Relevant bibliographies by topics / Museum of French Art

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

Academic literature on the topic 'Museum of French Art'

Author: Grafiati
Published: 2 March 2023
Last updated: 3 March 2023

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Journal articles on the topic "Museum of French Art"

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Picot, Nicole. "Museum Libraries in France: Their Wealth and Their Influence." Art Libraries Journal 24, no. 4 (1999): 17–19. http://dx.doi.org/10.1017/s0307472200019751.

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The following words preface Francoise Cachin’s introduction to Marie-Thérèse Cavignac’s Les bibliothèques des musées en Aquitaine: Richness and diversity! Reading this volume demonstrates how wide and varied is the subject matter of the museum libraries in the Aquitaine region, whether it be the library in the Bonnat Museum in Bayonne or in the national museum at the Château de Pau, those in museums specialising in the history of Aquitaine, the Pays Basque or the Périgord, or those in museums dealing with prehistory or contemporary art or seaplanes, the customs service or folk art.This description is just as valid for the rest of France. Considerable effort has been put into the modernisation of French museums during the last twenty years or so and their libraries have benefited from this renewal as well. I would like in this paper to describe some of the strengths of libraries and documentation centres in museums of art, and to try and define their role within their institutions and within the network of French art libraries.
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Ilinskaya, N. I. "ART MEDIATION IN RUSSIA AND FRANCE: GENERAL AND DIFFERENCES." Arts education and science 1, no. 4 (2020): 149–54. http://dx.doi.org/10.36871/hon.202004019.

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The article discusses the phenomenon of art mediation. The relevance of this problem is due to the fact that the concept of art mediation, or "museum as a cultural mediator", is relatively new in Russia. It is mainly adopted in our country by contemporary art museums, often nonstate. At the same time, in a number of countries around the world, and especially in France, the concept of art mediation (médiation culturelle), or "museum-mediator", firmly rooted in museum practice, in the legal field, as well as in university education and training, practically forcing out the more familiar for Russia term "museum pedagogics" (pédagogie muséale). In this regard, it is important to think about and understand the French experience in this field and how it can be applied in the Russian context, outside the still relatively small sphere of private and contemporary art museums, where this experience is already being applied.
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Machado, Tiago. "A ARTE A PARTIR DO SEU LUGAR: O TRABALHO IN SITU DE DANIEL BUREN E OS ESPA�OS EXPOSITIVOS NOS NOS 19701 / Art from its place: Daniel Buren?s in situ work and exhibition spaces in the 1970?s." arte e ensaios 27, no. 42 (January 3, 2022): 188–209. http://dx.doi.org/10.37235/ae.n42.15.

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Pela an�lise de algumas instala��es realizadas pelo artista franc�s Daniel Buren (1938)�durante a d�cada de 1970, procura-se evidenciar a import�ncia dos locais especializados de exposi��o da arte para a constru��o do sentido da hist�ria da arte contempor�nea. Apesquisa ora apresentada se organiza em torno dos escritos de Daniel Buren e na documenta��o fotogr�fica produzida na ocasi�o de cada uma das interven��es analisadas, centrando-se em tr�s pontos principais: na an�lise da situa��o dos museus de arte europeus que ent�o se abriam para a arte contempor�nea; na atua��o comercial e pr�tica das galerias de vanguarda nos Estados-Unidos e, finalmente, no papel exercido no campo art�stico pelos ?novos museus? que, ao final da d�cada de 1970, se consolidam como espa�os importantes para a anima��o da vida cultural no hemisf�rio Norte.Palavras-chave:Trabalho in situ. Museu. Galeria. Novos museus. D�cada de 1970.�AbstractThrough the analysis of some installations carried out by the French artist Daniel Buren (1938) during the 1970s, we seek to highlight the importance of specialized art exhibition sites for the construction of the meaning of the history of contemporary art. The� research presented here is organized around the writings of Daniel Buren and the photographic documentation produced during each of the analyzed interventions, focusing on three main points: the analysis of the situation of European art museums that were then opening up to the contemporary art; in the commercial and practical performance of avant-garde galleries in the United States and, finally, in the role played in the artistic field by the ?new museums? which, at the end of the 1970s, were consolidated as important spaces for the animation of cultural life in the North hemisphere.Keywords:Work in situ. Museum. Gallery. New museums. 1970s.
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Nicifero, Alessandra. "OCCUPY MoMA: The (Risks and) Potentials of a Musée de la danse!" Dance Research Journal 46, no. 3 (December 2014): 32–44. http://dx.doi.org/10.1017/s0149767714000527.

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By renaming the Choreographic National Center in Rennes and Bretagne as the Musée de la danse in 2009, the French choreographer Boris Charmatz has indirectly raised new questions on both museum and dance ontologies, opening up the possibility of an enriched interdisciplinary discourse on the relationship between movement-based arts and museums/art institutions. This essay explores the changing museum and dance landscape over the past few decades, considers how museums have been theorized, and their relationship to, and engagement with, audiences; and asks what role choreography and dance can play in this new institutional context.
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Zarucchi, Jeanne Morgan. "French Art at the Saint Louis Art Museum: A Bilingual Learning Resource." French Review 89, no. 1 (2015): 115–27. http://dx.doi.org/10.1353/tfr.2015.0122.

