Gifford, E. Melanie, Susana Halpine, Suzanne Quillen Lomax, and Michael R. Schilling. "Interpreting Analyses of the Painting Medium: A Case Study of a Pre-Eyckian Altarpiece." In Museums at the Crossroads. Brepols Publishers, 2003. http://dx.doi.org/10.1484/m.mac-eb.3.1806.

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Ames-Lewis, Francis. "Sources and Documents for the Use of the Oil Medium in Fifteenth-Century Italian Painting." In Museums at the Crossroads. Brepols Publishers, 2007. http://dx.doi.org/10.1484/m.mac-eb.3.777.

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Storevik-Tveit, Eva, Irina Crina Anca Sandu, Charlotte Nora Stahmann, et al. "Ketone Resins Varnishes on Canvas Paintings from the Collection of the Munch Museum: An Interdisciplinary Transnational Research Project." In Conservation of Modern Oil Paintings. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19254-9_40.

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Lie, Henry. "Digital Imaging for the Study of Paintings: Experiences at the Straus Center for Conservation." In Museums at the Crossroads. Brepols Publishers, 2003. http://dx.doi.org/10.1484/m.mac-eb.3.1807.

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Conference papers on the topic "Museum in painting"

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Rowan, Todd M., Moesha Wright, and Brent Thomas Funderburk. "PAINTING THE CRETACEOUS: A VITALIZING, MULTIDISCIPLINARY PROJECT IN A UNIVERSITY MUSEUM." In GSA Annual Meeting in Indianapolis, Indiana, USA - 2018. Geological Society of America, 2018. http://dx.doi.org/10.1130/abs/2018am-322300.

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Dang, Rui, Jie Liu, Dongjie Li, and Huijiao Tan. "REFFECTS OF MUSEUM ILLUMINATION ON CHINESE TRADITIONAL HEAVY COLOUR PAINTING BASED ON RAMAN SPECTROSCOPY." In CIE 2017 Midterm Meetings and Conference on Smarter Lighting for Better Life. International Commission on Illumination, CIE, 2018. http://dx.doi.org/10.25039/x44.2017.po24.

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Zaremba, Krzysztof. "Optical fibre lighting system for the miniature painting exposition in the National Museum in Warsaw." In Congress on Optics and Optoelectronics, edited by Leszek R. Jaroszewicz, Brian Culshaw, and Anna G. Mignani. SPIE, 2005. http://dx.doi.org/10.1117/12.623048.

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Belyaevskaya, Olga, Elena Malachevskaya, and Anastasia Yasenovskaya. "The investigation of ancient Erebuni mural painting fragments from the collection the Pushkin State Museum of Fine arts." In Antiquities of East Europe, South Asia and South Siberia in the context of connections and interactions within the Eurasian cultural space (new data and concepts). Institute for the History of Material Culture Russian Academy of Sciences, 2019. http://dx.doi.org/10.31600/978-5-907053-34-2-219-220.

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Dang, Rui, Huijiao Tan, Gang Liu, and Nan Wang. "Influence of Illumination on Paper and Silk used in Chinese Traditional Painting and Calligraphy Based on Raman Spectroscopy in Museum." In 7th International Building Physics Conference. International Association of Building Physics (IABP), 2018. http://dx.doi.org/10.14305/ibpc.2018.ie-1.04.

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"APPEARANCE BASED PAINTINGS RECOGNITION FOR A MOBILE MUSEUM GUIDE." In International Conference on Computer Vision Theory and Applications. SciTePress - Science and and Technology Publications, 2006. http://dx.doi.org/10.5220/0001359901380142.

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RUF, BORIS, and MARCIN DETYNIECKI. "IDENTIFYING PAINTINGS IN MUSEUM GALLERIES USING CAMERA MOBILE PHONES." In The Singaporean-French Ipal Symposium 2009. WORLD SCIENTIFIC, 2009. http://dx.doi.org/10.1142/9789814277563_0013.

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Gonzales-Day, Ken. "Untitled #33, from the museum of broken identities (after Goya's black paintings)." In ACM SIGGRAPH 97 Visual Proceedings: The art and interdisciplinary programs of SIGGRAPH '97. ACM Press, 1997. http://dx.doi.org/10.1145/259081.259137.

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Gonzales-Day, Ken. "Untitled #35, from the museum of broken identities (after Goya's black paintings)." In ACM SIGGRAPH 97 Visual Proceedings: The art and interdisciplinary programs of SIGGRAPH '97. ACM Press, 1997. http://dx.doi.org/10.1145/259081.259139.

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Martínez Medina, Andrés. "Elogio del cuadrado: cuadrícula, cuadro, cuatro, cubo." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.837.

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Resumen: Un recorrido por la producción de Le Corbusier evidencia la insistente presencia del cuadrado como base de las composiciones en diversos campos (urbanismo, arquitectura, pintura, mobiliario…) y en diferentes formatos (en planta, alzado y sección, o como marco, módulo y cuadrícula). La presente comunicación realiza un análisis formal (gráfico y simbólico) de sus proyectos y obras, rastreando los modos en que se utiliza el cuadrado permaneciendo en el tiempo como una constante recurrente. Para ello se recorren cuatro áreas temáticas que descienden en escala y en dimensiones: 1) capitolios, 2) museos, 3) pabellones y 4) casas, estudiando una serie de ejemplos en cada área a partir de los planos de la Fundación Le Corbusier, generando discursos que reconstruyen un hilo del tiempo en la evolución de los procesos compositivos. De este modo, se desgrana el empleo del cuadrado, en correspondencia con las áreas de estudio, como: 1º) perímetro de la plaza pública donde insertar las arquitecturas representativas, 2º) marco o caja-fuerte donde encerrar los tesoros artísticos (o sagrados), 3º) volumen cúbico abierto y desmontable y 4º) caja definida por la retícula de la estructura. El cuadrado es siempre un medio y no un fin. Persiste un intento de sugerir algunos de los orígenes en su formación clasicista, sus viajes y sus pinturas. Abstract: A tour through the production of Le Corbusier shows the insistent presence of the square as a basis of compositions in various fields (urban planning, architecture, painting, furniture...) and in different formats (in floor, elevation and profile, or as a theme, module and grid). This communication makes a formal analysis (graphic and symbolic) of its projects and works tracing the different ways to use the square that remains as a recurring constant. We can do it through four thematic areas descending in scale and dimensions: 1) capitols, 2) museums, 3) pavilions and 4) houses, studying a series of examples in each area based on the drawings of the Foundation Le Corbusier, generating speeches that reconstruct a thread of the time in the evolution of the compositional process. In correspondence with the four themes of study, we can discovery the employment of the square as different instruments. First: the square as the perimeter of the public space where to insert the representative architectures. Second: as a frame or safety deposit box where to enclose treasures artistic (or Holy). Third: as a cubic volume open and detachable. Fourth: as box defined by the grid of the structure. The square is always a means and not an end. In addition, there is an attempt to suggest some of the origins in his classic formation, his travels and his paintings. Palabras clave: Le Corbusier, composición, cuadrícula, cuadrado, cuadro, cubo. Keywords: Le Corbusier, composition, reticle, square, frame, cube. DOI: http://dx.doi.org/10.4995/LC2015.2015.837
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