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Dissertations / Theses on the topic 'National Art Gallery'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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1

Perry, Lara Ann. "Facing femininities : women in the National Portrait Gallery, 1856-1899." Thesis, University of York, 1999. http://etheses.whiterose.ac.uk/2479/.

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2

Pezzini, Barbara. "Making a market for art : Agnews and the National Gallery, 1855-1928." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/making-a-market-for-art-agnews-and-the-national-gallery-18551928(4f296d6c-997a-4eab-95ca-bace7b9c3596).html.

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The thesis investigates the interaction that developed between a major art dealer, Thos. Agnew and Sons (Agnews), and a principal public collection, the London National Gallery, from 1855 to 1928. Agnews played a crucial role in the life of the National Gallery and greatly facilitated the museum accession of important paintings, such as the Madonna Ansidei by Raphael, the Rokeby Venus by Velazquez, the Portrait of Doge Vincenzo Morosini by Tintoretto, and many others. In turn, collaborating with the National Gallery allowed Agnews to penetrate the international Old Masters market and reach for

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3

Hahn, Catherine Neville. "The political house of art : the South African National Gallery, 1930-2009." Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/19314/.

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The thesis analyses modes of representation in the South African National Gallery (SANG) between 1930 and 2009. Built in 1930, for the larger part of its history SANG was situated in a white state that disenfranchised the black populace. Whiteness, as citizenship, was normalised and glorified in the state’s museums. Analysis of evidence collected from the archive, décor, art collection, exhibitions, attendance of walking tours and semi-structured interviews with staff demonstrates that SANG’s historic practice does not fit neatly within the dominant theoretical understanding of the art museum,

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4

Barben, Marc Walter. "What does it mean to be a 'national' gallery when the notions of 'nation' transform radically?: An analysis of the Iziko South African National Gallery's practices and policies in historical contexts." Master's thesis, University of Cape Town, 2015. http://hdl.handle.net/11427/13650.

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Includes bibliographical references.<br>While much has been written on the European display of non - western art and artefact collected from their colonies in Africa, less has been documented about the European settler arts institutions, like the South African National Gallery (SANG), whose distant location away from the imperial centre initially presented particular challenges. In South Africa, since colonialism, these challenges have been expanded by settler nationalisms, a racially oppressive regime, a liberation movement, and a relatively peaceful transition to a democracy. In its f

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5

Galastro, Anne Bernadette. "Institutional history of the Scottish National Gallery of Modern Art : tensions, paradoxes and compromises." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7899.

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This study provides the first comprehensive account of the institutional history of the Scottish National Gallery of Modern Art (SNGMA) from the earliest calls for its foundation at the start of the twentieth century to the recent series of exhibitions marking its fiftieth anniversary in 2010. The SNGMA is both a unique case‐study and a useful illustrative example of the specific category of modern art museum: the account of its history sets the institution within its wider cultural context and explores the inevitable complexities facing a public gallery devoted to modern art. The study examin

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6

Doucette, Valerie Anne. "The art museum in code: display strategies of the National Gallery of Canada." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=97220.

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This thesis explores the ways in which the art museum as a powerful cultural medium shapes the public understanding of artworks and how this work is affected by digital media when the museum displays art online. In an analysis of the National Gallery of Canada (NGC) I focus on how the artwork is encountered and understood in physical and digital contexts through the examination of three modes of museum practice: memory, information, and narrative. I compare each mode's manifestation in the physical museum space to its digital translation, revealing that the NGC largely reproduces its objective

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7

Cook, Shashi Chailey. ""Redress : debates informing exhibitions and acquisitions in selected South African public art galleries (1990-1994)" /." Thesis, Rhodes University, 2009. http://eprints.ru.ac.za/1631/.

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8

Lilla, Qanita. ""The advancement of art" : policy and practice at the South African National Gallery, 1940-1962." Master's thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/18426.

