Relevant bibliographies by topics / National Gallery (Londen)

Contents

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

Academic literature on the topic 'National Gallery (Londen)'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 March 2023

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

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'National Gallery (Londen).'

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

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

Journal articles on the topic "National Gallery (Londen)"

1

MacCannell, Daniel. "King Henry IX, or cardinal called York? Henry Benedict Stuart and the reality of kingship." Innes Review 58, no. 2 (November 2007): 196–209. http://dx.doi.org/10.3366/e0020157x07000066.

Full text
Abstract:
A picture belonging to the National Portrait Gallery, London, attributed as of 1958 to Pompeo Batoni,1 is now listed as ‘Unknown Cardinal, formerly known as Henry Benedict Maria Clement Stuart, Cardinal York, [by the] circle of Anton Raphael Mengs’ ( Fig. 1 ).2 It is not the identity of the artist that poses the central question of this article, but of the sitter – in this, and in a very different painting: the Scottish National Portrait Gallery's Prince Charles Edward Stuart, by Maurice Quentin de La Tour ( Fig. 2 ).3
APA, Harvard, Vancouver, ISO, and other styles
2

Rubinstein, Ben. "The micro gallery at the national gallery of London." Archives and Museum Informatics 6, no. 2 (June 1992): 5–10. http://dx.doi.org/10.1007/bf02770344.

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

Franklin, Jonathan. "Cataloguing the Library of Sir Charles Eastlake (1793–1865) at the Library of the National Gallery, London." Art Libraries Journal 42, no. 4 (September 19, 2017): 189–94. http://dx.doi.org/10.1017/alj.2017.34.

Full text
Abstract:
The Library of Sir Charles Eastlake (1793–1865), the first Director of the National Gallery, London, became the founding collection of the National Gallery Library. It is now being catalogued to rare book standards, and the records will be made available to researchers as part of a wider retrospective conversion and online access project. A few highlights from the Eastlake Library are described in order to illustrate the range and depth of the collection.
APA, Harvard, Vancouver, ISO, and other styles
4

Mark, Emily. "London: 'Conquering England' at the National Portrait Gallery." Circa, no. 113 (2005): 88. http://dx.doi.org/10.2307/25564351.

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

Carelli, Francesco. "Divisionists: an exhibition at the National Gallery, London." London Journal of Primary Care 1, no. 2 (November 2008): 122. http://dx.doi.org/10.1080/17571472.2008.11493228.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

SMITH, CHARLES SAUMAREZ. "NARRATIVES OF DISPLAY AT THE NATIONAL GALLERY, LONDON." Art History 30, no. 4 (December 12, 2007): 611–27. http://dx.doi.org/10.1111/j.1467-8365.2007.00566.x.

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

Imhof, Robin. "National Portrait Gallery200442National Portrait Gallery. London: National Portrait Gallery Gratis URL: http://www.npg.org.uk/ Last visited September 2003." Reference Reviews 18, no. 1 (January 2004): 48–49. http://dx.doi.org/10.1108/09504120410513429.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Stuart, David. "A light for life: The impact of X-rays on structural biology and its pioneers." Biochemist 32, no. 4 (August 1, 2010): 46–50. http://dx.doi.org/10.1042/bio03204046.

Full text
Abstract:
In Gallery 38 of the National Portrait Gallery in London there is a portrait of Dorothy Hodgkin in her study, her desk littered with papers, and in the foreground is a model of the structure of insulin (Figure 1). The portrait is naturalistic apart from one small detail: Dorothy has four hands. Perhaps this goes some way to explaining her extraordinary achievements, which are still having a huge impact a century after her birth.
APA, Harvard, Vancouver, ISO, and other styles
9

Marshall, David R. "Tivoli not Ariccia: Gaspard Dughet's View of ‘Ariccia’ in the National Gallery, London." Papers of the British School at Rome 71 (November 2003): 287–303. http://dx.doi.org/10.1017/s0068246200002476.

