Relevant bibliographies by topics / National Museum of Ancient Art

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

Academic literature on the topic 'National Museum of Ancient Art'

Author: Grafiati
Published: 9 September 2021
Last updated: 1 February 2022

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Journal articles on the topic "National Museum of Ancient Art"

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Żelazowski, Jerzy. "WITOLD DOBROWOLSKI (1939–2019)." Muzealnictwo 61 (June 24, 2020): 90–96. http://dx.doi.org/10.5604/01.3001.0014.2476.

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The recollections of Prof. W. Dobrowolski focus mainly on his activity at the National Museum in Warsaw (1960–2011) and his scholarly accomplishments. The creator of modern Etruscology in Poland in the 1960s, he contributed greatly to promoting knowledge of Etruscan civilization among Polish society. He won his international fame with the documentation of Etruscan tombs and their painterly decoration in the modern period. Furthermore, W. Dobrowolski was an unquestioned expert in Greek pottery, particularly from the Vilnius and Gołuchów collections kept at the National Museum in Warsaw, and was capable of applying his deepened iconographic analyses to museum displays. His passion being Greek art as a universal and topical model for artistic and esthetical values, he was greatly committed to promoting ancient art in Poland as an organizer of several dozen exhibitions at local museums, author of numerous encyclopaedic entries and chapters in art history textbooks. Moreover, he authored and curated some big and important exhibitions at the National Museum in Warsaw, where he also had a significant impact on the permanent Ancient Art Gallery which existed until 2011. Dobrowolski’s studies in Polish collecting of ancient historical pieces in the 18th and 19th centuries paved him the way to important analyses of the presence of the Antiquity in European and Polish culture that were the academic focus in the last period of his life.
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Макаренко, Зоя, Zoya Makarenko, Юлия Жилкова, Yuliya Zhilkova, Марина Бережная, and Marina Berezhnaya. "Items of jewelry art of pre- Mongolian Russia in the collections of Russian museums." Services in Russia and abroad 10, no. 4 (September 22, 2016): 122–31. http://dx.doi.org/10.12737/20189.

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The article deals with the question of exhibiting of jewelry art items of pre-Mongolian Russia in Russian museums. Public and private museums that were opening in the Russian Empire contributed to preservation of the cultural heritage of the country. When they were emerging, many private collectors donated part or all of their collections to state. This was especially promoted by opening of the Historical Museum in 1883 for the general public. Exhibits of public museum were replenished by the collections of Uvarovs, Kropotkins, Shcherbatovs, Golitsyns. The fate of collection of the outstanding collector M. Botkin is noteworthy. Masterpieces of jewelry art of ancient Russia may be exhibited in only a few museums in the country, including two sites in the Moscow Kremlin, which show such kind of items. Collection "Russian gold and silverware of beginning of XII-XVII centuries" is located in the exposition hall 1 of Armory Chamber. The glass case 2 presents gold and silver items, made by goldsmiths of Kiev, Chernigov, Ryazan, Suzdal, Novgorod. Museum affair after the October Revolution in the country was significantly reformed. Museums and collections of the palaces were declared as the national property. For registration, accounting and secure of all artistic and cultural treasures, the artistic and historical commissions and the State Museum Fund were created. Majority private collections were nationalized. Russian Museum, located in the Mikhailovsky Palace in Sankt Petersburg has one of the largest collections of pre-Mongolian Russian treasures and individual items of jewelry art of X-XIII centuries. Thousands of works of jewelry art of ancient Russia are collected in the expositions and funds of Russian museums. Today collections of not only central but also local museums are multiplied, facilities and exhibitions are quality improving.
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Starodub, T. Kh. "Национальный музей Дамаска: история и коллекции." Iskusstvo Evrazii [The Art of Eurasia], no. 1(20) (March 31, 2021): 234–59. http://dx.doi.org/10.46748/arteuras.2021.01.017.

