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Journal articles on the topic 'National Gallery of Zimbabwe'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

Hava, Jarmila. "The Library at the National Gallery of Zimbabwe." Art Libraries Journal 11, no. 2 (1986): 40–43. http://dx.doi.org/10.1017/s0307472200004636.

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The Library of the National Gallery of Zimbabwe dates from the 1950s. Its acquisition policies mirror those of the Gallery itself, which since Independence in 1980 have concentrated on traditional culture and contemporary art in Zimbabwe; the library also includes a collection of books on architecture. Due to insufficient funds and lack of foreign currency, Library acquisitions are heavily dependent on donations. A slide collection includes specially photographed slides of Zimbabwean art. The Library is open to the public and is well used by students but not by local artists who are often content to continue traditions without seeking to innovate or to respond to other works of art. Both Gallery and Library have accepted and are developing an active educational role.

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2

Chiwara, Davison. "Documentation: A Security Tool for the Identification and Repatriation of Illicitly Trafficked Objects from Museums with Particular Reference to the National Gallery of Zimbabwe." Heritage 2, no. 1 (January 28, 2019): 390–99. http://dx.doi.org/10.3390/heritage2010027.

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The aim of the study was to ascertain how documentation assisted in the recovery of stolen and illicitly trafficked objects at the National Gallery of Zimbabwe. The research objectives were to: Assess the adequacy of the gallery’s documentation system; appraise the documentation elements that were key in the tracking and repatriation of stolen objects to the gallery; analyze the gallery’s networks on the documentation and safeguarding of objects against theft; and ascertain challenges faced by the gallery in documenting its objects. Research results indicated that the gallery’s documentation system encompassed both manual and electronic documentation, which addressed vital aspects that have been prescribed by Object ID Standards for the identification and recovery of stolen objects. These include photographs, provenance, and name of objects. This, coupled with networks with key institutions involved in the fight against theft and illicit trafficking of objects, has enabled the gallery to recover its stolen objects from Poland. However, lack of state-of-the-art cameras has led to the production of poor photographs, which compromised the gallery’s claim to its stolen objects. Additionally, lack of ideal software for the gallery’s database is hampering effective documentation efforts. The research recommends that the gallery should acquire appropriate cameras for quality documentation of its objects and purchase database software with backup support for software upgrades to prevent loss of information on its objects.

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3

Sibanda, Doreen J. "The education programme of the National Gallery of Zimbabwe." Museum International 40, no. 2 (June 1988): 103–6. http://dx.doi.org/10.1111/j.1468-0033.1989.tb00736.x.

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4

Sibanda, Doreen J. "Les programmes éducatifs de la National Gallery du Zimbabwe." Museum International (Edition Francaise) 40, no. 2 (April 24, 2009): 103–6. http://dx.doi.org/10.1111/j.1755-5825.1989.tb01143.x.

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5

Chiwara, Davison, and Richard Mudariki. "Conserving contemporary artworks: perspectives of artists and curators at the National Art Gallery of Zimbabwe." Studies in Conservation 61, sup2 (June 2016): 280–82. http://dx.doi.org/10.1080/00393630.2016.1182698.

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6

Chiwara, Davison. "Fostering Human Rights and Empowering Communities through Art and Education: The Case of the National Gallery of Zimbabwe." Museum International 68, no. 3-4 (July 2016): 164–75. http://dx.doi.org/10.1111/muse.12132.

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7

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.

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8

Smith, Philip E. M. "Neurology in the National Gallery." Journal of the Royal Society of Medicine 92, no. 12 (December 1999): 649–52. http://dx.doi.org/10.1177/014107689909201214.

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9

Thomas, Ann W. "The National Gallery of Canada." History of Photography 20, no. 2 (June 1996): 171–74. http://dx.doi.org/10.1080/03087298.1996.10443645.

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10

Mervis, J. "National Lab Day: Image Gallery." Science 329, no. 5989 (July 15, 2010): 270. http://dx.doi.org/10.1126/science.329.5989.270-f.

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11

Braman, George N. "The Girl in the National Gallery." Annals of Internal Medicine 144, no. 8 (April 18, 2006): 595. http://dx.doi.org/10.7326/0003-4819-144-8-200604180-00010.