Full text
Abstract:
TIVOLI E NON ARICCIA: LA VEDUTA DI ‘ARICCIA’ DI GASPARD DUGHET NELLA NATIONAL GALLERY, LONDRAIn questo articolo si identitica il soggetto principale del dipinto di Dughet conservato alla National Gallery di Londra, tradizionalmente identificato come una ‘Veduta di Ariccia’, con la Porta Sant'Angelo di Tivoli. La topografia del sito viene analizzata in relazione al dipinto di Dughet e ad altre rappresentazioni dello stesso luogo di Claude Lorrain, Gaspar van Wittel e Adriaen Honing.
APA, Harvard, Vancouver, ISO, and other styles
10

Shank, J. William, and Kenneth Clark. "100 Details from Pictures in the National Gallery London." Leonardo 25, no. 1 (1992): 104. http://dx.doi.org/10.2307/1575643.

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

Dissertations / Theses on the topic "National Gallery (Londen)"

1

Greer, Elena J. "Sir Frederic William Burton and the Rosebery Minute : the directorship of the National Gallery, London, in the late nineteenth century." Thesis, University of Nottingham, 2017. http://eprints.nottingham.ac.uk/48057/.

Full text
Abstract:
This thesis examines for the first time the role of Sir Frederic William Burton (1816-1900) as director of the National Gallery, London, during the period 1874 to 1894. I argue that his directorship is important because it was followed by the second major administrative re-organisation in the Gallery’s history, namely the Rosebery Minute of 1894, which significantly reduced the authority of the director in making acquisitions. This power had been bestowed upon the director in 1855 after an in-depth parliamentary Select Committee examining the running of the Gallery, which had established the post for the first time. My thesis seeks to determine to what extent and how Burton’s tenure prompted this major reassessment of the Gallery’s management structure. The enquiry addresses the question from a variety of perspectives including Burton’s acquisitions, the display of the collection, his attitude to the social function of the Gallery and the relationship of the Gallery authorities with government departments and individuals. These topics are informed by a methodological approach that takes as its starting point the large volume of archival material and correspondence both at the National Gallery and in other gallery archives and libraries relating mainly to Burton and his trustees, chiefly Sir Austen Henry Layard and Sir William Gregory. Using these sources my thesis examines the background, interests, motivations and personal relationships of key individuals, assessing the impact of personal biography upon institutional history. The thesis also sets these case studies within the broader cultural context of the development of the discipline of the history of art and the challenges this posed to the identity of the Gallery. The final chapter reassesses the Rosebery Minute of 1894 in the light of this research, highlighting the importance of both a detailed ‘micro-historical’ approach and a broad contextualisation of developments at the National Gallery at the turn of the twentieth century.
APA, Harvard, Vancouver, ISO, and other styles
2

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.

Full text
Abstract:
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 frappantes résident dans l'évolution de leurs pratiques respectives de la documentation des œuvres d'art. La lutte continue afin d'intégrer véritablement la technologie dans la documentation d'art trahit l'héritage difficile entre ces deux modèles opposés. Tout au long des trajectoires uniques à chacune des institutions étudiées, peu de preuves montrent que les technologies optiques ou numériques ont eu des répercussions importantes sur les méthodologies ou les philosophies de la documentation des œuvres d'art. Au contraire, on observe que la documentation de forme numérique repose toujours sur une approche minimale de recueil de données, sur un groupe restreint de personnes habilitées à les collecter et sur un accès limité à ces données. Cette recherche renforce l'argumentation pour une redéfinition de la documentation des œuvres d'art pour repenser ses stratégies et ses philosophies directrices, pour poser un nouveau regard sur la recherche dans les collections et pour élargir l'intégration des technologies numériques dans ces processus
This research examines the divergences and convergences across the histories of three national galleries, in England, Canada and the United States, providing evidence of a common model that emanates particularly from two types of institutions that appeared in England during the 17th century: public museums founded on scientific and populist principles, and private art galleries anchored in elitist traditions. The national galleries compared in this study constitute hybrids in conflict with the original antagonistic models. But their most striking similarities reside in the evolution of their respective documentation practices. The continued struggle to truly integrate technologies in the documentation of art betrays the difficult heritage between these two opposing models. Throughout the unique historical trajectories of these institutions, there was little proof that optical or digital technologies had had important repercussions on the methodologies or the philosophies of the documentation of works of art. On the contrary, it was observed that documentation, even in digital form, continued to rely on minimal standards of data gathering, restricted groups of persons trained to collect data, and limited access to any data captured. This research reinforces the need to redefine museum documentation in order to rethink its strategies and guiding philosophies, to enable new research into museum collections, and to enlarge the integration of digital technologies into the process
APA, Harvard, Vancouver, ISO, and other styles
3

Huang, Yun-hsuan, and 黃韻璇. "For the Sake of the Public: Defining and Reforming the National Gallery, London from 1824 to 1865." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/71202154580664562946.