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Anna, Mallek. "Pedagogika muzealna. Cele, idea, kierunek rozwoju i zastosowanie w praktyce na przykładzie „lekcji muzealnej” w polskim muzeum historycznym." Problemy Wczesnej Edukacji 28, no. 1 (March 31, 2015): 114–27. http://dx.doi.org/10.5604/01.3001.0008.5676.

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Museum education is a subdiscipline of Pedagogy which has been changing rapidly during the current century. The beginning of such education was inevitably related to the origin of the museum. The richest royal men as kings, princes and priests set up their own individual collections which were displayed only to chosen people. The fi rst museums are claimed to have existed during the Italian Renaissance, for instance Pope Sixtus IV hired Michaelangelo Buonarrotti to create a special place for ancient collections. During the French Revolution it was believed that art had got an unique ability to rehabilitate those members of society who suffered from alcoholism and other kinds of pathology. The Louvre was opened to the public in 1793 and, since that time, art collections have started to be organised in special exhibition form. At the end of the 19th century two German art historians and educationists Alfred Lichtwark and Georg Kerchensteiner started to form a special educational programme for children and young people, concerning the museum collection. In the history of Pedagogy they are claimed to be the forerunners of museum education which has been developing into one of the most infl uential and potential kinds of cultural education in the 21st century. Among history studies, I would like to present museum education in the context of one selected Polish historical museum and then analyze and interpret the ‘museum lesson’ in comparison with contemporary movements in museology and critical, progressive pedagogy.
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Meier, Nikolaus. "Art and museum libraries in Switzerland." Art Libraries Journal 21, no. 4 (1996): 23–26. http://dx.doi.org/10.1017/s0307472200010075.

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Die Situation der Kunstbibliotheken in der Schweiz ist durch verschiedene historische Faktoren geprägt. Die Kulturhoheit der verschiedenen Kantonsrepubliken und die vier Landessprachen haben in der Vergangenheit die Entwicklung einer einheitlichen Bibliothekslandschaft erschwert. Ebenso wenig mündete die von großen Persönlichkeiten geprägte Entwicklung der Kunstwissenschaft und des Museumswesens in eine vielfältige Landschaft von Kunstbibliotheken. Die drei Zentren für Kunstbibliotheken sind Basel, Zürich und Genf. Eine Kunstbibliothek für die italienischsprachige Schweiz, wie u.a. in einem kürzlich enstandenen Grundlagenbericht für Kunstgeschichte empfohlen wird, ist immer noch ein Desiderat.The situation of Swiss art libraries is determined by different historic developments. The different Swiss cantons, with their sovereignty in cultural matters, and the four official languages of the country, have impeded the development of a homogeneous libraries’ scene. The development of art libraries has been constrained by the slow and erratic growth of art history and museology. In Switzerland there are three centres for art libraries: Basle and Zurich, and Geneva, in French-speaking Switzerland. An art library for Italian-speaking Switzerland - as once again recommended in a recently published Grundlagenbericht für Kunstgeschichte (= Basic Report for Art History) - is still desired.
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Silberstein, Elodie. "“Have You Ever Seen the Crowd Goin’ Apeshit?”: Disrupting Representations of Animalistic Black Femininity in the French Imaginary." Humanities 8, no. 3 (August 9, 2019): 135. http://dx.doi.org/10.3390/h8030135.

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16 June 2018. London Stadium. Beyoncé and Jay–Z revealed the premiere of the music video Apeshit. Filmed inside the Louvre Museum in Paris, Beyoncé’s sexual desirability powerfully dialogues with Western canons of high art that have dehumanized or erased the black female body. Dominant tropes have historically associated the black female body with the realm of nature saddled with an animalistic hypersexuality. With this timely release, Apeshit engages with the growing current debate about the ethic of representation of the black subject in European museums. Here, I argue that Beyoncé transcends the tension between nature and culture into a syncretic language to subvert a dominant imperialistic gaze. Drawing on black feminist theories and art history, a formal analysis traces the genealogy and stylistic expression of this vocabulary to understand its political implications. Findings pinpoint how Beyoncé laces past and present, the regal nakedness of her African heritage and Western conventions of the nude to convey the complexity, sensuality, and humanity of black women—thus drawing a critical reimagining of museal practices and enriching the collective imaginary at large.
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Bellisari, Andrew. "The Art of Decolonization: The Battle for Algeria’s French Art, 1962–70." Journal of Contemporary History 52, no. 3 (October 17, 2016): 625–45. http://dx.doi.org/10.1177/0022009416652715.