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Includes bibliographical references (pages 125-138).<br>This thesis is an enquiry into the policies and practices that shaped the South African National Gallery in the 1940s and 1950s. Drawing on newspaper reports, the South African National Gallery's exhibition catalogues, pamphlets and annual reports, records of parliamentary debate and the crucial report of the Stratford Commission of 1948 the study has reconstructed a detailed history of the South African National Gallery. Established in 1871 as a colonial museum catering for a small part of the settler population of British descent, the m

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9

James, Pamela J., University of Western Sydney, of Arts Education and Social Sciences College, and School of Humanities. "The lion in the frame : the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939." THESIS_CAESS_HUM_James_P.xml, 2003. http://handle.uws.edu.au:8081/1959.7/567.

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This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections wa

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10

James, Pamela J. "The lion in the frame : the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939." Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/567.

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This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections wa

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11

Yoshie, Yoshiara. "Art museums in a diverse society : a visitor study at the South African National Gallery." Thesis, SOAS, University of London, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.498502.

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12

Spence, Cathryn Helen Gordon. "A passionate vision and its legacy : the national gallery of British art at South Kensington." Thesis, Royal Holloway, University of London, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.521759.

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13

Trodd, Colin. "Formations of cultural identity : art criticism, the National Gallery and the Royal Academy, 1820-1863." Thesis, University of Sussex, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.358796.

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14

James, Pamela J. "The lion in the frame the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939 /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20040416.135231/index.html.

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Thesis (Ph.D.) -- University of Western Sydney, 2003.<br>"A thesis presented to the University of Western Sydney in partial fulfilment of the requirements for the degree of Doctor of Philosophy" Includes bibliography.

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15

Freestone, Mellor Paula. "Sir George Scharf and the problem of authenticity at the National Portrait Gallery." Thesis, University of Oxford, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.728997.

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16

Howard, Courtney L. "Special Exhibitions, Media Outreach, and Press Coverage at the Metropolitan Museum of Art, the Chicago Art Institute, and the National Gallery of Art." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1276542794.

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17

Robinson, Cicely. "Edward Hawke Locker and the foundation of the National Gallery of Naval Art (c.1795-1845)." Thesis, University of York, 2013. http://etheses.whiterose.ac.uk/6272/.

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The National Gallery of Naval Art was situated within the Painted Hall at Greenwich Hospital from 1824 until 1936. This collection of British naval paintings, sculptures and nautical curiosities was one of the first ‘national’ collections to be acquired and exhibited for the general public, preceding the foundation of the National Gallery by a matter of months. Installed in the wake of the Revolutionary and Napoleonic Wars, the Naval Gallery, as it was more commonly known, was primarily founded to commemorate ‘the distinguished exploits of the British Navy’. This thesis examines how the Galler

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18

Fasoli, Lyn, and n/a. "Young children in the art gallery : excursions as induction to a community of practice." University of Canberra. Communication & Education, 2002. http://erl.canberra.edu.au./public/adt-AUC20060710.095714.

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Learning in 'communities of practice' is a new way of describing and investigating how people learn and has not been applied extensively in research in early childhood or in art galleries. This thesis is a critical case study undertaken with preschool children as they prepared for, participated in and followed up a series of excursions to the National Gallery of Australia. The study explores and analyses children's induction into the practices of the art gallery and their negotiation of the meanings around these practices in the gallery and in their preschool. Children's engagement in practice

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19

Morris, Andy. "The geographies of multiculturalism : Britishness, normalisation and the spaces of the Tate Gallery." Thesis, n.p, 2002. http://oro.open.ac.uk/18912.

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20

Dickenson, Rachelle. "The stories told : indigenous art collections, museums, and national identities." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98919.