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This article is devoted to the unusual history of the creation of the National Museum of Damascus. Nowadays this is the largest repository of literary texts and artifacts of the ancient civilization of Western Asia and the Eastern Mediterranean, so as the Art culture values of the Middle East from the Byzantine time and Arab Middle Ages to periods of Modern age and 20th – 21st centuries. The idea of founding in Syria the National Art & Culture History Museum has started up in the process of organizing the Arab Academy of Sciences in Damascus (1918); it was partly inspired by the reports of the 17th – early 20th centuries travelers on ruins and artifacts which met and found on their ways. The Museum was founded at 1919 and located, and all the Academy, in the medieval madrasah. As a result of the operose archaeological excavations of ancient and medieval sites all over the country, found by chance or pointed towards by written sources, started in the 1920s – 1930s, a small collection has grown into a huge foundation of exhibits from different epochs. During 1936-1950, 1963, 1974 and 2004 for Museum a special building had been built: with halls for expositions and exhibitions, premises for storing funds, a library, a lecture hall and a park. Статья посвящена необычной истории создания Национального музея Дамаска, ныне — крупнейшего в Сирии хранилища памятников древнейших цивилизаций Передней Азии и Восточного Средиземноморья и художественных культур Ближнего Востока периодов византийского и арабского Средневековья, Нового времени и XX–XXI веков. Идея основания сирийского художественно-исторического музея возникла в процессе организации в Дамаске Арабской академии наук (1918 г.) и отчасти была подготовлена сообщениями путешественников XVII – начала XX века о встреченных на их пути руинах и найденных артефактах. Музей был размещен в 1919 году вместе с академией в средневековом медресе. В результате начатых в 1920–1930-х годах археологических раскопок древних и средневековых объектов, найденных случайно или подсказанных письменными источниками, маленькая коллекция выросла в огромное собрание экспонатов. В 1936–1950, 1963, 1974 и 2004 годах было построено специальное здание с парком, залами для постоянной экспозиции и временных выставок, помещениями для хранения фондов, библиотекой, лекторием.
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Fróis, João Pedro. "The Emergence of Museum Education in Portugal: Madalena Cabral and the National Museum of Ancient Art." Curator: The Museum Journal 62, no. 4 (May 21, 2019): 557–69. http://dx.doi.org/10.1111/cura.12316.

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Geismar, Haidy. "Cultural Property, Museums, and the Pacific: Reframing the Debates." International Journal of Cultural Property 15, no. 2 (May 2008): 109–22. http://dx.doi.org/10.1017/s0940739108080089.

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The following short articles were presented at a special session of the Pacific Arts Association, held at the College Arts Association annual meeting in New York in February 2007. Entitled “Cultural Properties—Reconnecting Pacific Arts,” the panel brought together curators and anthropologists working in the Pacific, and with Pacific collections elsewhere, with the intention of presenting a series of case studies evoking the discourse around cultural property that has emerged within this institutional, social, and material framework. The panel was conceived in direct response to the ways that cultural property, specifically in relation to museum collections, has been discussed recently in major metropolitan art museums such as the British Museum and the Metropolitan Museum of Art (the Met). This prevailing cultural property discourse tends to use antiquities—that most ancient, valuable, and malleable of material culture, defined categorically by the very distancing of time that in turn becomes a primary justification for their circulation on the market or the covetous evocation of national identity—as a baseline for discussion of broader issues around national patrimony and ownership.
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James, N. "How to make sense of treasure." Antiquity 83, no. 319 (March 1, 2009): 206–8. http://dx.doi.org/10.1017/s0003598x00098215.

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Treasures in themselves are fetishes. Only the admirer can make 'treasure' of a find in isolation; but to wonder about it as treasure opens apt questions about why the thing was valued, by whom and under what conditions. It was worrying, then, when the Fitzwilliam Museum, Cambridge University's art collection, took in an exhibition of striking ancient finds returning to the Georgian National Museum from the USA (Smithsonian Institution and New York University). For the usual focus on the intrinsic qualities of fine art sits awkwardly with archaeological concern for context. The Fitzwilliam did tend to isolate the exhibits; but, here, that yielded an advantage as well as a difficulty.
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Karimova, Rukhayyo. "Restoration of Murals of the National Museum of Antiquities of Tajikistan." SHS Web of Conferences 50 (2018): 01233. http://dx.doi.org/10.1051/shsconf/20185001233.

