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Journal articles on the topic 'Norton Museum of Art'

Author: Grafiati

Published: 4 June 2021

Last updated: 24 February 2023

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1

TALLACK, DOUGLAS. "Seeing out the Century." Journal of American Studies 35, no. 1 (April 2001): 127–31. http://dx.doi.org/10.1017/s0021875801006491.

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Barbara Haskell, The American Century: Art and Culture 1900–1950 (New York: Whitney Museum of American Art, in association with W. W. Norton, 1999, $60 cloth). Pp. 408. ISBN 0 393 04723 7, 0 87427 122 3.Lisa Phillips, The American Century: Art and Culture 1900–1950 (New York: Whitney Museum of American Art, in association with W. W. Norton, 1999, $60 cloth). Pp. 398. ISBN 0 393 04815 2, 0 87427 123 1.

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2

Chmielowska, Paula. "Odmowa restytucji w orzeczeniu Sądu Apelacyjnego Stanów Zjednoczonych w sprawie Marei von Saher przeciwko Norton Museum of Art w Pasadenie i Norton Simon Art Foundation." Gdańskie Studia Prawnicze, no. 2(50)/2021 (July 6, 2021): 269–75. http://dx.doi.org/10.26881/gsp.2021.2.20.

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W bardzo rozczarowującym orzeczeniu, w którym sąd odrzucił apelację Marei von Saher, Dziewiąty Obwód Sądu Stanów Zjednoczonych zdecydował 30 lipca 2018 r., że Norton Simon Museum w Pasadenie (pozwany) może zatrzymać prace Lucasa Cranacha Starszego pt. Adam i Ewa. Von Saher jest jedyną spadkobierczynią żydowskiego handlarza dziełami sztuki Jacquesa Goudstikkera, który zmarł w 1940 r., pozostawiając po sobie ogromną kolekcję dzieł sztuki, za- kupionych przez niemieckiego oficera. Rodzina próbowała odzyskać te rodzinne dobra, ponieważ zostały sprzedane w bardzo specyficzny sposób. Była to trzecia próba restytucji malowideł przez von Saher. Sąd rejonowy w 2007 r. oddalił powództwo na podstawie meritum sprawy, co spowodowało, że powód nie mógł w przyszłości wytoczyć powództwa, używając tych samych argumentów. Von Saher wniosła jednak apelację, a sąd apelacyjny utrzymał w mocy poprzedni wyrok. Po ostatniej apelacji von Saher sąd wydał ostateczną decyzję.

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3

Adler, Andrew. "Von Saher v. Norton Simon Museum of Art at Pasadena: California's Temporary Suspension of the Statute of Limitations in Holocaust Art Cases Violates the Foreign Affairs Doctrine." International Journal of Cultural Property 17, no. 1 (February 2010): 109–25. http://dx.doi.org/10.1017/s0940739110000184.

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AbstractIn 2002, the California state legislature enacted a law temporarily suspending the statute of limitations in certain Holocaust art cases. In doing so, it removed a major procedural obstacle facing plaintiffs and effectively revived claims once considered time-barred. Seven years later, the U.S. Court of Appeals for the Ninth Circuit held in von Saher v. Norton Simon Museum of Art at Pasadena that this California law was unconstitutional under the foreign affairs doctrine, because it impermissibly intruded on the federal government's exclusive power to make and resolve war. In so holding, the Ninth Circuit became the first court in the United States to restrict the authority of the states to inject themselves into the realm of Holocaust art litigation.

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BROWN, KATHRYN. "DEGAS IN THE NORTON SIMON MUSEUM NINETEENTH-CENTURY ART VOL. II BY SARA CAMPBELL ET AL." Art Book 17, no. 1 (February 2010): 23–24. http://dx.doi.org/10.1111/j.1467-8357.2010.01076_4.x.

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5

Docherty, Linda J. "Translating Dante." Religion and the Arts 22, no. 1-2 (February 16, 2018): 194–217. http://dx.doi.org/10.1163/15685292-02201016.

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Abstract Isabella Stewart Gardner’s museum (Fenway Court) owes its distinctive character to the influence of Dante Alighieri. Gardner’s interest in the Italian poet originated in a context of late nineteenth-century Boston’s enthusiasm for his writing and her personal quest for a meaningful life’s work. As a student of Charles Eliot Norton, a member of the Cambridge Dante Society, and a collector of rare editions of The Divine Comedy, Gardner became apprised of issues surrounding literary translation. When she began to study visual images inspired by Dante’s poetry and to acquire European masterpieces, she was poised to conceive a variation on this practice. As a visual translation of Paradiso, Fenway Court was not an illustration of a classic text but rather a conversion of a spiritual idea of love and beauty from one art form to another. In creating a museum for public education and enjoyment, Gardner exemplified Dante’s moral concept of free will and evoked his poetic vision of heavenly beauty.