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12

Cannon, Catríona. "The National Gallery of Ireland Library." Art Libraries Journal 25, no. 3 (2000): 21–24. http://dx.doi.org/10.1017/s030747220001172x.

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The National Gallery of Ireland Library has recently re-opened to internal and external readers after a number of years. The concentration so far has been on reader services, while a major revision of the cataloguing and classification procedures is being undertaken. New projects to organise the Gallery’s Archives and make them more accessible for research, and to open a sponsored Centre for the Study of Irish Art in 2002-3, show the Library’s revived interest in reaching its potential users.

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13

Molnar, Michael. "Freud in the National Portrait Gallery." American Imago 69, no. 1 (2012): 107–33. http://dx.doi.org/10.1353/aim.2012.0000.

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14

Raymond, Mareeni. "Making Sculpture at the National Gallery." BMJ 326, Suppl S5 (May 1, 2003): 0305171. http://dx.doi.org/10.1136/sbmj.0305171.

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15

C.-B., P. "The National Gallery Christies Furniture Fund." Museum Management and Curatorship 8, no. 3 (September 1989): 327–28. http://dx.doi.org/10.1016/0260-4779(89)90082-4.

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16

Molaro, P. "Thomas Harriot at the National Gallery?" Astronomische Nachrichten 339, no. 1 (August 9, 2017): 103–8. http://dx.doi.org/10.1002/asna.201713374.

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17

Tyquiengco, Marina. "Defying Empire: The Third National Indigenous Art Triennial: National Gallery of Australia, May 26 – September 10, 2017." Contemporaneity: Historical Presence in Visual Culture 6 (November 30, 2017): 113–19. http://dx.doi.org/10.5195/contemp.2017.232.

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Exhibition ReviewExhibition catalog: Tina Baum, Defying Empire: 3rd National Indigenous Art Triennial. Canberra: National Gallery of Art, 2017. 160 pp. $39.95 (9780642334688) Exhibition schedule: National Gallery of Australia, Canberra, ACT, May 26, 2017 – September 10, 2017

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18

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.

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19

Warner, Malcolm. "The Pre-Raphaelites and the National Gallery." Huntington Library Quarterly 55, no. 1 (January 1992): 1–11. http://dx.doi.org/10.2307/3817652.

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20

Whitehead, Christopher. "Architectures of display at the National Gallery." Journal of the History of Collections 17, no. 2 (December 1, 2005): 189–211. http://dx.doi.org/10.1093/jhc/fhi023.

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21

Wiseman, Frederick. "Presentación de National Gallery, de Frederick Wiseman." Cuadernos de Cine Documental, no. 10 (September 2, 2016): 62–66. http://dx.doi.org/10.14409/ccd.v0i10.6036.

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22

Wright, Elizabeth. "Virginia Woolf at the National Portrait Gallery." Women: A Cultural Review 25, no. 4 (October 2, 2014): 429–30. http://dx.doi.org/10.1080/09574042.2014.989744.

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23

Baxter, Paula A. "THE NATIONAL PORTRAIT GALLERY COLLECTION. Susan Foister." Art Documentation: Journal of the Art Libraries Society of North America 9, no. 1 (April 1990): 43. http://dx.doi.org/10.1086/adx.9.1.27948199.

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24

Strauss, RM, H. Marzo-Ortega, and V. Goulden. "Skin abnormalities in the National Portrait Gallery." Journal of the European Academy of Dermatology and Venereology 18, no. 5 (September 2004): 566–68. http://dx.doi.org/10.1111/j.1468-3083.2004.01024.x.

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25

Hasnes, Geir. "Chesterton and the National Portrait Gallery Postcards." Chesterton Review 46, no. 1 (2020): 87–111. http://dx.doi.org/10.5840/chesterton2020461/212.

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26

Kluger, Nicolas. "Skin abnormalities in the Finnish National Gallery." Journal of Cosmetic Dermatology 19, no. 4 (August 24, 2019): 960–63. http://dx.doi.org/10.1111/jocd.13095.