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The history of collection at the National Gallery of Canada, the Art Gallery of Ontario and the Montreal Museum of Fine Arts, illustrates concepts of race in the development of museums in Canada from before Confederation to today. Located at intersections of Art History, Museology, Postcolonial Studies and Native Studies, this thesis uses discourse theory to trouble definitions of nation and problematize them as inherently racial constructs wherein 'Canadianness' is institutionalized as a dominant white, Euro-Canadian discourse that mediates belonging. The recent reinstallations of the permane

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21

Limbos-Bomberg, Nathalie. "The ideal and the pragmatic, the National Gallery of Canada's Biennial Exhibitions of Canadian Art, 1953-1968." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ57706.pdf.

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22

Abbo, Mayer S. "Transforming and revealing a footprint of place : new National Gallery of Art Project, San Jose, Costa Rica." Thesis, Massachusetts Institute of Technology, 1992. http://hdl.handle.net/1721.1/62908.

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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1992.<br>Includes bibliographical references (p. 293-297).<br>The primary focus of this investigation is the insertion of a new piece in an environment where the natural elements of site and the man-made elements of city can begin to inform the ordering systems used in the design process. The existing footprint of the ruins of La Antigua Penitenciaria, in the center of the Costa Rican capital, San Jose, is transformed in meaning and character to become a cultural center for the city. The problem presented is a con

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23

Heath, Elizabeth. "Sir George Scharf and the early National Portrait Gallery : reconstructing an intellectual and professional artistic world, 1857-1895." Thesis, University of Sussex, 2018. http://sro.sussex.ac.uk/id/eprint/73230/.

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This thesis investigates the professional practice of the National Portrait Gallery's first Director Sir George Scharf (1820–95). It is the first focused analysis of his career and influence, within the nineteenth-century art and museum worlds. It attempts to position Scharf in relation to developments in art historical scholarship and the professionalization of museum practice, in the second half of the 1800s. Chapter 1 outlines Scharf's methodology for portraiture research and considers his scientific approach alongside the establishment of art history as a discipline during his lifetime. Wh

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24

Hook, Sarah. "Reading the gallery : portraits and texts in the mid- to late nineteenth century." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:87ad5989-055a-4777-9418-5f636afd6f96.

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The Victorians saw more portraits than any generation before them. While the eighteenth century has been named 'the age of portraiture', portraits pervaded nineteenth-century society like never before. With the invention of photography, coupled with technological advancements in low-cost printing methods, the medium in which faces could be recorded was revolutionised, the classes of society that could afford to be immortalised expanded, and the spaces in which portraits were seen proliferated. These spaces included the public gallery, photography studio shop windows, and personal photograph al

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25

Edström, Felicia. "Konstmuseer i den digitala världen : En kvalitativ studie av konstpedagogikens roll i virtuella konstmuseiutställningar." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-96783.

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En kvalitativ studie av konstpedagogikens roll i virtuella konstmuseiutställningar. Syftet med denna studie är att kartlägga konstpedagogiska element och hur dessa påverkar förmedlandet, mottagandet och funktionerna i två virtuella utställningar från de Londonbaserade konstmuseerna The National Gallery och The Courtauld Gallery. Metoder och teorier med utgångspunkt i en analysmodell av den konstpedagogiska processen samt konstpedagogiska hållningar, har använts för analys och tolkning. I denna studie dras paralleller mellan studieobjekten och traditionella utställningar, samt ytterligare persp

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26

Ward, Debbie, and n/a. "Textile conservation at the Australian National Gallery." University of Canberra. Applied Science, 1985. http://erl.canberra.edu.au./public/adt-AUC20061109.174356.

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27

Urquhart, Ian McLeod, and n/a. "An internship in painting conservation at the Australian National Gallery." University of Canberra. Applied Science, 1985. http://erl.canberra.edu.au./public/adt-AUC20061109.162330.