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6

Gram, Magdalena. "The sad history of the Art Library at the Nationalmuseum: a case study." Art Libraries Journal 24, no. 4 (1999): 20–24. http://dx.doi.org/10.1017/s0307472200019763.

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30% of the 40 Swedish members of ARLIS/Norden are museum libraries. Half of these are dedicated art libraries situated in the two major cities of Stockholm and Gothenburg. Most of them serve their parent organization as well as external users. Foremost amongst them is the Art Library at the Nationalmuseum in Stockholm, a somewhat tarnished crown jewel among Swedish art libraries, whose ability to serve this dual public has had a fluctuating history.

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7

Burch, Stuart. "Norden, Reframed." Culture Unbound 2, no. 5 (December 17, 2010): 565–81. http://dx.doi.org/10.3384/cu.2000.1525.10233565.

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This paper calls for Norden to be understood as a metaframe. Related formulations like “Nordic art” or “Nordic welfare” function as mesoframes. These trigger multiple framing devices. A cache of related framing devices constitutes a framing archive. Framing devices work best when operating unobtrusively such that inclusions, exclusions and inconsistencies are condoned or naturalised. Their artifice, however, becomes apparent whenever a frame is questioned. Questioning or criticising a frame gives rise to a framing dispute. The theoretical justification for these typologies is provided at the outset. This schema is then applied to a select range of empirical examples drawn largely from the disciplinary frames (Ernst 1996) of art history and museum studies. Despite this specificity it is envisaged that the general principles set out below can and will be used to address a variety of devices, disputes and archives in Norden and beyond.

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8

Kornetchuk, Elena. "Art of the Baltics: The Struggle for Freedom of Artistic Expression under the Soviets, 1945-1991. Ed. Alla Rosenfeld and Norton T. Dodge. Dodge Soviet Nonconformist Art Publication Series. New Brunswick: Rutgers University Press and The Jane Voorhees Zimmerli Art Museum, 2002. xi, 476 pp. Appendixes. Notes. Bibliography. Chronology. Glossary. Index. Illustrations. Plates. Photographs. Tables. $110.00, hard bound." Slavic Review 63, no. 1 (2004): 173–74. http://dx.doi.org/10.2307/1520299.

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9

Borsay, Peter, Elizabeth Musgrave, and Sue Wragg. "Rebecca Zurier, Robert W. Synder and Virginia M. Mecklenburg, Metropolitan Lives. The Ashcan Artists and Their New York. New York and London: The National Museum of American Art, in association with W.W. Norton & Company, 1995. 232pp. 216 plates. $50.00." Urban History 24, no. 3 (December 1997): 384–85. http://dx.doi.org/10.1017/s0963926800012542.

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10

Rabadán Villalpando, María Eugenia. "El problema de los paisajes desconocidos en la catalogación en línea de los museos nacionales de arte de Norteamérica." Intervención 1, no. 25 (December 28, 2022): 200–240. http://dx.doi.org/10.30763/intervencion.265.v1n25.44.2022.

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Este informe académico es parte de una investigación, desde la perspectiva de los estudios visuales, sobre paisajismo de la modernidad y después de ella en la tradición occidental. Se propone analizar, de acuerdo con el estructuralismo de Thomas Kuhn, el cambio de Gestalt visual de principios del siglo xx relativo a la articulación en el arte de un nuevo paradigma. La visualización atraviesa la curaduría y la catalogación de colecciones en línea de los museos nacionales de arte de Norteamérica, cuestionando el diferencial de percepción de la estructuración de lo abstracto y lo conceptual en el paisaje entre estos acervos. No obstante, este estudio encuentra una solución teórica al fenómeno de invisibilidad de las imágenes en los episodios de carácter no acumulativo, propios, nuevamente según el modelo de Kuhn, de los cambios paradigmáticos. _____ This academic report is a part of a research, from the perspective of visual studies, on landscape art of modernity and after it in the Western tradition. This work proposes to analyze, in accordance with the structuralism of Thomas Kuhn, the change in visual Gestalt of the beginning of the 20th century related to the articulation in art of a new paradigm. The visualization cuts across the curating and the cataloging of online collections of the National Art Museums of North America, questioning the differential perception of structuring the abstract and the conceptual in the landscape between collections. However, this study finds a theoretical solution to the phenomenon of the invisibility of images in episodes of a non-accumulative nature, typical of paradigmatic changes, according to Kuhn’s model.