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In May 1962 French museum administrators removed over 300 works of art from the Musée des Beaux-Arts in Algiers and transported them, under military escort, to the Louvre in Paris. The artwork, however, no longer belonged to France. Under the terms of the Evian Accords it had become the official property of the Algerian state-to-be and the incoming nationalist government wanted it back. This article will examine not only the French decision to act in contravention of the Evian Accords and the ensuing negotiations that took place between France and Algeria, but also the cultural complexities of post-colonial restitution. What does it mean for artwork produced by some of France’s most iconic artists – Monet, Delacroix, Courbet – to become the cultural property of a former colony? Moreover, what is at stake when a former colony demands the repatriation of artwork emblematic of the former colonizer, deeming it a valuable part of the nation’s cultural heritage? The negotiations undertaken to repatriate French art to Algeria expose the kinds of awkward cultural refashioning precipitated by the process of decolonization and epitomizes the lingering connections of colonial disentanglement that do not fit neatly into the common narrative of the ‘end of empire'.
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Jarošová, Markéta. "Nélie Jacquemart André a Isabella Stewart Gardner – sběratelky renesančního umění." Muzeum Muzejní a vlastivedná práce 60, no. 1 (2022): 50–63. http://dx.doi.org/10.37520/mmvp.2022.006.

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The article focuses on two collectors – Nélie Jacquemart André, who was French, and Isabella Stewart Gardner, who was American. Both ladies created fascinating collections at the turn of the 19th and 20th centuries including a wide range of art objects from different periods. The core of these private collections was the art of the Italian Renaissance. The study deals with the questions of the formation of these sets of Renaissance works of art, methods of acquisitions, the nature of collection objects, and especially installation principles applied in two museum collections that are now publicly accessible – the Musée Jacquemart-André in Paris and the Isabella Stewart Gardner Museum in Boston.
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Dissertations / Theses on the topic "Museum of French Art"

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Sido, Anna E. "Making History: How Art Museums in the French Revolution Crafted a National Identity, 1789-1799." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/663.

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This paper compares two art museums, both created during the French Revolution, that fostered national unity by promoting a cultural identity. By analyzing the use of preexisting architecture from the ancien régime, innovative displays of art and redefinitions of the museum visitor as an Enlightened citizen, this thesis explores the application of eighteenth-century philosophy to the formation of two museums. The first is the Musée Central des Arts in the Louvre and the second is the Musée des Monuments Français, both housed in buildings taken over by the Revolutionary government and present the seized property of the royal family and Catholic Church. Created in a violent and unstable political climate, these museums were an effective means of presenting the First Republic as a guardian of national property and protector of French identity.
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Bordo, Vanessa C. "Making a Case for the Use of Foreign Language in the Educational Activities of Nonprofit Arts Organizations." University of Akron / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=akron1311135640.

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Kim, Hangyul. "L'usage des maîtres anciens dans le discours de l'art national en France, 1780-1850." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H054.

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Ce travail étudie la place particulière accordée aux « maîtres anciens » dans la littérature artistique et les pratiques muséales depuis la Révolution jusqu’au milieu du XIXe siècle en France. Dès la fin de l’Ancien Régime, la définition des « maîtres anciens » connaît une transition progressive : des artistes de la Grèce antique aux fondateurs de l’École nationale. Par l’usage de leurs noms et de leurs vertus artistiques mais aussi morales, l’art national en France doit acquérir une notoriété digne d’une République nouvelle qui puisse rivaliser avec les autres écoles nationales prééminentes. Cette nouvelle prépondérance des maîtres anciens français doit répondre au souci républicain de l’instruction publique, en assurant la diffusion de la connaissance de l’histoire nationale et des qualités édifiantes par voie de la « vision » : leurs œuvres exposées dans des espaces ad hoc et leur image représentée dans la production artistique contemporaine en tant que grands hommes, héros et pères de la Nation. Les textes d’Alexandre Lenoir, d’Émeric-David et de La Décade ont été explorés dans cette optique, avant la considération de la disposition d’œuvres dans les musées et des catalogues, en particulier les Annales de Landon, et des créations artistiques dédiées à l’image des maîtres anciens. Redécouverts à dessein, les maîtres anciens contribuent à la construction d’une identité culturelle nationale et collective
This thesis problematises in historical context the identity of the ‘Old Masters’ in the literature on art and practices of museums in France from the time of the French Revolution until the mid-nineteenth century. Since the end of the Old Regime, the definition of the ‘Old Masters’ was transformed: a transition of principal elements, from the classical Greek artists to the founders of the National School, took place. This transition reflected the anxiety of the newborn French Republic facing an international rivalry in art history and myriad obstacles to its social and political goals. To meet the concerns of competition and emulation, the names as well as the artistic and moral qualities of ‘Masters’ were recognised, with emphasis, as being closely linked to public instruction and national history. The thesis analyses the texts and museum theories of Alexandre Lenoir and Toussaint-Bernard Émeric-David and the discussion of ‘Old Masters’ in the republican journal La Décade. Also analysed in this context are the displays of the Old Masters in the museums, catalogues (with a focus of Landon’s Annales) and works of art during the Revolution and the first half of the nineteenth century recreating the images of the Old Masters as national heroes or fathers of French art. This consciously performed reconstruction of the ‘Old Masters’ during the French Revolution made a crucial contribution to the formation of the cultural identity of France
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Bradford, Shalen. "Children's Art Museum." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2175.