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My employment in the Paintings Section of the Conservation Department of the Australian National Gallery began in June 1983, however my internship did not begin until March 1984 under the supervision of Allan Byrne. At that time, the paintings section was divided, rather arbitrarily, into: paintings pre-1940, headed by Ilse King and; paintings post-1940, headed by Allan Byrne. Because of the departure of the then senior curator of conservation Dr Nathan Stolow, Allan Byrne became acting senior curator. When Allan Byrne took up the position of lecturer in paintings conservation at C.C.A.E., Ils

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Cains, Carol, and n/a. "Internship in textile conservation at the Australian National Gallery, 1981-1984." University of Canberra. Applied Science, 1985. http://erl.canberra.edu.au./public/adt-AUC20060623.130749.

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29

King, Martha J. (Martha Juliette) Carleton University Dissertation Canadian Studies. "The National Gallery of Canada at arm's length from the government of Canada; a precarious balancing act." Ottawa, 1996.

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30

Jung, Chang Sung. "Agencification and quangocratisation of cultural organisations in the U.K. and South Korea : theory and policy." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/15930.

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This research focuses on agencification and quangocratisation (AQ) through a comparison of the experiences of South Korea and the UK. Although a number of studies of AQ have been produced recently, these reforms remain inadequately understood. Since AQ involves the structural disaggregation of administrative units from existing departments, executive agencies and quangos have distinct characteristics which are quite different from ordinary core departments. There are a number of factors which influence these changes; and this thesis explores nine existing theories which are available to explai

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31

Wahlert, Blake Jorgensen. "The Poetry of Reality: Frederick Wiseman and the Theme of Time." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505236/.

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Employing a textual analysis within an auteur theory framework, this thesis examines Frederick Wiseman's films At Berkeley (2013), National Gallery (2014), and Ex Libris (2017) and the different ways in which they reflect on the theme of time. The National Gallery, University of California at Berkeley, and the New York Public Library all share a fundamental common purpose: the preservation and circulation of "truth" through time. Whether it be artistic, scientific, or historical truth, these institutions act as cultural and historical safe-keepers for future generations. Wiseman explores these

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32

Hoffman, Sheila K. "L'histoire de la documentation des oeuvres d' art du 17e au 21e siècle : les impacts des technologies optiques et numériques sur les pratiques documentaires des galeries nationales à Londres, Ottawa et Washington D.C." Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H014/document.

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Cette thèse examine les convergences et divergences le long de l'histoire de la documentation muséale dans trois galeries nationales en Angleterre, au Canada et aux États-Unis. Elle met en évidence un modèle commun, émanant plus particulièrement des deux types d'institutions apparues en Angleterre au 17e siècle : les musées publics, fondés sur des principes scientifiques et populistes, et la galerie privée, ancrée dans des traditions élitistes. Les galeries nationales analysées constituent un modèle hybride, en conflit avec ces deux formats antagonistes, mais leurs similitudes les plus frappan

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33

HUNG, WEN-LING, and 洪雯淩. "University Art Gallery’s Collaboration Strategies: A Case Study of Nanhai Gallery, National Taipei University of Education." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/42653v.

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碩士<br>國立臺北教育大學<br>藝術與造形設計學系碩士班<br>104<br>Nanhai Gallery, National Taipei University of Education’s Art Gallery, had been sponsored by school since it opened in 2003. School stopped funding from 2013 and Nanhai Gallery has to take full responsibility for its own profits and losses to maintain its operation. Nanhai Gallery takes collaboration as a strategy for securing funds by government due to the mutually rewarding nature of collaboration. In order to understand the influence of partnership and collaboration strategy, the in-depth interviews and participant observation are conducted. This th

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34

Huang, Yin-Shan, and 黃尹珊. "An Action Research of Gallery Teaching in National Taiwan Museum of Fine Art." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/66268640797253924505.