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11

Ortíz Triviño, Jorge Eduardo, and Rodolfo Cipagauta. "A virtual art museum." Ingeniería e Investigación 26, no. 3 (September 1, 2006): 78–84. http://dx.doi.org/10.15446/ing.investig.v26n3.14754.

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This paper presents some indispensable technical aspects for designing an art museum based on virtual reality (VR) technology. A VR setting can be produced which is able to submerge users having a basic immersion level in a didactic, entertaining, cultural and artistic experience. Specialised tools, object-orientated programming language and low-cost peripheral equipment are suggested so that the VR experience can be developed and executed on reasonably-priced computers. The VR concept, characteristics, components, application and systems are analysed, as is the design for implementing it.

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12

Tollfree, Eleanor. "Art and the Museum." Art Book 8, no. 2 (March 2001): 3–5. http://dx.doi.org/10.1111/1467-8357.00235.

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13

Carrier, David. "The Art Museum Today." Curator: The Museum Journal 54, no. 2 (April 2011): 181–89. http://dx.doi.org/10.1111/j.2151-6952.2011.00080.x.

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14

Guffey, Elizabeth. "The Disabling Art Museum." Journal of Visual Culture 14, no. 1 (April 2015): 61–73. http://dx.doi.org/10.1177/1470412914565965.

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15

Blair, Jennifer. "Art Museum Image Gallery." Charleston Advisor 21, no. 3 (January 1, 2020): 15–19. http://dx.doi.org/10.5260/chara.21.3.15.

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Art Museum Image Gallery provides access through a subscription to museum collections of over 156,000 high-quality images sourced from the Art Archive of Picture Desk, Inc. and includes paintings, prints, ceramics, sculpture, and other art. The images span from 3000 B.C. to the present, with an emphasis on cultural and area studies. The price varies and is based on subscribers’ overlap with packages and other factors unique to institution needs, but primarily is on bracket determined by number of users. The interface could use improvement in its limiters. But individual item displays surpass similar products by providing comprehensive data including copyright privileges, the artist, original source, subjects with live links, description, and accession numbers. A link also provides a higher quality version of each image with downloadable capability. Art Museum Image Gallery is best suited for educational use and is ideal for academics, schools, the public, and the government.

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16

Offringa, Dirkie, and Suzelle Botha. "The Pretoria Art Museum." de arte 33, no. 57 (April 1998): 58–60. http://dx.doi.org/10.1080/00043389.1998.11761269.

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17

van Deventer, Anriet. "The Pietersburg Art Museum." de arte 33, no. 57 (April 1998): 61–62. http://dx.doi.org/10.1080/00043389.1998.11761270.

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18

Stylianou-Lambert, Theopisti. "Perceiving the art museum." Museum Management and Curatorship 24, no. 2 (June 2009): 139–58. http://dx.doi.org/10.1080/09647770902731783.

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19

Hebb, Timothy Tore. "Kalmar Museum of Art." Architectural Design 78, no. 6 (November 2008): 134–35. http://dx.doi.org/10.1002/ad.791.

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20

Hughston, Milan R. "NATIONAL MUSEUM OF AMERICAN ART, SMITHSONIAN INSTITUTION. National Museum of American Art." Art Documentation: Journal of the Art Libraries Society of North America 16, no. 2 (October 1997): 53–54. http://dx.doi.org/10.1086/adx.16.2.27948904.

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21

Imajo, Motoi. "New lighting for museum and museum of art." JOURNAL OF THE ILLUMINATING ENGINEERING INSTITUTE OF JAPAN 74, Appendix (1990): 177. http://dx.doi.org/10.2150/jieij1980.74.appendix_177.

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22

Miller, Jack, and Laurie B. Reese. "MUSEUM TOL: Confessions of an Art Museum Librarian." Art Documentation: Journal of the Art Libraries Society of North America 6, no. 4 (December 1987): 168–69. http://dx.doi.org/10.1086/adx.6.4.27947827.