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The paper analyses traditional and modern methods and technologies for preservation and restoration of wall paintings found through archaeological excavations in the Republic of Tajikistan. Medieval monuments such as the ancient Panjekent, Bundzhikat, Adzhina-Tepa and others gave a variety of works of pictorial art, including unique monumental paintings, the preservation of which presents a priority task for scientists, restorers and art experts. These artefacts are exposed in the State Hermitage Museum (St. Petersburg), the National Museum of Antiquities of Tajikistan, the Republican Museum of History and Local Lore of Rudaki in Penjikent and the National Museum of Tajikistan. The paintings portray diverse and interrelated household, mythological, religious and epic plots, battle scenes, scenes of feasts and hunting, as well as geometrical, vegetable, and zoomorphic motives. The study of these paintings helps scientists to study in detail the medieval history of Tajik people. Therefore, their preservation is the primary task of the corresponding experts. The paper is based on personal experience of the author in preservation and restoration of monumental paintings within international projects on preservation of cultural heritage of Tajik people.
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Kolbiarz, Artur. "From Świdnica to Bratislava: The sculpture of Christ the Saviour from the collection of the Slovak National Gallery." Muzeológia a kultúrne dedičstvo 8, no. 3 (September 2020): 75–93. http://dx.doi.org/10.46284/mkd.2020.8.3.4.

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Among the works that stand out in the Baroque sculpture collection of the Slovak National Gallery (SNG) is the figure of the Saviour by Georg Leonhard Weber of Świdnica. Surveys conducted in Slovak, Czech and Polish museums, combined with field studies, have made it possible to provide hitherto unexplored artistic context of the work. They have made it possible to trace the formal origins of the Bratislava Saviour as well as its later imitations. The sculpture is carved with virtuosic precision; it develops a concept derived from ancient art and is the finest example of Weber’s early oeuvre. Also, it constitutes a link between works made in his workshop over four decades. The present study demonstrates the advantages of an interdisciplinary and international analysis of museum collections. It highlights the significance of the sculpture in question to Central European cultural heritage, expanding the knowledge of museum collections in three different countries.
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Kuźmiński, Michał. "A glass Gem Depicting a Dying Niobid From the National Museum in Warsaw." Światowit, no. 59 (June 27, 2021): 169–75. http://dx.doi.org/10.31338/0082-044x.swiatowit.59.11.

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The National Museum in Warsaw holds a diverse collection of glass gems, both ancient and modern. One of these, a specimen depicting a dying Niobid supported by his sister, belongs to a wider group of objects scattered throughout various European museums. Such gems were mainly produced during the 1st century BC and their decoration is derived from a fragment of a relief carved by Pheidias on the statue of Zeus in Olympia which portrays the massacre of the Niobids. The fact that these gems were made of glass indicates that objects with such decorations were appreciated and popular. The myth of Niobe, in both Greek and Roman art, served multiple purposes highlighted by the choice of the story’s motives most often used in decorations. However, the reason for the use of this particular fragment of Pheidias’s relief to decorate gems as well as their popularity require additional explanation.
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PELEGGI, MAURIZIO. "From Buddhist Icons to National Antiquities: Cultural Nationalism and Colonial Knowledge in the Making of Thailand's History of Art." Modern Asian Studies 47, no. 5 (February 1, 2013): 1520–48. http://dx.doi.org/10.1017/s0026749x12000224.

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AbstractIn the mid 1920s Prince Damrong Rajanubhab and George Coedès jointly formulated the stylistic classification of Thailand's antiquities that was employed to reorganize the collection of the Bangkok Museum and has since acquired canonical status. The reorganization of the Bangkok Museum as a ‘national’ institution in the final years of royal absolutism responded to increasing international interest in the history and ancient art of Southeast Asia, but represented also the culmination of several decades of local antiquarian pursuits. This paper traces the origins of the art history of Thailand to the intellectual and ideological context of the turn of the twentieth century and examines its parallelism to colonial projects of knowledge that postulated a close linkage between race, ancestral territory and nationhood.
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Dissertations / Theses on the topic "National Museum of Ancient Art"