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This Thesis explores the question; Is a children’s museum a playground or a museum? Through research and visits to children’s museums I feel that many are playgrounds. They are also visually stimulating to children, but not to the guardians who bring them there. In most cases the exhibits are permanent and there is little change to the atmosphere of the space on a regular basis. An old warehouse located on North Boulevard was chosen to house this project idea of a children’s art museum. The scenario is that The Virginia Museum of Fine Arts and the Children’s Museum of Richmond would have a joint venture in creating a the Children’s Art Museum of Richmond. Thebuildings’ close proximity to these two museums make it an excellent choice for both institutions. There are interactive changing exhibits, a studio that continues the learning experience from the exhibit, and a gallery to display artwork that was created in the studio spaces. Through these three core spaces I hope to create a continuous interactive learning experience in this children’s art museum.
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Bingham, Glenn. "Mobile Museum of Art." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/aa_rpts/153.

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The following internship report is an investigation of the organizational structure of the Mobile Museum of Art from January 2013 to August 2013. During the internship, I was able to work in several different capacities, from volunteer coordinating, to marketing, to programming. This report analyzes several aspects within these fields, including the organization’s brand, marketing strategies, and educational structure as they shift under new management. Based on my observations, I will offer recommendations for programming, marketing, and volunteer management, and compare the current structure to best practices of other museums and similar organizations. Through this extensive analysis I will also offer thoughts about the future of this local arts environment.
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Knels, Eva Maria. "Le Salon et la scène artistique à Paris sous Napoléon I. Politique artistique – Stratégies d’artistes – Échos internationaux." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040065.

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Cette thèse de doctorat se propose d’étudier les Salons sous l’ère napoléonienne, connus surtout pour le rôle important qu’ils jouèrent dans le cadre de l’instrumentalisation politique de l’art contemporain. Ainsi, après 1799, le Salon devint rapidement un important outil de la vaste politique culturelle du Consulat et de l’Empire, qui servit à représenter de manière symbolique le système politique. Face à ce changement radical du Salon et de sa politique artistique, les artistes, eux aussi, ont dû se positionner et s’adapter aux nouvelles structures politiques et administratives, tout en réagissant aux nouvelles tendances artistiques et à l’évolution du milieu artistique, afin de s’imposer au Salon. Le succès rencontré par les Salons en ces années-là ne se manifeste pas seulement par le chiffre croissant des exposants et des visiteurs : les diverses formes de la réception du Salon – journaux, brochures, récits de voyage, lettres et œuvres graphiques - témoignent également de l’écho rencontré par l’exposition, et ceci bien au-delà des frontières nationales. Jouxtant les salles du fameux Musée Napoléon qui regroupe les chefs-d’œuvre artistiques les plus importants, saisis par les armées françaises dans des collections de l’Europe, le Salon profite de la forte fréquentation du Louvre entre 1800 et 1815, de la part de visiteurs aussi bien français qu’étrangers. L’objectif de cette thèse est d’analyser l’organisation de l’exposition, le paysage des artistes exposants ainsi que l’écho rencontré par cet évènement sur la scène internationale en tenant compte de cette mutation complexe de la vie artistique parisienne au début du XIXème siècle. Dans cette perspective, le présent travail s’interroge sur les rapports entre la politique artistique, les pratiques artistiques et culturelles ainsi que leur réception
This doctoral thesis examines the Salons of living artists under the reign of Napoleon I, which are primarily known for the prominent role they played in the context of cultural politics of that time. After 1799, the Salon rapidly became an important instrument of art and cultural politics used by the ruling government to symbolically legitimise and support the political system. Given the major changes to the exhibition in these years, artists had also had to adapt to the new political and administrative structures whilst, at the same time, reacting to new artistic trends in order to stand up to the strong competition at the Salon. The exhibition's success in these years is not only reflected by the rising numbers of exhibiting artists and visitors. Also its wide-ranging coverage in the media, such as newspaper articles, letters, travelogues and graphic anthologies, is further proof of the exhibition's relevance and reach, sometimes even beyond national frontiers. Indeed, the exhibition's close locality to the famous Musée Napoléon, with its large collection of master pieces confiscated from European collections by the French armies, added further attention paid by European travellers to the Salon and the French contemporary art on display there. The aim of this doctoral thesis is to analyse the organisation of the exhibition, the range of participating artists as well as the international response it created whilst taking into consideration the complex transformation of art and the French art scene at the beginning of 19th century. By doing so, the dissertation focuses on the reciprocal relationship between art politics, artistic production and their reception
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Wong, Ngai-leung Aman, and 黃毅樑. "Museum of Guangdong folk art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B3198552X.