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23

Yuliasari, Yuliasari, and Yeptadian Sari. "Penerapan Konsep Arsitektur Kontemporer pada Art 1 : New Museum and Art Space." Journal of Architectural Design and Development 1, no. 1 (June 30, 2020): 37. http://dx.doi.org/10.37253/jad.v1i1.718.

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Museum merupakan bangunan yang diperuntukkan sebagai tempat untuk pameran benda-benda karya seni yang memiliki nilai sejarah, seni dan ilmu. Namun pada kenyataannya, museum tidak lagi dianggap tempat penting karena kondisi beberapa museum di Indonesia kurang diperhatikan. Sehingga tingkat kunjungan masyarakat ke museum semakin menurun. Berdasarkan latar belakang tersebut maka perlu penerapan arsitektur kontemporer agar tempat yang tadinya dianggap demikian menjadi tempat yang menarik untuk dikunjungi masyarakat tanpa mengenal umur dan kalangan. Penelitian ini bertujuan untuk memahami penerapan prinsip-prinsip konsep arsitektur kontemporer pada bangunan museum dan penerapannya jika mengacu pada prinsip ruang yang terkesan terbuka. Metode dalam penelitian ini menggunakan prinsip konsep arsitektur kontemporer menurut Ogin Schirmbeck. Penerapan arsitektur kontemporer pada bangunan museum menghasilkan desain bangunan yang tidak biasa dan berbeda dari museum-museum pada umumnya.

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24

Carrier, David. "THE ART MUSEUM AS A WORK OF ART: THE J. PAUL GETTY MUSEUM." Source: Notes in the History of Art 22, no. 2 (January 2003): 36–44. http://dx.doi.org/10.1086/sou.22.2.23206841.

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25

Eskilson, S. "Museum Movies: The Museum of Modern Art and the Birth of Art Cinema." Journal of American History 93, no. 1 (June 1, 2006): 267–68. http://dx.doi.org/10.2307/4486181.

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26

Vossen-Delbrück, Else. "Libraries of art museums." Art Libraries Journal 12, no. 1 (1987): 12–13. http://dx.doi.org/10.1017/s0307472200004983.

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With one exception Dutch art museum libraries date from the second half of the 19th century or later. In general, museum libraries reflect the scope of the museum they serve and exist primarily for the use of museum staff although the public are also admitted. Most now use the same cataloguing rules; manual catalogues are still commonplace but are likely to be displaced by the computer.

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27

Stone, Denise L. "The Secondary Art Specialist and the Art Museum." Studies in Art Education 35, no. 1 (1993): 45. http://dx.doi.org/10.2307/1320837.

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28

Nazarov, Anton Sergeevich. "ART REALM OF TODAY’S MUSEUM AND ART MEDIATION." Sphere of Culture, no. 2 (2022): 55–64. http://dx.doi.org/10.48164/2713-301x_2022_8_55.

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29

Lee, Eunjeok. "Art Museum Education to Form Art Subject Competencies." Korean Association For Learner-Centered Curriculum And Instruction 18, no. 9 (May 5, 2018): 955–77. http://dx.doi.org/10.22251/jlcci.2018.18.9.955.

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30

Stone, Denise Lauzier. "The Art Museum and the Elementary Art Specialist." Journal of Museum Education 17, no. 1 (December 1992): 9–11. http://dx.doi.org/10.1080/10598650.1992.11510190.

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31

Crampton, Sharon. "The art collection of Oliewenhuis Art Museum, Bloemfontein." de arte 37, no. 65 (January 2002): 98–101. http://dx.doi.org/10.1080/00043389.2002.11876993.

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32

Jacoby, Thomas. "ETHIOPIAN ART: THE WALTERS ART MUSEUM. Kelly Holbert." Art Documentation: Journal of the Art Libraries Society of North America 21, no. 2 (October 2002): 46. http://dx.doi.org/10.1086/adx.21.2.27949210.

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33

Moomaw, Kate. "Collecting participatory art at the Denver Art Museum." Studies in Conservation 61, sup2 (June 2016): 130–36. http://dx.doi.org/10.1080/00393630.2016.1190904.

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34

Barbosa, Ana Mae Tavares Bastos. "Art education in a museum of contemporary art." Museum International 41, no. 1 (March 1989): 45–49. http://dx.doi.org/10.1111/j.1468-0033.1989.tb00757.x.

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35

Darish, Patricia J. "African Art at the Indiana University Art Museum." African Arts 20, no. 3 (May 1987): 30. http://dx.doi.org/10.2307/3336475.