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

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Ce travail étudie la place particulière accordée aux « maîtres anciens » dans la littérature artistique et les pratiques muséales depuis la Révolution jusqu’au milieu du XIXe siècle en France. Dès la fin de l’Ancien Régime, la définition des « maîtres anciens » connaît une transition progressive : des artistes de la Grèce antique aux fondateurs de l’École nationale. Par l’usage de leurs noms et de leurs vertus artistiques mais aussi morales, l’art national en France doit acquérir une notoriété digne d’une République nouvelle qui puisse rivaliser avec les autres écoles nationales prééminentes. Cette nouvelle prépondérance des maîtres anciens français doit répondre au souci républicain de l’instruction publique, en assurant la diffusion de la connaissance de l’histoire nationale et des qualités édifiantes par voie de la « vision » : leurs œuvres exposées dans des espaces ad hoc et leur image représentée dans la production artistique contemporaine en tant que grands hommes, héros et pères de la Nation. Les textes d’Alexandre Lenoir, d’Émeric-David et de La Décade ont été explorés dans cette optique, avant la considération de la disposition d’œuvres dans les musées et des catalogues, en particulier les Annales de Landon, et des créations artistiques dédiées à l’image des maîtres anciens. Redécouverts à dessein, les maîtres anciens contribuent à la construction d’une identité culturelle nationale et collective
This thesis problematises in historical context the identity of the ‘Old Masters’ in the literature on art and practices of museums in France from the time of the French Revolution until the mid-nineteenth century. Since the end of the Old Regime, the definition of the ‘Old Masters’ was transformed: a transition of principal elements, from the classical Greek artists to the founders of the National School, took place. This transition reflected the anxiety of the newborn French Republic facing an international rivalry in art history and myriad obstacles to its social and political goals. To meet the concerns of competition and emulation, the names as well as the artistic and moral qualities of ‘Masters’ were recognised, with emphasis, as being closely linked to public instruction and national history. The thesis analyses the texts and museum theories of Alexandre Lenoir and Toussaint-Bernard Émeric-David and the discussion of ‘Old Masters’ in the republican journal La Décade. Also analysed in this context are the displays of the Old Masters in the museums, catalogues (with a focus of Landon’s Annales) and works of art during the Revolution and the first half of the nineteenth century recreating the images of the Old Masters as national heroes or fathers of French art. This consciously performed reconstruction of the ‘Old Masters’ during the French Revolution made a crucial contribution to the formation of the cultural identity of France
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Sido, Anna E. "Making History: How Art Museums in the French Revolution Crafted a National Identity, 1789-1799." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/663.

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This paper compares two art museums, both created during the French Revolution, that fostered national unity by promoting a cultural identity. By analyzing the use of preexisting architecture from the ancien régime, innovative displays of art and redefinitions of the museum visitor as an Enlightened citizen, this thesis explores the application of eighteenth-century philosophy to the formation of two museums. The first is the Musée Central des Arts in the Louvre and the second is the Musée des Monuments Français, both housed in buildings taken over by the Revolutionary government and present the seized property of the royal family and Catholic Church. Created in a violent and unstable political climate, these museums were an effective means of presenting the First Republic as a guardian of national property and protector of French identity.
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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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Mbuyi, Ruddy. "Who are the visitors to the National Museum in Stockholm?Sweden's museum of art and design." Thesis, Södertörns högskola, Turismvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-39873.

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The purpose of the research study was to find about who the National Museum visitors are and what is their five reasons and motives to visit the National Museum. To get a better understanding about finding out who are the National Museum visitors a qualitative method was used in the form of a questionnaire that dealt with questions about the respondent’s demographic background and open questions related to finding out more details about the respondents’ reasons to visit the National Museum that is an art and design museum. The data that was gathered from the questionnaire was analysed through the use of a thematic analysis to find specific themes based on the female and male respondent’s answers. The results indicate that most of the respondents who took part in the questionnaire on the 5th of April 2019 at the National Museum are a mix of female and male between the age 20-72 years from Sweden and other countries, all of them have a higher education (High School, Bachelor and Master Degree) and have studied art, history of art or design. The reason that many of the respondents choose to visit the museum and what attracted them to the National Museum was foremost for they all share an interest in art and design. The National Museum itself is an interesting place to be at because many of the female and male respondents have an appreciation in the art and design collections and exhibitions that is displayed at the museum. The National Museum offers a free admission and entry so many of them could visit the museum either by themselves or with a companion, and many of the respondents like how the National Museum teaches history about the art and design.
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Barry, Kristin Marie. "The New Archaeological Museum: Reuniting Place and Artifact." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1212080498.

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Swinney, Geoffrey Nigel. "Towards an historical geography of a 'National' Museum : the Industrial Museum of Scotland, the Edinburgh Museum of Science and Art and the Royal Scottish Museum, 1854-1939." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/8109.

