Relevant bibliographies by topics / National Gallery of Art (U.S.)

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Academic literature on the topic 'National Gallery of Art (U.S.)'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "National Gallery of Art (U.S.)"

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Metzger-Šober, Branko. "Nikada dovršena igra oko osnivanja Galerije moderne umjetnosti u Rijeci u međuratnome razdoblju." Ars Adriatica 9 (February 28, 2020): 173–92. http://dx.doi.org/10.15291/ars.2930.

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Based on the archival documentation from the interwar period in Rijeka, from 1934 to 1943, and an analysis of the published historical data, the author has presented the series of attempts to establish the Gallery of Modern Art in Rijeka at the time when Rijeka and Kvarner were annexed to the Kingdom of Italy, thus becoming its new province. Owing to the initiative of Guido Asveri Bottussi, an agile resident of Milan originating from Rijeka, the idea of founding a Gallery of Modern Art in Rijeka was born, as a very prominent institution that would exhibit works of Italian art from the 19th and
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Wee, C. J. W. L. "Tropical Modernism(s), Miscegenated Art and Modernity." Southeast of Now: Directions in Contemporary and Modern Art in Asia 8, no. 1 (2024): 127–39. http://dx.doi.org/10.56159/sen.2024.a924619.

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Abstract: Tropical: Stories from Southeast Asia and Latin America opened on 18 November 2023 and ran at the National Gallery Singapore (NGS) until 24 March 2024. NGS’s website states that the exhibition is “the first large-scale museum exhibition to take a comparative approach across two regions united by their shared struggles against colonialism”, comprising over 200 paintings, sculptures, prints and installations. The exhibition proceeds not always via direct formal or informal engagements between artists but by “an alchemy of shared narratives” (Teo Hui Min). Tropical endeavours to complic
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Stoškutė, Neringa. "Tension Between Everyday Practice and the New Museology Theory: A Case of the National Gallery of Art in Vilnius." Art History & Criticism 13, no. 1 (2017): 76–87. http://dx.doi.org/10.1515/mik-2017-0006.

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Summary This article aims to present the main aspects of the New Museology theory and discuss the possibilities of its adaptation in Lithuanian museum practice. To date, the New Museology theory, which was formed in the 1980’s and places the emphasis on the contextual presentation of artworks and the social role museums play in public cultural life, is not widely used in Lithuanian museum practice and a comprehensive survey of art museum permanent collection displays has not been carried out in regards to this particular framework. The first part of this article presents the New Museology theo
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Palkovljević-Bugarski, Tijana, and Lolita Pejović. "Activities of the gallery of Matica Srpska in the service of cultural diplomacy." Kultura, no. 173 (2021): 113–24. http://dx.doi.org/10.5937/kultura2173113p.

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Within the framework of rich and diverse activities of museums, which include exhibitions, publishing, educational and conservation / restoration activities, a special place is given to international cooperation programs which, if well designed, can play an important role in the cultural diplomacy system of each country. In the process of transformation from a traditional to a modern museum of the 21st century, the Gallery of Matica Srpska has directed an important part of its activities towards international cooperation and thus cultural diplomacy. These activities are realized through hostin
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Hilje, Emil. "Slika Bogorodice s Djetetom u The Courtauld Institute of Art u Londonu - prijedlog za Petra Jordanića." Ars Adriatica, no. 4 (January 1, 2014): 213. http://dx.doi.org/10.15291/ars.496.

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A painting of the Virgin and Child, signed as “OPVUS P. PETRI”, from the former Fareham Collection (today at the Courtauld Institute of Art), has been known in the scholarly literature for a long time but has only been subject to tangential analyses. These studies attempted to attribute it to painters meeting relatively dubious criteria: that their name was Peter (Petar) and that they could be linked to the painting circle of Squarcione or, more specifically, to that of Carlo Crivelli with whose early works, especially the Virgin and Child (the Huldschinsky Madonna) at the Fine Arts Gallery in
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Chervoniuk, Olena. "Fair image of Ukraine against the background of war: extra-graffiti`s implementation." Culturology Ideas, no. 22 (2'2022) (2022): 112–30. http://dx.doi.org/10.37627/2311-9489-22-2022-2.112-130.