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Secleter, John Robert. "Duke University Museum of Art." Thesis, Virginia Polytechnic Institute and State University, 1985. http://hdl.handle.net/10919/52237.

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Wong, Ngai-leung Aman. "Museum of Guangdong folk art." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2594552x.

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Södersten, Tove. "A Museum of Graphic art." Thesis, KTH, Arkitektur, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-175596.

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This project investigates the relations light and shape in a museum of graphic arts. The nature of daylight determines the meeting between the building and the sky. The shape of the building, therefore, distributes the light thus facilitating the meeting between the visitor and the art. The best light in art museums is neutral and avoids sharp contrasts and shadows that would otherwise detract from the experience in the museum. I studied how different shapes influence light and found a rounded shape to produce the best results, distributing light evenly thus avoiding distracting contrasts. Rounded shapes from a quadratic base with straight walls optimize the distribution of the light, facilitating the interaction between the visitor and the art.  The building of the museum is part of a “light-game” with a quadratic base. The conspicuous shapes distribute the light, guiding the visitor in the world of art. In the north, the building has a density next to the car park while it interacts with the shapes producing an intimate small-scale feeling in the south.
Projektet undersöker relationen mellan ljus och form i ett museum för grafisk konst. Ljusets natur bestämmer samspelet mellan byggnad och himmel. Byggnadens form fördelar ljuset och underlättar besökarens mötte med konsten. I konsthallar är det kontrastfria, neutrala ljuset det bästa; skuggspel och ljusförändringar stör upplevelsen. I mina studier fann jag att en välvd form fördelade ljuset jämt, störande kontraster undviks. Den välvda formen fördelade ljuset på bästa sätt och uppfyllde kravet som konsten ställer inför mötet med betraktaren. Den välva formen med en kvadratisk bas i botten och raka neutrala väggar.Byggnaden blir ett spel där formerna framstår mot en grid-baserad bas (VAD ÄR GRID-BASERAD?). Det tydliga formspråket är anslående och vägleder besökaren. Byggnaden har en ”täthet” i norr, vid bilparkeringen, och omgivningen utanför samspelar med formerna ner mot södra sidan och skapar tillsammans en småskalighet. Byggnaden går från att ha en hög densitet i norr mot bilparkeringen, till att spela med ute och inne mot dess södra sida för att även passa in i den småskaliga omgivningen.
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Books on the topic "Museum of French Art"

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Metropolitan Museum of Art (New York, N.Y.), ed. French art deco. New York: Metropolitan Museum of Art, 2014.

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Seventeenth-Century French ceramic art. [New York]: Metropolitan Museum of Art, 1987.

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Katie, Hanson. French Impressionism: From the Museum of Fine Arts, Boston. Melbourne: National Gallery of Victoria, 2021.

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Metropolitan Museum of Art (New York, N.Y.), ed. French royal furniture in the Metropolitan Museum. New York: Metropolitan Museum of Art, 2006.

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editor, Aste Richard, and Small Lisa editor, eds. French moderns: Monet to Matisse, 1850/1950. New York, NY: Scala Arts Publishers, Inc. and Brooklyn Museum, 2017.

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Museum, Chrysler, North Carolina Museum of Art., and Birmingham Museum of Art, eds. French paintings from the Chrysler Museum. Norfolk, Va: Chrysler Museum, 1986.

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Art, Columbus Museum of, ed. The French painting tradition. Columbus, Ohio: Columbus Museum of Art, 1987.

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Matisse, Henri. Matisse prints from the Museum of Modern Art. Fort Worth, Tex: Fort Worth Art Museum, 1986.

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New York. The Wrightsman Galleries for French decorative arts, the Metropolitan Museum of Art. New York: Metropolitan Museum of Art, 2010.

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E, Hirshler Erica, Stevens Mary Anne, and Royal Academy of Arts (Great Britain), eds. Impressionism abroad: Boston and French Painting. London: Royal Academy of Arts, 2005.

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Book chapters on the topic "Museum of French Art"

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Leung, Isaac. "Museum Frenzy." In The Routledge Handbook of Contemporary Art in Global Asia, 225–32. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003285298-22.

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Abt, Jeffrey. "Failed Plans, Fresh Crises, a New Relationship." In Valuing Detroit’s Art Museum, 121–49. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-45219-7_4.

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Aldrich, Robert. "The Colonial Legacy of Non-Western Art in French Museums." In Vestiges of the Colonial Empire in France, 245–90. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230005525_7.

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Jules-Rosette, Bennetta, and J. R. Osborn. "Lost and Found." In African Art Reframed, 33–64. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043277.003.0002.

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This chapter examines systems of classification supporting the front stage of museum exhibits. It traces the roots of European museum taxonomies found in colonial expositions and early museums of African art. It discusses the floorplans and displays strategies of French museums and contrasts them with theories proposed by anthropologists and African intellectuals. Museum classifications reflect inherited epistemologies and those of their era. These classifications are translated into labels and strategies for staging displays exhibitions, and expositions, that is, into exhibitionary complexes. The chapter concludes with a discussion of reconfigurations of the museum landscape with contrasting evidential support. It explores French museum closings and their deconstruction in relationship to historical antecedents and problems of labeling and reinstallation.
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Kazdaghli, Habib. "Is Tunisia Ready for a Jewish Museum? Perspectives on the Current Debates Surrounding the Status of Jewish History in My Country." In The Art of Minorities, 227–40. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474443760.003.0011.