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This thesis adopts a primarily process-based methodology to put a museum in its place as a site of knowledge-making. It examines the practices of space which were productive of a government-funded (‘national’) museum in Edinburgh. Taking a spatial perspective, and recognising that place is both material and metaphorical, the thesis explores how the Museum’s material and intellectual architectures were produced over the period 1854-1939. The thesis is concerned to bring into focus the dynamic processes by which the Museum was in a continual state of becoming; a constellation of tangible and intangible objects constantly being produced and reproduced through mobility of objects, people and ideas. Its concern is to chart the flows through space which produced the Museum. The thesis comprises nine chapters. An introduction and a literature review are followed by chapters concerned, respectively, with the built space of the museum and with the people who worked there. A further three chapters consider the nature of that work and the practices of space which constituted the processes of collecting, displaying, and educating, whilst another focuses on visiting. The final chapter discusses how the analysis has constructed the museum as constituted through a complex diversity of material and metaphorical settings on a variety of geographical scales. This critical scrutiny of the museum has, in turn, brought to the fore the place of the Museum in contributing to civic and national identity. Through a case-study of a particular museum, the concern has been to explore how critical geographies of science may be applied to the examination of a museum. In particular the thesis examines how contextual concepts developed largely in conscribed sites such as laboratories apply to a public site such as a museum. The thesis suggests that the ordering terms ‘space’ and ‘place’, combined with a focus on practice and performance, may have more general application in constructing an historical geography of museums as sites of production and consumption of scientific knowledge.
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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, highly authored, and one-way communicative practices in digital space. Other online interfaces such as the steve.museum project and the Art Matters blog of the Art Gallery of Ontario are examined as possible alternatives to the NGC's approach through their use of more open, collaborative, and social practices made possible by digital media.
La présente thèse examine l'influence du musée d'art en tant que milieu culturel important sur la compréhension des objets d'art par le public et les répercussions des médias numériques sur ces œuvres quand le musée les affiche en ligne. Pendant l'analyse du Musée des beaux-arts du Canada (MBAC), je cherche à déterminer comment les objets d'art sont rencontrés et perçus dans leurs contextes physique et numérique en examinant trois contextes pertinents au musée : la mémoire, les renseignements et la narration. Je compare la manifestation des trois contextes dans l'espace physique du musée à leur traduction numérique, ce qui révèle que le MBAC reproduit de très près ses pratiques à communication unilatérale objectives et consignées dans l'espace numérique. J'examine également d'autres interfaces en ligne, notamment le projet steve.museum et le blog Art Matters du Musée des beaux-arts de l'Ontario, comme autres options à l'approche du MBAC pour leur usage plus ouvert, plus collaboratif et plus social rendu possible par les médias numériques.
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Warneck, Dorothea. "Natalia Berger: „The Jewish Museum. History and Memory, Identity and Art from Vienna to the Bezalel National Museum, Jerusalem." HATiKVA e.V. – Die Hoffnung Bildungs- und Begegnungsstätte für Jüdische Geschichte und Kultur Sachsen, 2020. https://slub.qucosa.de/id/qucosa%3A71019.

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Berger, Natalia: The Jewish Museum. History and Memory, Identity and Art from Vienna to the Bezalel National Museum, Jerusalem [= Ben-Rafael, Eliezer/Gorny, Yosef/Liwerant, Judit Bokser (Hg.): Jewish Identities in a Changing World, Band 29], Leiden/Boston: Brill 2018, 584 S., ISBN: 978-90-04-35387-9, EUR 160,00. Besprochen von Dorothea Warneck.
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Ballard, Tammara L. "A Case Study of the Springville Museum of Art Pre-Exhibition Workshop." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6283.