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The article examines trends in the development, transformation, spread/destruction of such an artistic movement in Ukraine as graffiti or street art on the walls "before" and "after", which, according to the author, opens a new understanding for the viewer through the implementation of visual via national identity. The protest against graffiti or street art is over, today it has brought new reflections — to the war: the urban space is filled with inscriptions, drawings with deep patriotic and philosophical connotations, nation-building and the idea of a world without evil. On the surviving wal
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Eyster, Jason. "United States v. Pre-Columbian Artifacts and the Republic of Guatemala: Expansion of National Stolen Property Act in its Application to Illegally Exported Cultural Property." International Journal of Cultural Property 5, no. 1 (1996): 185–91. http://dx.doi.org/10.1017/s0940739196000288.

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One of the major issues confronting U. S. courts in international cultural property cases is the significance of foreign export restriction violations. This is a particularly sensitive issue for museums in art purchasing nations since aggressive support of the view that export restriction violation is theft could result in the return of much of a museum's collection. In fact, Thomas Hoving, past director of New York's Metropolitan Museum of Art stated, “almost every antiquity that has arrived in America in the past ten to twenty years has broken the laws of the country from which it came.”
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B.D. Budaichiev. "MONUMENTAL SCULPTURE OF KYRGYZSTAN IN 1990-2010." Herald of KSUCTA n a N Isanov, no. 3 (September 23, 2019): 446–50. http://dx.doi.org/10.35803/1694-5298.2019.3.446-450.

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The article deals with the development of the Kyrgyz monumental sculpture in 1990-2010. The high growth of this art form is primarily due to the active creative activity of the outstanding figure of the national artistic culture, sculptor TS. Sadykov, the author of such remarkable monuments as "Fighters of the Revolution". "Manas", "Victory" "El Kutu" ("Lights of the people") and the monument of B. Beyshenaliev and others. Thanks to his indefatigable organizational and social activities, care for the destinies and future of Kyrgyz art in the early 1990s, with the support of the President and t
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Filipek, Małgorzata. "Hiszpania w Dziennikach z podróży Miodraga Popovicia." Slavica Wratislaviensia 166 (June 22, 2018): 49–67. http://dx.doi.org/10.19195/0137-1150.166.4.

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Spain in Miodrag Popović’s travel diariesIn addition to well-known works about Spain, written by prominent writers and diplomats of the Kingdom of Yugoslavia Zorić, Dučić, Petrović, Dimitrijević, Andrić, Crnjanski, Serbian literature is full of less famous fiction that has complemented the country’s image through Serbian readers since the 70’s of 20th century to the present. One of them is a literary work Put u Španiju from the travel book, entitled Putopisni dnevnici, by Miodrag Popović. The writer describes impressions from a trip to Spain and other countries. Visiting the most famous museum
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Maуstrenko-Vakulenko, Yuliya. "YULII MYKOLAIOVYCH YATCHENKO (1928–2020). MEMORIES OF THE ARTIST [publication of the document]." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 30 (December 9, 2021): 66–76. http://dx.doi.org/10.33838/naoma.30.2021.66-76.

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Abstract. The article is a publication of the memories of Yulii Mykolaiovych Yatchenko, a Ukrainian painter, graduate of the Kyiv State Art Institute (KSAI), student of S. Hryhoriev, M. Sharonov, H. Melikhov, and K. Ieleva. Yulii Yatchenko dedicated almost his entire life to pedagogical and organizational work: Director of the Republican Art Secondary School named after T.H. Shevchenko, Professor of the Department of Drawing and Vice-Rector for scientific work of the KSAI, as well as he headed the Directorate of Art Exhibitions of the Ministry of Culture of the USSR. The manuscript work «Memor
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Books on the topic "National Gallery of Art (U.S.)"

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Park, Edwards. A new view from the Castle: The Smithsonian Institution's quadrangle : Arthur M. Sackler Gallery, National Museum of African Art, S. Dillon Ripley Center, Enid A. Haupt Garden. Smithsonian Institution Press, 1987.

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Bogusław Deptuła та Oksana Kozynkewycz. Jan Matejko: Z Lwowskiej Narodowej Galerii Sztuki im. B. G. Woźnickiego, Museum Narodowego w Warszawie oraz z kolekcji prywatnych = I︠A︡n Mateĭko : z Lʹvivsʹkoï Nat︠s︡ionalʹnoï Halereï Mystet︠s︡tv imeni B. H. Voznyt︠s︡ʹkoho, Nat︠s︡ionalʹnoho Muzei︠u︡ u Varshavita z pryvatnykh kolekt︠s︡iĭ = Jan Matejko : from the Lviv National Art Gallery B.G. Wóznicki, the National Museum in Warsaw and private collections. Państwowa Galeria Sztuki w Sopocie, 2019.