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This chapter charts the genesis of the Museum of Jewish-Tunisian Heritage in Tunis. Jewish culture has been exhibited in Tunisian museums since the beginning of the French Protectorate in 1881. Until recently, however, the idea of a museum entirely dedicated to Jewish-Tunisian history and culture was simply unconceivable in Tunisia, as Judaism was solidly understood as being tied to Israeli politics. Kazdaghli explains how the Jewish-Tunisian community, domestically and overseas, have seized the so-called ‘Jasmine Revolution’ and the democratic ideals it purports to push for the establishment of a joint-venture Museum of Jewish-Tunisian Heritage in Tunis. In a context of new democratic achievements, the museum project is publicised as an instrument of social change, a partner to the democratic transition. However, the chapter shows that such a project proves a difficult exercise as the organising committee navigates cultural taboos surrounding Judaism in Tunisian society, as well as conflicting patrimonial opinions within the community itself, in Tunisia and within the diaspora.
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Peleggi, Maurizio. "A Museum and an Art History for the Thai Nation." In Monastery, Monument, Museum. University of Hawai'i Press, 2017. http://dx.doi.org/10.21313/hawaii/9780824866068.003.0006.

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Chapter 5 carries on from the previous chapter by detailing the assemblage of the Bangkok National Museum’s collection along with the formulation in the 1920s of a stylistic classification of antiquities that has since become canonical. The chapter examines the underlying assumptions of the art historical classification elaborated by Prince Damrong Rachanubhap (“the father of Thai history”) and the French scholar George Coedes, fouding director of the Siamese Archaeological Service.
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Rey, Virginie, and Stephen Pascoe. "The Ethnographisation of Syrian Society at the Azem Palace of Damascus: From Compact Minorities to Toponymical Identity." In The Art of Minorities, 33–55. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474443760.003.0002.

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This chapter uses the founding of the Azem palace museum in 1953 in Damascus as a site to explore the transition to colonial ethnography to postcolonial self-representation. The authors argue that the museum was conceived as a statement of resistance against western colonialism, leading to a partial reimagining of the cultural categories developed by the French, from ‘compact minorities’ to ‘toponymical identities.
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"French Art for All! Museum Projects in Africa 1912–1931 between Avant-garde and Colonialism." In The Museum Is Open, 245–58. De Gruyter, 2013. http://dx.doi.org/10.1515/9783110298826.245.

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Sausverd, Antoine. "Comics and Figurative Narration: What Pierre Couperie Contributed." In Comic Art in Museums, 104–12. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0010.

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This chapter contains a new translation of the 2014 article by the French comics scholar Antoine Sausverd exploring Pierre Couperie’s role in the founding of the French intellectual comics fan group SOCERLID; details about the 1967 Musee des Arts Decoratifs exhibit ‘Bande dessinée et figuration narrative’ and its influential catalog ‘A History of the Comic Strip,’ and Couperie’s disdain for Roy Lichtenstein.
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"The Museum and the Marketplace: The Constitution of Value in Contemporary Art." In Bourdieu in Question: New Directions in French Sociology of Art, 43–70. BRILL, 2017. http://dx.doi.org/10.1163/9789004356719_003.

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Conference papers on the topic "Museum of French Art"

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Alves da Silva, Cristiane, and Mirtes Marins de Oliveira. "The exhibition design of a House Museum: the Dining Room as a case study." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.104.