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The author designs a traveling professional development opportunity, Pre-Exhibition Workshop, for the Springville Museum of Art (SMA) Educational Outreach Program. All Utah high school art teachers and their students are invited to attend one of twenty-five presentations throughout the state's school districts. This thesis examines the challenges and benefits of including students in the process of preparing their own entries for the 2014 42nd Annual Utah All-State High School Art Show. The curriculum for the workshop follows a new lesson plan model of including enduring understandings and essential questions as outlined by the 2014 National Core Art Standards. The question driving this research project is: Will the schools that participate in a pre-exhibition workshop be better prepared to submit quality entries into the 2014 42nd Annual Utah All-State High School Art Show and be more likely to schedule a field trip to experience the exhibition? To develop the SMA Pre-Exhibition Workshop, the researcher applies a case study methodology that includes some aspects of action research including planning, acting, reviewing, and revising. The collected data measures the effectiveness of this workshop by analyzing observation notes collected during the workshop, reviewing surveys completed by participating teachers, and comparing the SMA 2014 42nd Annual Utah All-State High School Art Show entry data with the data collected from the attendees of the SMA Pre-Exhibition Workshop. It was concluded that most schools participating stated that the workshop did benefit their students by helping them prepare to submit their own art entries. Of the students attending the workshop, none were disqualified from the 2014 42nd Annual Utah All-State High School Art Show due to rule infringements, and several of the participating schools went on a field trip to view the exhibition. In conclusion, the author recommends that the SMA Pre-Exhibition Workshop continue and suggests ways of improving the program's promotions, presentation, and data collection.
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Godet, Éric. "Le monnayage de l'Ethiopie ancienne : fin du IIIe - milieu du VIIe siècle après Jésus-Christ : catalogue, étude typologique et historique /." [S.l. : s.n], 2003. http://catalogue.bnf.fr/ark:/12148/cb41010436x.

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Books on the topic "National Museum of Ancient Art"

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Krakowie, Muzeum Narodowe w. Gallery of Ancient Art, National Museum in Kraków: Guide. Kraków: Muzeum Narodowe w Krakowie, 2007.

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Dorota, Gorzelany, ed. Gallery of Ancient Art, National Museum in Kraków: Guide. Kraków: Muzeum Narodowe w Krakowie, 2007.

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Ireland, National Museum of. Treasures of the National Museum of Ireland: Irish antiquities. Edited by Wallace Patrick F and O'Floinn Raghnall. Dublin: Gill & Macmillan in association with the Boyne Valley Honey Company, 2002.

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(Greece), Ethnikon Archaiologikon Mouseion, and A. G. Leventis Foundation, eds. Ancient Cypriote art in the National Archaeological Museum of Athens. Athens: A.G. Leventis Foundation, 2003.

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D'Orey, Leonor. Five centuries of jewellery: National Museum of Ancient Art, Lisbon. London: Zwemmer, 1995.

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Porfírio, José Luís. Pintura portuguesa: Museu Nacional de Arte Antiga = Portuguese painting : National Museum of Ancient Art. Lisboa: Quetzal Editores, 1991.

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Karageorghis, Vassos. Ancient Cypriote art in Copenhagen: The collections of the National Museum of Denmark and the Ny Carlsberg Glyptotek. Nicosia: The A.G. Leventis Foundation, 2001.

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Ancient Rome as a museum: Power, identity, and the culture of collecting. Oxford: Oxford University Press, 2012.

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Schubnel, Henri Jean. Métal, hommes et dieux. Paris: Muséum national d'histoire naturelle, 1989.

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Andronikos, Manolis. National Museum. Athens: Ekdotike Athenon, 1988.

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Book chapters on the topic "National Museum of Ancient Art"

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Labrador, Ana Maria Theresa P., and Cyril A. Santos. "Representing the Bangsamoro in an Exhibition of Ethnography at the National Museum of the Philippines." In Curating Islamic Art Worldwide, 95–106. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-28880-8_8.

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Szmelter, Iwona, Laura Cartechini, Aldo Romani, and Luca Pezzati. "CHAPTER 11. Multi-criterial Studies of the Masterpiece The Last Judgement, Attributed to Hans Memling, at the National Museum of Gdańsk (2010–2013)." In Science and Art, 230–51. Cambridge: Royal Society of Chemistry, 2020. http://dx.doi.org/10.1039/9781839161957-00230.

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Brenard, Claire. "The Weather in Our Souls: Curating a National Collection of Second World War Art at the Imperial War Museum." In The Palgrave Handbook of Artistic and Cultural Responses to War since 1914, 201–17. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-96986-2_12.

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Gupta, Tanushree, and M. V. Nair. "Collection Care – The Topic of Focus at the National Museum Institute of History of Art, Conservation and Museology, New Delhi." In Collection Care/Sammlungspflege, 557–64. Wien: Böhlau Verlag, 2015. http://dx.doi.org/10.7767/9783205201939-038.

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Munson, Kim A. "The Evolution of Comics Art Exhibitions in the United States, 1930–1951." In Comic Art in Museums, 66–87. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0007.