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27

ROGERS, MALCOLM. "MASTER DRAWINGS FROM THE NATIONAL PORTRAIT GALLERY." Art Book 1, no. 2 (March 1994): 30. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00038.x.

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28

James, Stuart. "National Gallery Catalogues:98339Judy Egerton. National Gallery Catalogues: The British School. London: National Gallery Publications 1998. 456 pp, ISBN: 1 85709 170 1 £50.00 Distributed by Yale University Press." Reference Reviews 12, no. 6 (June 1998): 37–38. http://dx.doi.org/10.1108/rr.1998.12.6.37.339.

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29

Horman, Mary M. "National Gallery of Art ‐ The Collection0047National Gallery of Art. National Gallery of Art ‐ The Collection. 1997 to date; updated weekly. http://www.nga.gov/collection/collect.htm No charge." Electronic Resources Review 4, no. 5 (April 2000): 51. http://dx.doi.org/10.1108/err.2000.4.5.51.47.

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30

Beaulieu, Micheline, and Victoria Mellor. "The Micro Gallery: an evaluation of the hypertext system in The National Gallery, London." New Review of Hypermedia and Multimedia 1, no. 1 (January 1995): 233–60. http://dx.doi.org/10.1080/13614569508914669.

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31

Matowanyika, Joseph Zano Z., and R. Hosier. "Energy Planning and National Development in Zimbabwe." Canadian Journal of African Studies / Revue Canadienne des Études Africaines 26, no. 1 (1992): 132. http://dx.doi.org/10.2307/485407.

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32

Matowanyika, Joseph Zano Z. "Energy Planning and National Development in Zimbabwe." Canadian Journal of African Studies / Revue canadienne des études africaines 26, no. 1 (January 1992): 132–37. http://dx.doi.org/10.1080/00083968.1992.10804283.

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33

Higgins, Kathy M., and Albert Mazula. "Community development: a national strategy in Zimbabwe." Community Development Journal 28, no. 1 (1993): 19–30. http://dx.doi.org/10.1093/cdj/28.1.19.

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34

Waddington, Murray. "The national role of the Library of the National Gallery of Canada." Art Libraries Journal 19, no. 1 (1994): 27–29. http://dx.doi.org/10.1017/s0307472200008671.

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The financial situation of cultural institutions is becoming increasingly perilous, and two years into its new national mandate the Library of the National Gallery of Canada finds its resources absorbed by internal needs and local use. To sustain a vital presence in the community of art information specialists the Library must restrict its contributions to those which have modest or no resource imperatives: generously shared collections; well conceived services which are publicized and accessible; strengthened cataloguing to be shared; attention to preservation; development of expertise to be shared with colleagues and students; initiation and promotion of collaborative projects. As a federal body the National Gallery of Canada is excluded from funding sources available to others, but will support the projects of others. A national task force is needed to outline and develop a Canadian strategic plan for art libraries.

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35

Scott, P. H. "How The Scottish National Portrait Gallery Was Saved." Scottish Affairs 10 (First Serie, no. 1 (February 1995): 141–47. http://dx.doi.org/10.3366/scot.1995.0015.

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36

McIntosh, Jacqui. "Dublin: "A German Dream" at the National Gallery." Circa, no. 111 (2005): 87. http://dx.doi.org/10.2307/25564291.

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37

Metzger, Catherine A., and Lorne Campbell. "National Gallery Catalogues: The Fifteenth Century Netherlandish Schools." Studies in Conservation 44, no. 4 (1999): 287. http://dx.doi.org/10.2307/1506662.

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38

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

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39

Burganova, Maria, and Malsch Friedemann. "Interview with Director of the Liechtenstein National Gallery." Scientific and analytical journal Burganov House. The space of culture 16, no. 1 (March 10, 2020): 12–18. http://dx.doi.org/10.36340/2071-6818-2020-16-1-12-18.