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36

Glesne, Corrine E. "Museum Art in Everyday Life." LEARNing Landscapes 5, no. 2 (May 2, 2012): 99–116. http://dx.doi.org/10.36510/learnland.v5i2.555.

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Art museums engage diverse audiences in multiple forms of learning. Based on qualitative research at seven academic institutions, this article focuses on the role academic art museums play in the everyday life of students and faculty, on how people become interested in art and art museums, and on possible contributions of campus art museums beyond use in classes and research.

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37

Gaber, Tammy. "Islamic Art and the Museum." American Journal of Islam and Society 31, no. 2 (April 1, 2014): 132–36. http://dx.doi.org/10.35632/ajis.v31i2.1048.

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This volume contains an impressive number of essays by authors from diversebackgrounds. What the title does not indicate is the reason for this publication– the conference “Layers of Islamic Art and the Museum Context” (held inBerlin during January 13-16, 2010) in cooperation with the Aga Khan Trustfor Culture, the Museum of Islamic Art in Berlin, and the “Europe in the MiddleEast – The Middle East in Europe” (EUME). The EUME is a Berlin-basedresearch program initiated by the Brandenburg Academy of Science, the FritzThyssen Foundation, Wissenschaftskolleg zu Berlin, and the Forum TransregionaleStudien. This publication drew upon the expertise of the Aga KhanNetwork and experts in Germany because it was originally to be a workshopfocused on the reorganization of Berlin’s Museum of Islamic Art (MIA) aswell as a study for Toronto’s Museum of Islamic Art, which will open thisyear and house the Aga Khan’s personal collection.The forum offers a certain diversity of voices regarding issues in general(the display of Islamic art around the world) and specific to the MIA at thePergamon Museum. Its twenty-nine essays are divided into five sections: “In-132 The American Journal of Islamic Social Sciences 31:2troduction,” ...

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38

Camilla Jalving. "Utopia at the Art Museum:." Utopian Studies 22, no. 2 (2011): 360. http://dx.doi.org/10.5325/utopianstudies.22.2.0360.

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39

Gurian, Elaine Heumann. "Kelvingrove Art Gallery and Museum." Curator: The Museum Journal 50, no. 3 (July 2007): 358–61. http://dx.doi.org/10.1111/j.2151-6952.2007.tb00278.x.

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40

Železnik, Adeia. "Art Museum Education in Transition." Journal of Museum Education 37, no. 3 (September 2012): 31–42. http://dx.doi.org/10.1080/10598650.2012.11510740.

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41

Persaud, R. "Art: The Museum of Emotions." BMJ 320, no. 7246 (May 20, 2000): 1413. http://dx.doi.org/10.1136/bmj.320.7246.1413.

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42

Foden-Lenahan, Erica. "Viewpoint: educating art museum librarians?" Art Libraries Journal 33, no. 1 (2008): 3–4. http://dx.doi.org/10.1017/s0307472200015145.

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43

Dale, Daniel A., and Brenae L. Bailey. "Physics in the Art Museum." Physics Teacher 41, no. 2 (February 2003): 82–83. http://dx.doi.org/10.1119/1.1542042.

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44

Campbell, Siobhan. "Kamasan Art in Museum Collections." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 170, no. 2-3 (January 1, 2014): 250–80. http://dx.doi.org/10.1163/22134379-17002001.

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45

Harney, Elizabeth. "National Museum of African Art." African Arts 35, no. 4 (December 1, 2002): 89. http://dx.doi.org/10.1162/afar.2002.35.4.89.

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46

Carrier, David, and Didier Maleuvre. "Museum Memories. History, Technology, Art." Journal of Aesthetic Education 35, no. 2 (2001): 122. http://dx.doi.org/10.2307/3333680.

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47

Newton, Douglas. "The Museum of Primitive Art." African Arts 18, no. 3 (May 1985): 8. http://dx.doi.org/10.2307/3336346.

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48

Hacker, Inge. "The Philadelphia Museum of Art." Rivista di Neuroradiologia 11, no. 1_suppl (May 1998): 31–32. http://dx.doi.org/10.1177/19714009980110s119.

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49

Dillon, Paul. "The Rose Art Museum crisis." New Directions for Higher Education 2010, no. 151 (September 24, 2010): 83–92. http://dx.doi.org/10.1002/he.403.

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50

"The Norton Museum of Art." Choice Reviews Online 42, no. 08 (April 1, 2005): 42–4434. http://dx.doi.org/10.5860/choice.42-4434.

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