Full text
Abstract:
碩士
國立中央大學
藝術學研究所
101
Studies and publications about the National Gallery, London before the end of the twentieth century tend to focus on the collection’s history, artists and subjects of paintings, whereas the Gallery’s constitution and development in the contexts of art, society and institutional history are often neglected. Not until the end of the twentieth century did the issues of public practices of the National Gallery begin to draw attention in art-historical studies. Even so, ideas of public display and the institutional development of the National Gallery still need clarification and further discussion due to the particularities of the Gallery: compared with continental public galleries in the nineteenth century, the establishment of the National Gallery lacks certain important historical conditions, such as the patronage from the Royal family and thus the potential impetus of turning Royal collections into public or national properties. Under these circumstances, the reasons why Britain still insisted to establish a national gallery require explanation. Moreover, it is also worth considering the ways in which Britain not only overcame the above-mentioned restrictions to establish a “national gallery” but also reformed its constitution so as to answer the increasing demand for its public duty. This thesis on the National Gallery tries to reconstruct its foundation, its early collecting and display practices, and to examine debates relating to the Gallery’s public role and collecting and display issues. It consists of three chapters: the first chapter, “from private collection to public display,” traces England’s collecting and display conditions prior to the National Gallery and the growing public demands for establishing a national gallery. The second chapter, “defining the public character of the National Gallery and its public,” reconstructs the Gallery’s display condition in its early phases, and discusses the debates on its typology of collection, its public and public roles. The third chapter, “reforming the system of public collection and display,” examines how the Gallery’s administration, collecting and display system were gradually modernized in the 1850s. As the title indicates, this thesis aims to show that the National Gallery’s public vision and developing processes in its early stages can provide significant references for thinking about the raison d’être of a national gallery. It also suggests that the notion of public would be a basic but vital issue for all national galleries to face repeatedly.
APA, Harvard, Vancouver, ISO, and other styles
4

Campbell, KRISTIN. "Pictures for the Nation: Conceptualizing a Collection of 'Old Masters' for London, 1775-1800." Thesis, 2009. http://hdl.handle.net/1974/1668.

Full text
Abstract:
This thesis addresses the growing impulse towards establishing a public, national collection of Old Master pictures for Britain, located in London, in the last quarter of the eighteenth-century. It does so by identifying the importance of individual conceptualizations of what such a collection might mean for a nation, and how it might come to be realized for an imprecisely defined public. My thesis examines the shifting dynamics between private and public collections during the period of 1775 to 1800, repositioning notions of what constituted space for viewing and accessing art in a national context, and investigates just who participated in the ensuing dialogues about various uses of art for the nation. To this end, three case studies have been employed. The first examines the collection of pictures assembled by Sir Robert Walpole and their public legacy. The second explores the proposal for a national collection of art put forth by art dealer Noel Desenfans. The third examines the frustrated plans of Sir Joshua Reynolds for his collection of Old Master pictures. Through the respective lenses provided by the case studies, it is demonstrated that the envisioning of a national gallery for Britain pitched competing perspectives against each other, as different kinds of people jockeyed for cultural authority. The process of articulating and shaping these ambitions with an eye towards national benefit was only beginning to be explored, and negotiations of private ambitions and interests surrounding picture collections for the public was further complicated by factors of social class and profession. This thesis demonstrate that the boundaries of participation in matters concerning art for the nation were not fixed regarding Old Master pictures and the value placed on them in late eighteenth-century London.
Thesis (Ph.D, Art History) -- Queen's University, 2009-01-26 09:01:22.591
APA, Harvard, Vancouver, ISO, and other styles
5

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.