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Annual Report, 1989 (National Gallery of Art (U S)//Annual Report). Natl Gallery of Art, 1990.

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Annual Report, 1990 (National Gallery of Art (U S)//Annual Report). Natl Gallery of Art, 1991.

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1991 Annual Report (National Gallery of Art (U S)//Annual Report). Natl Gallery of Art, 1992.

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Artists' Pigments: A Handbook of Their History & Characteristics (A National Gallery of Art U. S. a. Publication). 3rd ed. National Gallery of Art, 1997.

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Valavanis, William N. 7th U. S. National Bonsai Exhibition Commemorative Album. International Bonsai, 2022.

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Illustrated Catalogue / National Art Gallery of N. S. W. Creative Media Partners, LLC, 2021.

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National Academies of Sciences, Engineering, and Medicine. Powering the U. S. Army of the Future. National Academies Press, 2021.

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National Academies of Sciences, Engineering, and Medicine. Powering the U. S. Army of the Future. National Academies Press, 2021.

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Book chapters on the topic "National Gallery of Art (U.S.)"

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Avery-Quash, Susanna. "Building(s) for Art: The Evolution of Public Art Galleries in England, 1780–1840." In The Edinburgh Companion to Romanticism and the Arts. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474484176.003.0010.

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This chapter traces the development in Britain during the Romantic period of places where continental Old Master art was viewable. Until the early nineteenth century, there were no public art galleries in the UK, and the government and monarchy only rarely intervened to support the arts. Consequently, it was in the private sphere that the collecting of historical art was nurtured, first off within elite country houses. Displaying and sharing Old Masters was not the sole preserve of aristocrats, however. Artists often acquired examples for inspiration and to impress potential patrons. The gentry and professional classes increasingly opened their collections to select visitors and the first public art galleries were likewise established by private benefactors. The government eventually responded to increasing pressure to act; Lord Liverpool’s government bought 38 paintings from John Julius Angerstein’s heirs as the nucleus of the National Gallery. The chapter will analyse the type of art visible in these publicly-accessible spaces, revealing how the pool of ‘acceptable’ artists broadened over time. At first a narrowly focussed artistic canon held sway. Things changed with the birth of public museums, where curators, influenced by continental precedents, adopted a more universalist vision and started a gap filling exercise.
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"The Renewed Focus On Comics As Art After 1970." In Comic Art in Museums, edited by Kim A. Munson. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0011.

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This is a brief interstitial introduction by art historian Kim A. Munson describing the rediscovery of original comic art following the Pop Art movement and influential publications of the late 1960’s. A wave of large survey shows were organized that took on a more formal appearance and established a loose canon of comic artists. The National Cartoonist Society’s Cavalcade of Comics toured the US. Well reviewed shows of the early 70s included The Art of the Comic Strip (U of Maryland, 1971), The Comics as an Art Form (U of Nevada Las Vegas), and 75 Years of the Comics (New York Cultural Center). Many shows included underground comix. Comics speciality museums opened and flourished, such as the Museum of Comic Art (Rye Brook, NY, 1975), The Cartoon Art Museum (San Francisco, 1987), and the ToonSeum (Pittsburgh, 2007). Images: The Muller Comics Collection, 1976, Cartoon Art Museum, 2016.
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Cremins, Brian. "“Tiny Flashes of Light”." In Captain Marvel and the Art of Nostalgia. University Press of Mississippi, 2017. http://dx.doi.org/10.14325/mississippi/9781496808769.003.0001.

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The relationship between comic books, comics scholarship, and nostalgia is complex. This chapter explores the history of Captain Marvel, the popular comic book hero created by Bill Parker and C. C. Beck for Fawcett Publications in 1939. In addition to sections about the National Comics Publications, Inc. v. Fawcett Publications, Inc. copyright infringement case, the chapter also examines Captain Marvel’s place in early fanzines and comics scholarship published in the 1960s and early 1970s in the U. S. As an overview of the book, the introduction sets out to understand why the character was so tremendously popular in the 1940s only to disappear from popular discourse after the conclusion of the lawsuit in 1953.
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Phillips, Ruth B. "Swings and roundabouts: pluralism and the politics of change in Canada’s national museums." In Curatopia. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526118196.003.0010.