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We are pleased to present an interview with Director of the Liechtenstein National Gallery Kunstmuseum Liechtenstein, Dr. Malsch Friedemann Dr. Friedmann Malsch, has been cooperating with Russia for more than 15 years in organizing and conducting exhibitions, preparing publications. He is actively engaged in educational and publishing activities. In 2018, with the support of the Liechtenstein Museum, a translation of the book dedicated to the Black Square painting by Kazimir Malevich was released. At the presentation, Friedman Malsch called this book a publication that turns the prevailing ideas about the icon of Suprematism. The architecture of the new building of the Liechtenstein State Museum in Vaduz, which opened in 2000, interprets in its own way the plastic idea of Suprematism, the idea of a black square. The creation of the Swiss architects Meinrad Morger, Heinrich Degelo and Christian Kerez with a very complex and extensive internal infrastructure from the outside is a combination of two laconic volumes: a white and black cube. Material for the construction is taken from the vicinity of the city. We thank Dr., Professor Alexander Lavrentiev for professional support and assistance in arranging the interview with Dr. Malsch Friedemann

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40

Bruce, Joan. "Using RLIN in the Australian National Gallery Library." Art Libraries Journal 14, no. 3 (1989): 17–20. http://dx.doi.org/10.1017/s0307472200006350.

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The Australian National Gallery Library has used RLIN since January 1985. It is used primarily as an online bibliographic database, to trace publications on particular artists and as a means of verifying references supplied by library users. It is also used, but less frequently, to verify bibliographic details of items to be acquired for the Library; other more occasional use is made of RLIN as a source of catalogue records, to identify locations of items the loan of which is to be sought from overseas, to verify name headings, and as a source of information used in stock selection. Of the special files, Scipio has proved most useful as a source of information on sales catalogues. RLIN does not present insuperable problems to the remote user, although an offline print facility and extended access hours would both be helpful.

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41

Prior, Nick. "Edinburgh, Romanticism and the National Gallery of Scotland." Urban History 22, no. 2 (August 1995): 205–15. http://dx.doi.org/10.1017/s096392680000047x.

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An explanation for the formation of the National Gallery of Scotland is proposed which affirms the priority of local conditions of cultural production. In the absence of a fecund tradition of art patronage in Scotland, the modernization of Edinburgh's art field in the early nineteenth century depended on the activities of civic elites. The Scottish model of art museum development resembled the later American model more than it did the earlier French one. What was particular to Edinburgh, though, was a strong form of Romanticism in the early nineteenth century. The romantic landscape trope indexed the security of bourgeois power by the 1830s. But its own role was to act as a catalyst in the formation of collection-oriented and professional art institutions, and of a gallery going public in the capital.

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42

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.

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43

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.

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44

Barker, Emma. "National Gallery Catalogues: The Eighteenth Century French Paintings." French History 33, no. 2 (June 2019): 307–8. http://dx.doi.org/10.1093/fh/crz051.

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45

Andersen, Josephine. "The South African National Gallery Library News Collection." de arte 26, no. 44 (September 1991): 40–43. http://dx.doi.org/10.1080/00043389.1991.11761135.

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46

Delaney, J. G. P. "Charles Ricketts and the National Gallery of Canada." Museum Management and Curatorship 10, no. 4 (December 1991): 359–72. http://dx.doi.org/10.1080/09647779109515288.

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47

McParland, Maighread. "ENVIRONMENTAL CONDITIONS IN THE NATIONAL GALLERY OF IRELAND." Conservator 16, no. 1 (January 1992): 55–64. http://dx.doi.org/10.1080/01400096.1992.9635627.

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48

Keeley, T. R., and F. Ian G. Rawlins. "LA CLIMATISATION A LA NATIONAL GALLERY DE LONDRES." Museum International (Edition Francaise) 4, no. 3 (April 24, 2009): 194–200. http://dx.doi.org/10.1111/j.1755-5825.1951.tb00087.x.

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49

O'Laoghaire, Niamh. "Treasures of the National Gallery of Canada (review)." University of Toronto Quarterly 74, no. 1 (2004): 353–54. http://dx.doi.org/10.1353/utq.2005.0171.

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50

Rainbird. "Shaw's Legacy at the National Gallery of Ireland." Shaw 40, no. 2 (2020): 302. http://dx.doi.org/10.5325/shaw.40.2.0302.

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