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碩士<br>國立臺南藝術大學<br>博物館學與古物維護研究所<br>104<br>The author of the study is an art-museum-exhibition teacher interested in teaching art but has limited teaching experience. During the summer/winter art camps for elementary school children themed “Open the National Taiwan Museum of Fine Art! Open up for the Essence of Art Collection” held by NTMoFA, the author adopted the museum movement technique to conduct exhibition-based teaching. The first attempt at using this technique caused problems, including controlling the pace of teaching, unfamiliarity with the museum movement technique, and schoolchild

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35

Dziedzianowicz, Joanna Maria 1990. "On the brazilian modern art and artist Lygia Clarrk : accompanying a training at the Zacheta National Art Gallery." Master's thesis, 2015. http://hdl.handle.net/10451/18223.

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36

Giblin, Deidre. "The effects of the dislocation of a dominant player on competition within a fine art cluster." Thesis, 2012. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/45591.

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This investigation examines the applicability of cluster theory in predicting what happens in a set of business relationships when a key player moves out for an indeterminate time but indicates it will be back. It involves a longitudinal research design using a mixed method approach to explore the dynamic inter-relationships of the fine art sector in this period of change. The main research site is the Melbourne fine art cluster, but the work also includes three situations that help to reflect the relevant system dynamics. This multidisciplinary study contributes to the field of regional devel

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Doyle, Wawrzynczak Anni. "Transcending the National Capital Paradigm: The Evolution of Bitumen River Gallery/Canberra Contemporary Art Space." Phd thesis, 2016. http://hdl.handle.net/1885/118221.

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This dissertation investigates the fertile tensions in Canberra’s dual status as national capital space and local polis, that dramatically affected the development of a unique contemporary arts practice in the late 1970s. The primary thrust of this thesis is the triumph of local arts practice and community over the powerful nation- building cultural imperatives of a national capital. A complex narrative, informed by rich archival material and interviews, exposes local arts practice as a generative force in Canberra’s cultural development. Here, an examination of the citywide development of loc

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Péron, Marie. "Culture Warriors: Education and Awareness at the Inaugural National Indigenous Art Triennial, organized by National Gallery of Australia, 2007-2009." Thesis, 2010. http://spectrum.library.concordia.ca/7076/1/Peron_MA_F2010.pdf.

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This thesis discusses the inaugural National Indigenous Art Triennial: Culture Warriors organized and hosted by the National Gallery of Australia and provides a critical analysis of the National Indigenous Art Triennial: Educational Resource that accompanied the exhibition. The aim of this discussion and analysis is to identify elements from the educational program at the National Gallery of Australia (NGA) that effectively increase knowledge and appreciation of Indigenous art at the Gallery. The premise behind my analysis consists of the possibility and feasibility of using similar

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Khalife, Lamis. "Autour des nouvelles valorisations des collections permanentes au musée : le cas de l'exposition Encounters : New Art from Old." Thèse, 2016. http://hdl.handle.net/1866/16147.

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Dans le cadre de la célébration du nouveau millénaire, la National Gallery de Londres a organisé l'exposition Encounters: New Art from Old (14 juin - 17 septembre 2000). La formule consistait à inviter vingt-cinq artistes contemporains à choisir une œuvre de la collection permanente du musée et à s'en inspirer afin d'en créer une nouvelle. Certaines des œuvres produites pour l’occasion ont été exposées près de leurs sources dans les salles historiques de la collection du musée. Ce mémoire examine comment la formule de cette exposition et son accrochage anachronique agissent de façon directe su

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Dasch, Rowena Houghton. "“Now exhibiting” : Charles Bird King’s picture gallery, fashioning American taste and nation 1824-1861." 2012. http://hdl.handle.net/2152/19618.

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This dissertation is an exploration of Charles Bird King’s Gallery of Paintings. The Gallery opened in 1824 and, aside from a brief hiatus in the mid-1840s, was open to the public through the end of the antebellum era. King, who trained in London at the Royal Academy and under the supervision of Benjamin West, presented to his visitors a diverse display that encompassed portraits, genre scenes, still lifes, trompe l’oeils and history paintings. Though the majority of the paintings on display were his original works across these various genres, at least one third of the collection was made u

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