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This 2018 essay by art historian Kim A. Munson shares the details of her research on exhibits of original comic art in U.S. museums and galleries from 1930-1954. This chapter discusses several shows of the 1930’s from Thomas Nast at the Whitney (1932) to the display of the first Walt Disney animation cel purchased by the Metropolitan Museum of Art (1939). This chapter discusses World War II exhibits at the Metropolitan. This chapter discusses The Comic Strip: Its Ancient and Honorable Lineage and Present Significance, organized for the American Institute of Graphic Arts by Jessie Gillespie Willing (AIGA, 1942), which is a touring exhibit with historical works, comics, and comic books. Milton Caniff was a pioneer and advocate of comics exhibits representing himself (The Art of Terry and the Pirates 1939-1946) and later with the newly formed National Cartoonist Society organizing many shows including 20,000 Years of Comics (1949 Savings Bond Tour), and American Cartooning (Met Museum, 1951).
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"Pioneers: Comic Art Exhibitions, 1930–1967." In Comic Art in Museums, edited by Kim A. Munson, 63–65. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0006.

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In this interstitial introduction, art historian Kim A. Munson establishes a chronology of museum exhibitions of original comic art between 1930 and 1967, summarizing the importance of historical trends (the popularity of comics exhibits during World War II) and pioneers like Milton Caniff and the National Cartoonist Society. This chapter contextualizes M.C. Gaines’ 1942 Print magazine article about the important touring exhibit The Comic Strip: Its Ancient and Honorable Lineage and Present Significance. This chapter introduces Alvaro de Moya and Pierre Couperie, who were the founders of influential fan groups that led to breakthrough exhibits in Brazil (1951) and in France (1967).
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Abdi, Kamyar. "The Lucrative Business of the Cyrus Cylinder." In Testing the Canon of Ancient Near Eastern Art and Archaeology, 299–301. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190673161.003.0014.

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This chapter focuses on the Cylinder of Cyrus the Great (c. 600–530 BCE) of Persia. More commonly known as the “Cyrus Cylinder,” this archaeological find housed in the British Museum is about 22 centimeters long, made of baked clay, and covered in cuneiform writing that has been noted by biblical scholars to corroborate the story of Cyrus’s liberation of the Jewish people from Babylonian captivity. Since the mid-twentieth century, it has been (mis/ab)used as a political tool to promote Iranian national identity. With its exhibition in Iran in 2010 and in the United States in 2013, it has also become a commodified icon in a lucrative international business.
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Gaines, M. C. "Narrative Illustration: The Story of the Comics." In Comic Art in Museums, 88–97. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0008.

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This chapter contains a 1942 article written by publisher M.C. Gaines about the exhibit The Comic Strip: Its Ancient and Honorable Lineage and Present Significance, organized for the American Institute of Graphic Arts (AIGA) by Jessie Gillespie Willing, which first opened at the National Arts Club, NY. It was the first known touring exhibit to show comics in art historical context with ancestors like Japanese scrolls, Mayan Panels, and cave paintings alongside contemporary comic strips and comic books. This may have been the first exhibit to include a wide selection of comic books including More Fun, Superman, and Wonder Woman #1. Gaines opines on the educational importance of comics in reply to the decency movements that were attempting to censor comics in this era. Images: Caniff exhibit 1946, Fred Cooper cartoon 1942.
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"National Museum of Art, Osaka." In Pelli Clarke Pelli Architects, 43–49. Birkhäuser, 2013. http://dx.doi.org/10.1515/9783034608701.43.

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Corbusier, Le. "National Museum of Western Art 1959." In The le Corbusier Guide, 148–49. Elsevier, 1987. http://dx.doi.org/10.1016/b978-0-85139-155-7.50057-6.

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Conference papers on the topic "National Museum of Ancient Art"

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Andriyana, Eka, Nuning Damayanti, and Ira Adriati. "Analysis of Popo Iskandar’s Works as Collections of National and International Museum and Galleries." In International Conference on Aesthetics and the Sciences of Art. Bandung, Indonesia: Bandung Institute of Technology, 2020. http://dx.doi.org/10.51555/338079.

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Chen, Xi, and Haiyun Wu. "The Projection of Chinese National Image by Chinese Overseas Exhibitions of Ancient Art." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.58.