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The exhibition space of a Collector's House Museum, the specific case of the Ema Klabin House Museum (HMEK), offers the field of exhibition design a unique place for research due to its nature, which moves from the private to the public and presents artifacts that allow entering the biography of objects and understanding them from a material culture perspective. The present research, still in progress, has as a case study, the environment of the Dining Room at HMEK, which evokes, more than any other room, domesticity and the memory of home while at the same time convoking the experience of the museum space. The research proposes the centrality of the Dining Room both in the practices of the former residence and in the discursive elaboration of the current museum. In this context and in the proposal of this research, the study of the Dining Room, its materialities, uses and spatial organization in both historical moments is an exemplary case for the implementation of research in a house museum, serving its study, based on the indicated variables, to highlight possibilities in this type of institution based on its physicality. The former residence of collector, businesswoman and patron Ema Gordon Klabin houses a multicultural collection that encompasses visual arts, ethnographic objects, books, furniture and decorative arts, exhibited in preserved environments from a house register with exhibition design that highlights the practices of the house, collector and building of modernized classical architecture. It is considered that artifacts are memory supports, vectors capable of preserving or reviving them, provoking relationships between what has been experienced and the situations of the present time. The Dining Room, used for diplomatic and social purposes, is a space measuring 4.80m X 5.30m and connects to the social rooms of the house with a large glass door accessing the external patio, environment with tropical plants and an Italian fountain. It is accessed through a gallery - a must-see for visitors to the house and now, to the museum - and the living room. On the opposite wall, a camouflaged door accesses the kitchen and service areas – currently the museum's reception area – where the French service was carried out. Currently, the Dining Room is organized in accordance with photographs and other historical records that attest to its use before its change to museum status. It exhibits documents and objects that attest to the memory of the uses and customs of this space, for example, the Reception Book, in which the hostess described each event, her guests and the planning of the reception. The research proposes an understanding of the cultural trajectory of objects and the implication of design in the activation of private memories of a domestic environment that, by becoming a museological space, provokes collective memories through its exhibition design, investigating the application of design to address the feedback between experience and history.
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Bonnet, Stéphanie, Darwish Alzeort, and Philippe Poullain. "Synthesis of the Current Knowledge Concerning the Construction of French Traditional Cob Building for Giving Recommendations." In 4th International Conference on Bio-Based Building Materials. Switzerland: Trans Tech Publications Ltd, 2022. http://dx.doi.org/10.4028/www.scientific.net/cta.1.620.

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The museum of the “Bourrine du bois Juquaud” is a tourist site located in the town of Saint Hilaire de Riez in France. It presents the daily life of the inhabitants of the marsh in the early twentieth century and their traditional earthen houses called Bourrine. The Bourrine is a cob construction with reed roof. The earth used for walls is soil from marshlands added with dune sand and straw fibres but some part are without fibres like coating applied on walls. By now, the knowledge acquired on the implementation of these mixtures for the lifting of the walls are oral knowledge and it is necessary to ensure the preservation of this traditional heritage. Currently the done reparations present cracks due to shrinkage. This study aims at well defining the mixtures by a scientific approach. The earth and dune sand were analyzed by taking cores from different existing bourrines and also by extracting soil on site. Different mixtures were produced by varying the proportion of earth sand and water. The linear shrinkage were measured. Corrections were done to get the best mixture for manufacturing and repairing the Bourrines.
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Lakićević, Milena, Ivona Simić, and Radenka Kolarov. "Designing parterres on the main city squares." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p66.

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A “parterre” is a word originating from the French, with the meaning interpreted as “on the ground”. Nowadays, this term is widely used in landscape architecture terminology and depicts a groundlevel space covered by ornamental plant material. The designing parterres are generally limited to the central city zones and entrances to the valuable architectonic objects, such as government buildings, courts, museums, castles, villas, etc. There are several main types of parterres set up in France, during the period of baroque, and the most famous one is the parterre type “broderie” with the most advanced styling pattern. Nowadays, French baroque parterres are adapted and communicate with contemporary landscape design styles, but some traits and characteristics of originals are still easily recognizable. In this paper, apart from presenting a short overview of designing parterres in general, the main focus is based on designing a new parterre on the main city square in the city of Bijeljina in the Republic of Srpska. The design concept relies on principles known in the history of landscape art but is, at the same time, adjusted to local conditions and space purposes. The paper presents the current design of the selected zone – parterre on the main city square in Bijeljina and proposes a new design strongly influenced by the “broderie” type of parterre. For creating a new design proposal we have used the following software AutoCad (for 2D drawings) and Realtime Landscaping Architect (for more advanced presentations and 3D previews). The paper provides detailed graphical representations for a new design proposal and explains the main design ideas and guidelines which can be applied even when designing parterres in the other urban space. Besides that, the paper lists the plant material that is suitable for establishing and maintaining parterres in the urban environment.
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Baba, Shinsuke, Jennifer Meloon, and Stephen Duck. "K museum." In ACM SIGGRAPH 99 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1999. http://dx.doi.org/10.1145/312379.312971.

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Livatino, Salvatore. "Virtual Museum of Contemporary Art." In 17th International Conference on Artificial Reality and Telexistence (ICAT 2007). IEEE, 2007. http://dx.doi.org/10.1109/icat.2007.55.

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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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Zhou, Hao. "Virtual Reality in the Art Museum." In SA '19: SIGGRAPH Asia 2019. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3366344.3366441.

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Navarro Luengo, Ildefonso, Adrián Suárez Bedmar, and Pedro Martín Parrado. "El castillo de San Luis (Estepona Málaga): Origen y evolución de una fortificación abaluartada. Siglos XVI-XXI." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11552.