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If you are standing on the shores of the Ottawa River looking at the Canadian Museum of History, the national library and archives and other national repositories of Aboriginal heritage, you might well despair at the comprehensive losses of curatorial expertise, programs of research, and will to work collaboratively with Aboriginal people which befell these institutions under the government of Prime Minister Stephen Harper. Looking harder, however, neither the shifting political ideologies nor the era of financial constraint that began with the global financial crisis of 2008 seems to have thrown processes of decolonisation and pluralist representation that began to take root in Canada during the 1990s into reverse. Two exhibition projects that unfolded during that same period provide evidence of that the changes in historical consciousness of settler-indigenous relationships and the acceptance of cultural pluralism have provided a counterweight to the intentions of a right wing government to restore old historical narratives. This chapter discusses them as evidence of this deep and, seemingly, irreversible shift in Canadian public’s expectation s of museum representation. The first involves plans for the new exhibition of Canadian history being developed for the 150th anniversary of Canadian confederation in 2017, specifically a fishing boat named the Nisga’a Girl which was presented by a west coast First Nation to mark the successful resolution of its land claim. The second is the Sakahan exhibition of global indigenous art shown in 2013 at the National Gallery of Canada and which marked a notable departure from its past scope. While utopia has by no means been achieved, neither, surprisingly, was dystopia realised during the years of conservative reaction.
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Sheffield, Linda J. "Incorporating Spatial Reasoning in the Development of Students with Exceptional Mathematical Promise and Creativity." In Alle Talente wertschätzen – Grenz- und Beziehungsgebiete der Mathematikdidaktik ausschöpfen. WTM-Verlag Münster, 2019. http://dx.doi.org/10.37626/ga9783959871228.0.20.

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Spatial reasoning is a critical component of science, technology, engineering, art and mathematics (STEAM) educational and occupational innovation and expertise and should be an integral part of any mathematics curriculum. However, in the United States, it is often neglected. Spatial ability was once believed to be a fixed trait, but there is now widespread evidence that it can and should be recognized and developed beginning at very early ages and continuing throughout the educational system. The U. S. National Science Foundation-funded Project M2: Mentoring Young Mathematicians for students in kindergarten through second grade is one example of a proven program for the development of children’s spatial thinking. In spite of at least sixty years of research in this area, much remains to be done. Key words: spatial reasoning, mathematics, gifted, exceptional promise, STEAM, innovation
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Conference papers on the topic "National Gallery of Art (U.S.)"

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Iribarne, Jorge. "The essential purpose of any Urban Project is to define Public Space." In 24th ISUF 2017 - City and Territory in the Globalization Age. Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.6233.

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In that aspect, buildings role, no matter their architectural qualities, is to shape that void and give it character. If one asks people about their remembrances of cities they have visited, they usually mention places and the activities that took place there. Architecture, great or bad is the referente of Architects. Only some monuments –Eiffel Tower or Sidney´s Opera- which act as the city´s image are worth recalling. The failure of CIAM´s urbanism was not its lack of quality, even vition, as some of Le Corbusier designs clearly demostrate, but its disregard of public space, merely a left ov
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Encinas Pino, Felipe, André De Herde, Carlos Ramiro Marmolejo Duarte, and Carlos Andrés Aguirre Núñez. "Comportamiento termico de edificios de departamentos en Santiago de Chile: segmentación de nichos en el mercado inmobiliario privado a partir de las exigencias de la reglamentación térmica nacional." In International Conference Virtual City and Territory. Centre de Política de Sòl i Valoracions, 2009. http://dx.doi.org/10.5821/ctv.7586.

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Santiago, capital de la República de Chile, se sitúa en el valle central del país en los 33º 27’ de latitud sur
 y 70º 42’ de longitud oeste, presentando un clima templado cálido con una estación seca prolongada de 7
 a 8 meses de duración. La temperatura media anual es de 12,2°C y la oscilación térmica es considerable:
 hay casi 13°C de diferencia en la temperatura media entre el mes más cálido (enero) y el más frío (julio) y
 la diferencia entre las medias de las temperaturas máximas y mínimas para todos los meses del año
 fluctúan entre 10 y 16°C.
 De acuerdo a
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Reports on the topic "National Gallery of Art (U.S.)"

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Artful Diplomacy: Art as Latin America's Ambassador in ton, D.C. Inter-American Development Bank, 2008. http://dx.doi.org/10.18235/0006398.

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This exhibition gathers a number of artworks belonging to a diverse group of Latin American embassies and diplomats and their delegations and organizations in Washington, D.C. For a city that boasts such a wealth of artistic institutions on the National Mall, representing art from all corners of the world (the National Museum of African Art, the Freer and Sackler Galleries for Asian arts, and the National Gallery of Art with its impressive collection of European art from the Middle Ages to the present, to name a few), the absence - for whatever reason- of a major institution in the nation¿s ca
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