Full text
Abstract:
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 sur la temporalité de la collection historique en invitant à sa réactualisation, et à la mise en valeur de la création. Il situe cette formule dans le cadre d’un regain d’intérêt pour les collections, décortique la sélection des artistes par le musée et la sélection des œuvres de la collection par les artistes. Il propose aussi une classification des modalités par lesquelles ceux-ci ré-interprètent la tradition. Enfin, en s’appuyant sur la théorie de la réception, ce mémoire considère les réponses générées par l’exposition : celles des artistes aux œuvres de leurs prédécesseurs, celles des critiques et celles du public.
As part of the celebration of the new millennium, the National Gallery of London organized the exhibition Encounters: New Art from Old (June 14 to September 17, 2000). The concept was to invite twenty-five eminent contemporary artists to choose a painting from the permanent collection of the museum in order to create a new artwork. Some of the works produced for the occasion were displayed near the works that inspired them in the historic galleries of the museum. This dissertation examines how the anachronistic hanging of the works of art helped Encounters in shedding new light on the permanent collection of the museum and in showcasing the contemporary artists' interpretations. The dissertation seeks to situate Encounters in the context of a new interest in museum collections, to reflect on its selection of artists as well as on the selection of works chosen by the artists. It then proceeds to classify the new creations in four modalities of intervention and in conclusion addresses the reception generated by the exhibition: that embodied by the new works created and those of the press and the public.
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "National Gallery (Londen)"

1

The nation's mantelpiece: A history of the National Gallery. London: Pallas Athene, 2006.

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

Erika, Langmuir, ed. The National Gallery companion guide. London: National Gallery Co., 2004.

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

Britain), National Gallery (Great. The National Gallery companion guide. London: National Gallery Publications, 1994.

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

Britain), National Gallery (Great. Dutch painting: The National Gallery. London: National Gallery, 2007.

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

Britain), National Gallery (Great. Dutch painting: The National Gallery. London: National Gallery, 2007.

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

E, Wieseman Marjorie, and Greer Elena J, eds. Dutch Painting: The National Gallery. London: National Gallery, 2007.

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

Amery, Colin. A celebration of art & architecture: The National Gallery Sainsbury Wing. London: National Gallery, 1991.

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

National Portrait Gallery (Great Britain)., ed. The National Portrait Gallery history of the kings and queens of England. London: National Portrait Gallery, 1998.

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

David, Williamson. The National Portrait Gallery history of the kings and queens of England. New York: Konecky & Konecky, 1998.

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

The Roy Strong diaries 1967-1987. London: Weidenfeld & Nicolson, 1997.

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

Book chapters on the topic "National Gallery (Londen)"

1

"The Sainsbury Wing, National Gallery, London." In The Environmental Tradition, 190–99. Taylor & Francis, 2013. http://dx.doi.org/10.4324/9781315024820-26.

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

Quill, Sarah. "14. Lighting up the Darkness: The National Gallery, London." In From Darkness to Light, 167–76. Open Book Publishers, 2019. http://dx.doi.org/10.11647/obp.0151.14.

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

Thrush, Coll. "Epilogue." In Indigenous London. Yale University Press, 2016. http://dx.doi.org/10.12987/yale/9780300206302.003.0014.

Full text
Abstract:
This concluding chapter reviews the gallery “London Before London,” which is described as a vision of indigenous humanity. Upon viewing “London Before London,” one could be reminded of the many museums that have been established by Indigenous communities and nations in the past half century, in which Indigenous people have taken charge of the public interpretation of their lived history and culture, presenting themselves not as static denizens of a distant past, but as active, dynamic participants in survivance. Out of this impression, the chapter argues that this new kind of Indigenous story had percolated its way back to the center of the empire, transforming the way Londoners told stories about their own indigenous ancestors.
APA, Harvard, Vancouver, ISO, and other styles
4

"The National Portrait Gallery, London, comes into being in 1856." In The Collector's Voice, 47–50. Routledge, 2016. http://dx.doi.org/10.4324/9781315264448-13.