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Hensellek, Betty. "ON THE PROVENANCE OF THE ALANIC MATERIALS IN THE COLLECTION OF THE METROPOLITAN MUSEUM OF ART." In ANCIENT AND MEDIEVAL CULTURES OF CENTRAL ASIA (THE FORMATION, DEVELOPMENT AND INTERACTION OF URBANIZED AND CATTLE-BREEDING SOCIETIES). Institute for the History of Material Culture of the Russian Academy of Sciences, 2020. http://dx.doi.org/10.31600/978-5-907298-09-5-293.

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Powers, Jessica, Mark Abbe, Michelle Bushey, and Scott H. Pike. "New Evidence for Ancient Gilding and Historic Restorations on a Portrait of Antinous in the San Antonio Museum of Art." In XI International Conference of ASMOSIA. University of Split, Arts Academy in Split; University of Split, Faculty of Civil Engineering, Architecture and Geodesy, 2018. http://dx.doi.org/10.31534/xi.asmosia.2015/07.03.

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Lu, Xiaozhou. "A Probe into the Successful Factors of the Chinese National Opera “Struggles in an Ancient City”." In 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.037.

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Slovacek, Mariah, Herbert W. Meyer, and Michael M. Kelly. "ART AS A COMPLEMENTARY PARTNER FOR SCIENCE: USING ART AS A RECONSTRUCTION OF THE ANCIENT PAST AND EDUCATIONAL AID AT FLORISSANT FOSSIL BEDS NATIONAL MONUMENT." In GSA 2020 Connects Online. Geological Society of America, 2020. http://dx.doi.org/10.1130/abs/2020am-354877.

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Ayala, Susana. "Becoming the Puppeteer: Reflections on Global Language and Culture by Puppetry Students in Yogyakarta, Indonesia." In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.4-6.

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Puppet theater on the island of Java is an ancient art which has maintained some of its characteristics considered traditional, but has also been transforming innovations such as the wayang with hip-hop music among other popular expressions. The art of puppetry has also been institutionalized and is itself a degree program at the National Institute of Arts of Indonesia. In this paper, I show the outcomes of my research among students and shadow puppet art teachers in Java, Indonesia. There are two special characteristics in training puppeteers: The main use of Jawanese language and the development of communities of practice as ways of working in the teaching and learning process. As such, these contexts motivate students to be constantly reflecting on the Javanese language and culture. I note the process and the reflections of the participants on the Javanese language shift, and the uses of language in puppet performances which consider the reception of young Javanese. To analyze the data, I draw from fieldwork and interviews, I use the theoretical concepts of discursive genres and dialogism proposed by Bakhtin and I propose that the art of puppetry is a social field that encourages vitality and linguistic diversity on the island of Java.
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Lendvay, Miklós. "Országos Könyvtári Platform – központi könyvtári szolgáltatások együttműködő rendszere." In Networkshop. HUNGARNET Egyesület, 2020. http://dx.doi.org/10.31915/nws.2020.10.

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In 2020/21, the collaborative distributed Hungarian library platform will be completed and introduced, revolutionizing library services with state-of-the-art IT solutions. The Hungarian National Library Platform (HNLP) puts the national library services, the common catalog and interlibrary loan, the services of the ISBN office, the digitization cooperation on a new foundation, and integrates the Hungarian National Namespace and opens up entity-based data connections beyond the library world. It expands the range of services provided to readers, providing legitimate digital content to both library visitors and remotely logged in online users. It provides modern interfaces for publishers and authors to expand the range of information about their publications with relevant data. It is open to libraries to replace, in part or in full, their existing IT solutions and, moving into the cloud-based system, use it as their own integrated library platform. The parameterdriven HNLP allows connected libraries to create a unique brand image, deliver their collections in the most diverse way, while becoming an integral part of an entity-based data model-based metadata repository and digital object repository. The collaboration between libraries, which began in 2016 with the design of the new platform, has now entered a new phase: our partners review the specifications, the libraries provide their data for the developed modules, test the system elements, and then the entire platform in an integrated way. The first module of the HNLP, the “old and rare books” module, was launched in October 2019, followed by the launch of the Library Science Library in 2020, and in 2021 the operation of the National Széchényi Library in this modern environment will follow. What are the main pillars of this platform? What secures the required flexibility? What makes it capable of accommodating any type of metadata and serving any type of library? How can all types of libraries be connected, small and large libraries, university and church, public and private libraries alike? How is the system open to the processing of archival and museum materials? What has been achieved so far and what are the next steps until the full transition?
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