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The castle of San Luis (Estepona Málaga): Origin and evolution of a bastion fort. Sixteenth to twenty-first centuriesThe results of the investigation prior to the excavation work in the Castle of San Luis, in Estepona (Málaga, Spain) are presented. It is a coastal fortress built in the last quarter of the sixteenth century, in the context of the reorganisation of the defense of the western coast of Malaga after the Moorish rebellion of 1568. After analysing the available literature, we propose that it was designed by the Engineer Juan Ambrosio Malgrá, Maestro Mayor de obras del Reino de Granada. The Castle of San Luis is devised as an add-on construction on the southern front of the walls of Islamic origin, dominating the natural anchorage of the Rada beach. Its most prominent elements are three bastions, two of them with casemates, and a large main square. However, various defects in the design and execution of the works, added to the insufficient provision of artillery and garrison, affected the effectiveness of the fortification throughout its history. In the middle of the eighteenth century, part of the Castle of San Luis is restructured as a cannons’ battery. Following the damage caused by the Lisbon Earthquake, in 1755, and by the French and English blastings in 1812, during the second half of the nineteenth century much of the castle disappears, leaving only the cannons’ battery, which is incorporated as a courtyard in height as an add-on to a house built at the end of the nineteenth century. At present, after several decades of abandonment, excavation works have been undertaken on the remains of the battery, after which the site will be prepared to be used as a museum.
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Chang, Wen-Thong. "Proactive guiding with iBeacon in Art Museum." In 2017 Pacific Neighborhood Consortium Annual Conference and Joint Meetings (PNC). IEEE, 2017. http://dx.doi.org/10.23919/pnc.2017.8203530.

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Chang, Yujin. "SIMPLE LIFE (CHANG UCCHIN MUSEUM OF ART)." In Bridging Asia and the World: Globalization of Marketing & Management Theory and Practice. Global Alliance of Marketing & Management Associations, 2014. http://dx.doi.org/10.15444/gmc2014.06.09.02.

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Reports on the topic "Museum of French Art"

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Westermann, Mariët, Liam Sweeney, and Roger Schonfeld. Art Museum Staff Demographic Survey 2018. Ithaka S+R, January 2019. http://dx.doi.org/10.18665/sr.310935.

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Sweeney, Liam, Deirdre Harkins, and Joanna Dressel. Art Museum Staff Demographic Survey 2022. Ithaka S+R, November 2022. http://dx.doi.org/10.18665/sr.317927.

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Sweeney, Liam, and Joanna Dressel. Art Museum Director Survey 2022: Documenting Change in Museum Strategy and Operations. Ithaka S+R, October 2022. http://dx.doi.org/10.18665/sr.317777.

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Schonfeld, Roger, and Liam Sweeney. Organizing the Work of the Art Museum. Ithaka S+R, July 2019. http://dx.doi.org/10.18665/sr.311731.

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Fox, Andrew, and Sadie Walters. North Carolina Museum of Art West Building Expansion. Landscape Architecture Foundation, 2015. http://dx.doi.org/10.31353/cs0940.

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Sweeney, Liam, and Jennifer Frederick. Ithaka S+R Art Museum Director Survey 2020. Ithaka S+R, November 2020. http://dx.doi.org/10.18665/sr.314362.

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Butyrina, Maria, and Valentina Ryvlina. MEDIATIZATION OF ART: VIRTUAL MUSEUM AS MASS MEDIA. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11075.

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The research is devoted to the study of the phenomenon of mediatization of art on the example of virtual museums. Main objective of the study is to give communication characteristics of the mediatized socio-cultural institutions. The subject of the research is forms, directions and communication features of virtual museums. Methodology. In the process of study, the method of communication analysis, which allowed to identify and characterize the main factors of the museum’s functioning as a communication system, was used. Among them, special emphasis is put on receptive and metalinguistic functions. Results / findings and conclusions. The need to be competitive in the information space determines the gradual transformation of socio-cultural institutions into mass media, which is reflected in the content and forms of dialogue with recipients. When cultural institutions begin to function as media, they take on the features of media structures that create a communication environment localized by the functions of communicators and audience expectations. Museums function in such a way that along with the real art space they form a virtual space, which puts the recipients into the reality of the exhibitions based on the principle of immersion. Mediaization of art on the example of virtual museum institutions allows us to talk about: expanding of the perceptual capabilities of the audience; improvement of the exposition function of mediatized museums with the help of Internet technologies; interactivity of museum expositions; providing broad contextual background knowledge necessary for a deep understanding of the content of works of art; the possibility to have a delayed viewing of works of art; absence of thematic, time and space restrictions; possibility of communication between visitors; a huge target audience. Significance. The study of the mediatized forms of communication between museums and visitors as well as the directions of their transformation into media are certainly of interest to the scientific field of “Social Communications”.
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Miller, N. J., and S. M. Rosenfeld. Demonstration of LED Retrofit Lamps at the Smithsonian Art Museum, Washington, DC. Office of Scientific and Technical Information (OSTI), June 2012. http://dx.doi.org/10.2172/1220103.

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Miller, Naomi J. Demonstration of LED Retrofit Lamps at the Jordan Schnitzer Museum of Art. Office of Scientific and Technical Information (OSTI), September 2011. http://dx.doi.org/10.2172/1062520.

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Sweeney, Liam. Reflecting Los Angeles, Decentralized and Global: Los Angeles County Museum of Art. Ithaka S+R, January 2018. http://dx.doi.org/10.18665/sr.306187.

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