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

"Aphrodite Deconstructed: Botticelli’s Venus And Mars In The National Gallery, London." In Brill's Companion to Aphrodite, 347–74. BRILL, 2010. http://dx.doi.org/10.1163/9789047444503_019.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Duncan, Carol. "From the Princely Gallery to the Public Art Museum: The Louvre Museum and the National Gallery, London." In Grasping the World, 250–77. Routledge, 2019. http://dx.doi.org/10.4324/9780429399671-17.

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

Avery-Quash, Susanna. "A Network of Agents: Buying Old Masters for the National Gallery, London." In Old Masters Worldwide. Bloomsbury Visual Arts, 2021. http://dx.doi.org/10.5040/9781501348174.ch-004.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Corsato, Carlo, and Kate Devine. "Digital Engagement, Diversity and Access in Museum Education." In Filologie medievali e moderne. Venice: Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-542-1/005.

Full text
Abstract:
In the wake of 2020’s Coronavirus pandemic, museums and galleries across the world were forced to close and many of these institutions turned to programming activities online rather than onsite. This paper explores that move from the physical to the digital realm through two case studies within the Learning and National Programmes department at The National Gallery in London. It addresses the obstacles and benefits of online working with two very different audiences, young people in education and a community group of people living with mental health difficulties. The paper seeks to elaborate on the specific challenges of working with these audiences and contribute to the development of best practice in the field.
APA, Harvard, Vancouver, ISO, and other styles
9

Nichols, Roger. "‘Liberty, I Write Your Name’ 1944–1952." In Poulenc, 172–214. Yale University Press, 2020. http://dx.doi.org/10.12987/yale/9780300226508.003.0007.

Full text
Abstract:
This chapter looks into Francis Poulenc's performance of the Figure humaine after the liberation of France from the Second World War. It talks about Poulenc's Les Mamelles in which the BBC Director of Music, Victor Hely-Hutchinson, expressed gratitude for the chance to peruse the score and agreed enthusiastically to recordand perform it. It also recounts Poulenc's visit to London in 1945, where he gave recitals with Pierre Bernac at the Wigmore Hall and the National Gallery. The chapter looks into the event of Poulenc joining Benjamin Britten in a performance of the Two-Piano Concerto with the London Philharmonic Orchestra under Basil Cameron. It also describes the triumphant premier of Poulenc's concert called Un Soir de neige, which happened at the same time as Olivier Messiaen's Trois petites Liturgies de la Présence divine.
APA, Harvard, Vancouver, ISO, and other styles
10

Letkiewicz, Ewa. "Naga Wenus – obraz Alegoria triumfu Wenus Agnola Bronzina." In Nagość i odzienie, 59–75. Wydawnictwo Avalon Sp. z o.o., 2022. http://dx.doi.org/10.55288/9788377305812.05.

Full text
Abstract:
The attention of visitors to National Gallery in London is attracted to the image of a naked woman whose unnaturally positioned body, painted in white hue of cold, metallic glow, fills up the field of the picture (photo 1). The multiplicity of props and figures in the background, including different allegorical topics, mythological allusions, so jointly it creates a complex image, which is difficult to interpret unambiguously. The author of this intriguing work is Agnolo di Cosimo di Mariano, known as Agnolo Bronzino (1503–1572). Exhibitions presenting his achievements, undertaken after the year 2010, revived the discussions on the legacy of one of the greatest Italian 16th century artists of unusually rich, unfettered imagination. Agnolo Bronzino’s successes attracted the attention of Cosimo I the Medici and his wife Eleanor of Toledo, for whom he started working in 1540. On their commission, between 1540–1545 he made a painting that has been surprising until today and one of the most famous ones in the European art, the pride of the National Gallery in London. The work was designed for a diplomatic gift for the ruler of France, king Francois I. What is surprising in the painting, except many enigmatic figures, is the nudity of the goddess Venus, her unreal, metallic color, the smooth surface of her body, resembling enamel or china. Unfortunately, the reports concerning reception of the painting on the French court are unknown, but we can suppose that the king liked it, because it became his strictly private property.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'National Gallery (Londen)' for particular source types:
Journal articles Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography