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Journal articles on the topic 'Patrons of art of Sumy'

Author: Grafiati

Published: 28 May 2022

Last updated: 30 July 2025

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1

Romanenkova, Julia V. "The Bookplate in the Artistic Culture of Ukraine at the Turn of the 21st Century." Tekst. Kniga. Knigoizdanie, no. 25 (2021): 122–43. http://dx.doi.org/10.17223/23062061/25/7.

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The object of research in this article is the ex-libris sphere of Ukraine in the period from the beginning of the 1990s to the present day. Ukrainian ex-libris actually began to exist in 1991, when it became possible to speak about the Ukrainian bookplate as a phenomenon of art rather than about it as a segment of Soviet graphic art. It has headily changed its character and started a different transformation since the early 1990s. Over the past 20 to 25 years, the Ukrainian bookplate not only has come out of the shadows, turning into a valuable work of art, but also has received several new ro

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2

Beier, Ulli. "Nigerian Art Patrons." African Arts 21, no. 4 (1988): 82. http://dx.doi.org/10.2307/3336755.

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Mozgovyy, I. "Man: Spirit, soul, body." Ukrainian Religious Studies, no. 4 (December 10, 1996): 70–71. http://dx.doi.org/10.32420/1996.4.79.

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The scientific-theoretical conference under such a name took place on November 13-14, 1996 in Sumy. She continued to discuss the issues raised at the scientific and theoretical conference "Spirit, soul, person: origins and searches", held here in 1993. The organizers of the current conference were Sumy State University, Institute of Philosophy of the Academy of Sciences of Ukraine, Ukrainian Association of Religious Studies, Ukrainian Philosophical Foundation, Sumy Art Museum. The Sumy Regional Branch of the Liberal Party of Ukraine (Head - A. Gapon) revealed great help in organizing the forum

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4

Taherkhani, Parisa, Taher Rezazadeh, and Elham Etemadi. "Study of Economic Factors Influencing the Expansion of Art Patronage during the Timurid Era." Journal of Social-Political Studies of Iran's Culture and History 3, no. 4 (2024): 305–21. https://doi.org/10.61838/kman.jspsich.3.4.18.

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The Timurid period, recognized as one of the most artistically rich eras in the history of post-Islamic Iranian art, is notable for its unparalleled artistic growth and the emergence of renowned artists. This period has thus become a focal point for art history scholars. In shaping and enhancing this artistic era, in addition to the artist and their creative mind, numerous other factors contributed to the formation of artistic objects. One of the most influential factors in the creation of artistic works has consistently been art patrons who, driven by various motivations, supported the arts.

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Muehlbauer, Mikael. "Ethiopian Church Art: Painters, Patrons, Purveyors." Northeast African Studies 22, no. 2 (2022): 179–84. http://dx.doi.org/10.14321/nortafristud.22.2.00179.

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Kirichenko, Olha, Olha Skyba, and Svitlana Shpetna. "Regional features of the functioning of engagements and weddings on the territory of the modern Slobozhansk region." Bulletin of Luhansk Taras Shevchenko National University, no. 2 (361) (2024): 281–88. http://dx.doi.org/10.12958/2227-2844-2024-2(361)-281-288.

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The article is aimed at deepening the understanding of the importance of recording and popularizing family ritual poetry, wedding customs of the 21st century. The authors substantiated the relevance of the topic of collecting and studying wedding rituals and the folklore that accompanies them in the territory of the Sumy region. Emphasis is placed on the local history aspect of oral folk art. The published sources of folklore collectors of the Sumy Oblast were elaborated and the existing source base was supplemented with materials of own field research with a description of family rites, custo

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7

Rodrigues, Cátia C. "Homosociality/Homoeroticism and Religious Symbolism: Female Art Collectors and Dante Gabriel Rossetti’s Works, 1848–65." Nineteenth Century Studies 36 (November 2024): 20–37. http://dx.doi.org/10.5325/ninecentstud.36.0020.

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Abstract Despite the presence of female patrons in art-commissioning networks formed around Dante Gabriel Rossetti, scholarship has been mostly directed toward the analysis of the relationships between Rossetti, his artworks, and his male patrons. Further analysis of the artist’s correspondence and scholarship reveals, however, a number of women who actively commissioned his works between 1848 and 1865. Following the lead of the increasing scholarly interest in women’s art patronage, this article places Rossetti’s female patrons at the core of its discussion. Through analysis of the similar co

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8

Waryanti, Dessy Rachma. "KLASIFIKASI PRIORITAS KETERTARIKAN PERILAKU PENGUNJUNG PAMERAN TERHADAP KARYA SENI RUPA KONTEMPORER." INVENSI 1, no. 2 (2017): 1–12. http://dx.doi.org/10.24821/invensi.v1i2.1611.

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Many elements are presented to visitors during an exhibition of contemporary art. These elements include the overaching concept of the exhibit (Ko), issues raised in the exhibition (Is), the name of the artist whose popularity attracts patrons (Na), and visual forms of the art itself (Vi). Using these four elements I compiled questions and interviewed patrons with various backgrounds in the arts. The goal was to find out these patron’s interest priorities; in other words, which aspects of the exhibit were of most interest to them as an observer. Previous literature on visitor behavior and soci

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S. Rosenbaum, Mark, Jillian C. Sweeney, and Carolyn Massiah. "The restorative potential of senior centers." Managing Service Quality 24, no. 4 (2014): 363–83. http://dx.doi.org/10.1108/msq-11-2013-0264.

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Purpose – The purpose of this paper is to help senior center managers and service researchers understand why some patrons experience health benefits, primarily fatigue relief, through senior center day services participation. Design/methodology/approach – The authors conduct two separate studies at a senior center. The first study represents a grounded theory that offers an original, basic social process regarding mental restoration in senior centers. The second study draws on Attention Restoration Theory (ART) and employs survey methodology. Findings – Senior center patrons who perceive a cen

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10

Quesenberry, LeGene, and Bruce W. Sykes. "Leveraging the Internet to Promote Fine Art: Perspectives of Art Patrons." Journal of Arts Management, Law, and Society 38, no. 2 (2008): 121–40. http://dx.doi.org/10.3200/jaml.38.2.121-140.

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11

KUMAR, MUKESH. "The Art of Resistance: The Bards and Minstrels’ Response to Anti-Syncretism/Anti-liminality in north India." Journal of the Royal Asiatic Society 29, no. 2 (2018): 219–47. http://dx.doi.org/10.1017/s1356186318000597.

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This article addresses the issue of passive resistance by the Jogi and Mirasi musician castes against the puritanical notions of their former patrons, Meos. After the Meo patrons embraced the Tablighi Jamaat's version of Islam, the Jogis and Mirasis feel pressured to give up performing. Their artistry is also their livelihood which they value very much. By using James Scott's understanding of ‘passive resistance’ and ‘hidden transcript’ this article shows the use of poetic art for passive resistance. In doing so, the Jogis and Mirasis do not compromise with the civility of the art and positive

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12

Szívόs, Erika. "Fin-De-Siècle Budapest as a Center of Art." East Central Europe 33, no. 1-2 (2006): 141–69. http://dx.doi.org/10.1163/187633006x00097.

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AbstractThis article discusses the emergence of Budapest as an art center as an integral part of the greater project of the making of the Hungarian capital after the Compromise of 1867. In the political setup of the Dual Monarchy, major cultural institutions were founded and a distinct urban culture, centered around cafés, was born in Budapest. It was there that actual or potential patrons, as well as receptive audiences, of the arts were to be found, which in turn led the city to also become a magnet for artists. "Artists' tables," subject to great public attention and the source of coffeehou

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13

Hansen, Bert, and Richard E. Weisberg. "Louis Pasteur (1822–1895), his friendships with the artists Max Claudet (1840–1893) and Paul Dubois (1829–1905), and his public image in the 1870s and 1880s." Journal of Medical Biography 25, no. 1 (2016): 9–18. http://dx.doi.org/10.1177/0967772015575889.

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Biographers have largely ignored Louis Pasteur's many and varied connections with art and artists. This article is the third in a series of the authors' studies of Pasteur's friendships with artists. This research project has uncovered data that enlarge the great medical chemist's biography, throwing new light on a variety of topics including his work habits, his social life, his artistic sensibilities, his efforts to lobby on behalf of his artist friends, his relationships to their patrons and to his own patrons, and his use of works of art to foster his reputation as a leader in French medic

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Derlatka, Joanna. "Zmiany w postępowaniu o podział sumy uzyskanej z egzekucji – uwagi wybrane." Przegląd Prawa Egzekucyjnego 2025, no. 1 (2025): 26–54. https://doi.org/10.62627/ppe.2025.002.

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On the basis of the amendment to the Civil Procedure Code, which is enforced by the act of 9 March 2023, the proceedings concerning the allocation of an amount obtained as a result of the enforcement proceedings have been reformed substantially. The purpose of this article is to assess selected aspects of the amendment. The author analyses a change in the sequence of debt repayment with the amount obtained as a result of the enforcement proceedings by presenting major reservations arising from the present text of the regulations on the “emergency fund” (Art. 1025 § 1.2(1), § 3(2), § 7–8 of the

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Campbell, Laura. "Worshipping Beauty in the South Seas." Back Story Journal of New Zealand Art, Media & Design History, no. 6 (July 1, 2019): 75–90. http://dx.doi.org/10.24135/backstory.vi6.46.

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This article analyses the wave of avant garde art movements that arrived on our shores in the late nineteenth century and its impact on applied art and the general lifestyles of artists and patrons in New Zealand. With particular reference to Kennett Watkins’ speech given at a meeting of the New Zealand Art Students’ Association’ in 1883, this account looks at the display of Māori objects in both public settings and in the privacy of the artist’s studio. It also acknowledges the role of illustrated magazines in promoting the public profile of professional artists working in Auckland at the tur

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16

Atasoy, Nurhan. "Early ‘art libraries’ in Turkey." Art Libraries Journal 21, no. 2 (1996): 15–18. http://dx.doi.org/10.1017/s0307472200009822.

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Early Turkish libraries, attached to such institutions as mosques and medreses, comprised collections of manuscripts including many of great artistic value. Medreses and their libraries were endowed by the Ottoman rulers, who as patrons of the arts were also responsible for causing many manuscripts to be produced. Scholars owned private libraries, and libraries for the public existed in every district of Istanbul. Many of the collections of these libraries survive, in some cases in museums and in libraries of later origin, in Istanbul University Library, and in the National Library at Ankara.

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17

Zadoia, A., and I. Syzonenko. "The role of patronage in popularizing the work of Stanislav Zhukovsky." Science and Education a New Dimension IX(254), no. 46 (2021): 18–21. http://dx.doi.org/10.31174/send-hs2021-254ix46-04.

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The article is devoted to the study of the peculiarities of patronage as a socio-cultural phenomenon, the forms of its manifestation in Russia at the end of the 19th and the beginning of the 20th centuries, as well as the influence on the formation of the creative fate of a particular person - the Polish artist Stanislav Yulianovich Zhukovsky (1873-1944), who, by the will of historical destinies, in the period under review lived on the territory of the Russian Empire in Moscow. The role of individual patrons of art in supporting the artist through the acquisition of his paintings is analyzed.

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Winston, Andrew S. "Simple Pleasures: The Psychological Aesthetics of High and Popular Art." Empirical Studies of the Arts 13, no. 2 (1995): 193–203. http://dx.doi.org/10.2190/u40c-qxb0-4rxq-8pq0.

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Popular Art, typically rejected by high art patrons, consists of technically skilled but sentimentalized images of wildlife, country life, and family life. Major themes and features of popular art are discussed. In a series of studies, viewers without art background focused on warm, pleasant feelings to justify choice of popular images, whereas experienced viewers focused on the structure of the work to justify preference for high art images. Preference for popular art was associated with the general belief that good art provides immediate pleasure to a wide audience. The ways in which popular

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19

Roberts, Ann M., Sheryl E. Reiss, and David G. Wilkins. "Beyond Isabella: Secular Women Patrons of Art in Renaissance Italy." Sixteenth Century Journal 33, no. 4 (2002): 1204. http://dx.doi.org/10.2307/4144208.

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20

Pearce, R. L. "SH07ï¿½COATES AND DUNLOP - ART PATRONS OF THE BURMA RAILROAD." ANZ Journal of Surgery 79 (May 2009): A75. http://dx.doi.org/10.1111/j.1445-2197.2009.04931_7.x.

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21

Sheikh-Miller, Nasira. "Muslim Cultures beyond the Aperture: An East African Photo-Story Illuminated by First-Hand Accounts." Journal of Material Cultures in the Muslim World 1, no. 1-2 (2021): 150–90. http://dx.doi.org/10.1163/26666286-12340006.

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Abstract This paper is an exploration of Indian Muslim culture in East Africa through pre- and post-independence eras via the medium of photography. It examines the art and craft of photographic practice, the training of photographers, their social networks and those of their patrons, as well as the personal context of photographs. It also discusses the dispersal of archives and personal collections. It is based upon first-hand accounts from professional photographers, their family members as well as patrons, whose ancestors travelled from India via Indian Ocean trade routes. Fareh te chareh i

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22

Shul’ga, V. "Use of sites garden and park art as the objects of ecological tourism (on the example of Sumy region)." Visnyk of the Lviv University. Series Geography, no. 38 (December 15, 2010): 371–78. http://dx.doi.org/10.30970/vgg.2010.38.2289.

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Parks, as the part of the garden art, have an anonymous ecological and tourism potential, and show the harmonious combination of the nature and anthropology components and the proper infrastructure. The article shows the necessity of usage the parks as the objects of the ecological tourism. Also it gives the brief characteristics of the existing parks in the Sumy region. Key words: ecological tourism, a park is a reminder, urbanization, landscape, natural-protected fund.

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23

Bolgia, Claudia. "PATRONS AND ARTISTS ON THE MOVE: NEW LIGHT ON MATTEO GIOVANNETTI BETWEEN AVIGNON AND ROME." Papers of the British School at Rome 88 (January 9, 2020): 185–213. http://dx.doi.org/10.1017/s0068246219000370.

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This article reassesses artistic production in Rome at the time of the temporary return of Pope Urban V, between 1367 and 1370, after a lengthy period of absence of the papacy in Avignon, and offers new insights into the long-term impact of this production. It does so by starting from a thoroughly neglected artwork now in the Museo Storico Artistico del Tesoro di S. Pietro, a victim of the traditional interpretative dichotomy as either a work by Giotto or not. By taking a different methodological approach, which is to think in terms of movement of patrons and artists, and on the basis of combi

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24

Deutch, Samantha. "ARt Image Exploration Space (ARIES): A response to the image needs of art library patrons." Art Libraries Journal 46, no. 1 (2021): 7–12. http://dx.doi.org/10.1017/alj.2020.31.

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AbstractARt Image Exploration Space (ARIES) is a free, cloud-based dynamic environment offering art historians and others an extensive array of practical tools for analysing images. It is the product of a successful collaboration between art historians, librarians, computer scientists, and engineers from the Frick Art Reference Library, New York University's Tandon School of Engineering, and Brazil's Universidade Federal Fluminense. ARIES is a powerful tool for art historians, both replicating and augmenting traditional methods they have long-used to study images.1 With the advent of the preva

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Burrus, Sean P. "A Jewish Child’s Portrait? The Kline Sarcophagus of Monteverde and Jewish Funerary Portraiture in Rome." Images 10, no. 1 (2017): 3–22. http://dx.doi.org/10.1163/18718000-12340077.

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Abstract This article examines the evidence for the use of portrait sculpture on sarcophagi belonging to members of the Jewish community of Rome. The use of the “learned figure” motif, commonly employed in Roman sarcophagus portraiture and by Jewish patrons, is highlighted, and possible creative appropriations of the trope in Jewish contexts are raised. It is further argued that, among Jewish sarcophagus patrons, the decision to include funerary portraiture went hand in hand with the decision to adopt popular and conventional Roman styles and motifs, and to engage Roman cultural and visual res

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Lancey, Julia A. De, and Cynthia Lawrence. "Women and Art in Early Modern Europe: Patrons, Collectors, and Connoisseurs." Sixteenth Century Journal 29, no. 2 (1998): 591. http://dx.doi.org/10.2307/2544572.

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27

Nelson, Jason. "How to transform dog/horse pron/hump lovers into art patrons." Hyperrhiz: New Media Cultures, no. 7 (April 2010): 1. http://dx.doi.org/10.20415/hyp/007.g03.

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28

K., Shantha Kumari. "KARNATAKA FOLK DANCES ARE THE HEART AND SOUL OF OUR RURAL AREA PEOPLE." Shanlax International Journal of Arts, Science and Humanities 6, S2 (2019): 199–203. https://doi.org/10.5281/zenodo.3228249.

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<em>Characteristically folk art is not influenced by </em><em>movements</em><em> in </em><em>academic</em><em> or fine art circles, and, in many cases, folk art excludes works executed by professional artists and sold as "high art" or "fine art" to the society's art patrons. On the other hand, many 18th- and 19th-century American folk art painters made their living by their work, including itinerant portrait painters, some of whom produced large bodies of work. Terms that might overlap with folk art are naïve art, </em><em>tribal art</

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Klingshirn, William. "Charity and Power: Caesarius of Arles and the Ransoming of Captives in Sub-Roman Gaul." Journal of Roman Studies 75 (November 1985): 183–203. http://dx.doi.org/10.2307/300659.

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One of the most dramatic expressions of Christian charity in late antiquity was the practice of ransoming captives taken in brigandage, piracy, or war. Involving, as it did, the collection and disbursement of large sums of money, and delicate negotiations with hostile parties, the redemption of captives eventually came to be included in the duties of local bishops. Bishops, in turn, not only accepted, but actively solicited this responsibility, for, like other charitable activities, the liberation of captives enabled them to reinforce or expand ties ofclientela, enhance their own status as loc

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Sperber, David. "Breaking the Taboo: Ritual Impurity in Israeli and American Jewish Feminist Art." Israel Studies 28, no. 2 (2023): 29–55. http://dx.doi.org/10.2979/is.2023.a885228.

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ABSTRACT: The article examines works by two Orthodox artists, an American, Mierle Laderman Ukeles (b. 1939) and an Israeli, Hagit Molgan (b. 1972), both concerned with the Jewish laws and rituals of niddah (menstruation) and tevilah (immersion). The analysis of the similarities and differences between works from two major Jewish centers, Israel and the United States, provides insight into how critical responses in works of art point to complex cultural divides. Scholars and curators of Jewish art tend to examine Jewish-Israeli art as distinct from Jewish art created elsewhere. Due to this disc

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SHADRINA-LYCHAK, OLHA, NATALIYA FOMENKO, IRYNA DRUZHHA, HANNA IVANIUSHENKO, and OLENA ZHUKOVA. "SOME GENRES AND FORMS OF EARLY MUSIC IN MODERN DOMESTIC PRACTICE." AD ALTA: Journal of Interdisciplinary Research 14, no. 2 (2024): 94–98. http://dx.doi.org/10.33543/j.140244.9498.

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The presented scientific research analyzes the performance activities of contemporary artists specializing in harpsichord art at relevant festivals, among which the powerful annual Bach-fest (Sumy) and the Festival of Early Music in Lviv stand out. Throughout its history, the Bach-fest (Sumy) has brought together Ukrainian performers and leading artists from various countries in Europe, America, and Asia. This festival is practically a peer of the Ukrainian harpsichord school, with many musicians from Kyiv and Lviv honing their skills by performing on its stages and participating in its master

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Modena, Luisa Levi D’Ancona. "Italian-Jewish Patrons of Modern Art in Nineteenth- and Twentieth-Century Italy." Ars Judaica: The Bar Ilan Journal of Jewish Art 16, no. 1 (2020): 3–29. http://dx.doi.org/10.3828/aj.2020.16.3.

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With a focus on art donations, this article explores several case studies of Jewish Italian patrons such as Sforni, Uzielli, Sarfatti, Castelfranco, Vitali, and others who supported artists of movements that were considered modern at their time: the Macchiaioli (1850-1870), the Futurists (1910s), the Metaphysical painters (1920s), the Novecento group (1920-1930s), and several post WWII cases. It reflects on differences in art donations by Jews in Italy and other European countries, modes of reception, taste, meanings and strategy of donations, thus contributing to the social history of Italian

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Zhang, Dongshan. "Space, Patronage, and Ritual Art: Steles in the Guyang Cave (Late 5th–Early 6th Century)." Religions 16, no. 6 (2025): 779. https://doi.org/10.3390/rel16060779.

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The Guyang Cave contains an extensive collection of late Northern Wei (late fifth to early sixth century) statue and stele combinations. While existing scholarship has recognized the exceptional nature of these statue–stele pairings, their systematic stylistic classification and contextual interpretation have yet to receive sustained scholarly attention. This investigation analyzes ten paradigmatic cases, organized into three distinct stylistic groups. The discussion subsequently focuses on four particularly representative examples that epitomize divergent approaches to stele implementation. T

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Sandle, Doug. "Axis: broadening the constituency and extending the sphere of influence of visual art." Art Libraries Journal 23, no. 2 (1998): 8–11. http://dx.doi.org/10.1017/s0307472200010890.

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The Axis database is the only national information resource on British artists and craftmakers. It contains visual-text data on over 2,500 contemporary British practitioners and is a rapidly growing source of data for researchers, students, curators, commissioning agents, architects, planners and patrons and purchasers of visual arts. Axis also has an important national role in promoting contemporary art and artists and widening access to visual culture.

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Radke, Gary M. "Nuns and Their Art: The Case of San Zaccaria in Renaissance Venice*." Renaissance Quarterly 54, no. 2 (2001): 430–59. http://dx.doi.org/10.2307/3176783.

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This article discusses the ways in which fifteenth-century nuns financed, shaped and used works of art and architecture at the Benedictine convent of San Zaccaria in Venice. Evidence from chronicles, account books, liturgical manuscripts, reports of visits to the convent, and inscriptions on the works of art themselves shows that the nuns viewed art within their convent extremely proprietarily. While they accepted subsidies from the civic government, indulgences from popes, privileges from Byzantine emperors, and donations from private patrons, the nuns paid close attention to the administrati

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PEREZ, VIDAL MERCEDES. "The art, Visual Culture and Liturgy of Dominican nuns in Late Medieval and Early Modern Castile." Memorie Domenicane (Nuova Serie) 46 (March 8, 2016): 225–42. https://doi.org/10.5281/zenodo.10644625.

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Considering the enlarged concept of agency that includes not only the artists but also the viewers and the patrons, this article offers an approach to the artistic production, liturgical performance, and visual culture in the Dominican nunneries in Castile. Its purpose is to overcome the traditional methodologies and the idealized view offered by previous studies on this field in Spain. This contribution will reassess the role played by some women – both nuns and some female patrons, including noblewomen and queens – in the production and commission of liturgical manuscripts, the p

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Son, SooNa, and Jiyun Yoo. "A Study on Raising Art Fundraiser as a Method of Promoting Art Patronage in Korea." Korean Society of Culture and Convergence 45, no. 12 (2023): 787–801. http://dx.doi.org/10.33645/cnc.2023.12.45.12.787.

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Arts organizations in Korea have long been highly dependent on government subsidies. As government funding has steadily reduced, organizations need to find other ways to maintain their artistic activities such as private funding. Consumers should also go beyond their role as audiences and start participate as patrons of art to contribute to foster sustainability. In the process of attracting art patronage, the role of art fundraiser is crucial. Therefore, this study aims to emphasize and deepen the understanding of art fundraiser’s role and responsibility. Based on literature research and in-d

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Woodcock, Philippa. "The French Counter-Reformation." Church History and Religious Culture 94, no. 1 (2014): 22–49. http://dx.doi.org/10.1163/18712428-09401004.

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This article discusses the redecoration of the rural French parish church in the French diocese of Le Mans from 1620–1688. Scholars have argued that the diocese’s prolific commissions of terracotta statues and retables represented the impact of the Council of Trent’s drive to educate the clergy and instill in them a sense of connoisseurship; the clergy led the diocese as patrons. Yet, these works of art are also quite particular to the region, suggesting that other factors were responsible for their proliferation. This article examines the statues and retable of St-Léonard-des-Bois, commission

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Hansen, Bert, and Richard E. Weisberg. "Louis Pasteur's three artist compatriots—Henner, Pointelin, and Perraud: A story of friendship, science, and art in the 1870s and 1880s." Journal of Medical Biography 25, no. 1 (2016): 18–27. http://dx.doi.org/10.1177/0967772015575887.

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Biographers have largely ignored Louis Pasteur's many and varied connections with art and artists. This article is the second in a series of the authors' studies of Pasteur's friendships with artists. This research project has uncovered data that enlarge the great medical chemist's biography, throwing new light on a variety of topics including his work habits, his social life, his artistic sensibilities, his efforts to lobby on behalf of his artist friends, his relationships to their patrons and to his own patrons, and his use of works of art to foster his reputation as a leader in French medi

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40

Dunn, Marilyn R. "Nuns as Art Patrons: The Decoration of S. Marta al Collegio Romano." Art Bulletin 70, no. 3 (1988): 451. http://dx.doi.org/10.2307/3051177.

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Dunn, Marilyn R. "Nuns as Art Patrons: The Decoration of S. Marta al Collegio Romano." Art Bulletin 70, no. 3 (1988): 451–77. http://dx.doi.org/10.1080/00043079.1988.10788582.

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Henle, Alea, Andrea Jaquez, and Hannah Gray. "Visualizing virtual users through art: Usage statistics in outreach and marketing." College & Research Libraries News 79, no. 6 (2018): 306. http://dx.doi.org/10.5860/crln.79.6.306.

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Most modern academic libraries have physical and virtual spaces—and patrons. Physical users can be hard to miss, but virtual users often leave only traces behind. It’s all too easy, and misleading, to assess library use based on bodies in chairs. While online resources provide statistics documenting use, these numbers may seem unreal to administrators and funding agencies. Western New Mexico University’s Miller Library designed an art installation, “A Year of Virtual Research,” as a large-scale physical data visualization project to make virtual library use more present and real to the univers

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Kovalyov, N. I. "Illies, F. (2019). Just now the sky was blue. Texts on art. Translated by V. Serov. Moscow: Ad Marginem Press, Muzey sovremennogo iskusstva ‘Garazh.’ (In Russ.)." Voprosy literatury, no. 4 (August 19, 2021): 286–89. http://dx.doi.org/10.31425/0042-8795-2021-4-286-289.

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The reviewer claims that Florian Illies’ essays demonstrate a perfect balance between pure scholarship and journalism. Despite representing a miscellany of genres (book and exhibition reviews, articles summarising the author’s view of various painters and art historians), the collection proves harmonious due to a common motif of the essays. The book does not draw a strict line between history of literature and art history. Similarly, Illies does not separate art history from the context of the life around art, i. e. the authors’ correspondence, their relationships with their family and friends

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Cappellini, Patrizia. "Trading Old Masters in Florence 1890–1914: heritage protection and the Florentine art trade in Post-Unification Italy." Journal of the History of Collections 31, no. 2 (2018): 363–71. http://dx.doi.org/10.1093/jhc/fhy030.

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Abstract Between 1855 and 1873 many religious orders were abolished in Italy and the contents of convents, monasteries and churches found their way on to the art market. Meanwhile, economic troubles led many noble families to sell their estates, a situation that lasted until World War i. Focusing on the Florentine art market from 1890 to 1914, this paper seeks to shed new light on the roles of some Florentine merchants and their relationships with British antique dealers and German patrons and scholars (such as Wilhelm von Bode). It also reviews the evidence – anecdotal, archival and published

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Wang, ShiPu. "The Challenges of Displaying “Asian American”: Curatorial Perspectives and Critical Approaches." AAPI Nexus Journal: Policy, Practice, and Community 5, no. 1 (2007): 12–32. http://dx.doi.org/10.36650/nexus5.1_12-32_wang.

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This essay delineates the issues concerning AAPI art exhibitions from a curator’s perspective, particularly in response to the changing racial demographics and economics of the past decades. A discussion of practical, curatorial problems offers the reader an overview of the obstacles and reasons behind the lack of exhibitions of AAPI works in the United States. It is the author’s hope that by understanding the challenges particular to AAPI exhibitions, community leaders, and patrons will direct future financial support to appropriate museum operations, which in turn will encourage more exhibit

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Anguix-Vilches, Laia. "The Dirty Patrons: Environmental Responsibility And Museum Sponsorship." Museological Review, no. 27 (January 22, 2025): 156–73. https://doi.org/10.29311/mr.vi27.4892.

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Over the past two decades, societal pressure over and scrutiny of the ethics of museum funding have grown exponentially, particularly regarding sponsorship from the fossil-fuel industry. This spotlight, fuelled by environmental concerns and accusations of 'greenwashing,' has prompted significant changes in museum/oil company relationships. For instance, protests by climate activists and artists led to the end, in 2022, of the 30- year partnership between BP and the National Portrait Gallery in London. Whilst flagship museums such as the Louvre and the British Museum are still renewing oil-fund

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Назарова, Ольга Алексеевна. "Итальянские полиптихи конца XV – начала XVI века: ренессансный художественный язык и доренессансные способы конструирования смыслов". Actual Problems of Theory and History of Art 14 (11 жовтня 2024): 313–25. https://doi.org/10.18688/aa2414-4-24.

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The altar polyptychs of the end of the 15th – first half of the 16th centuries, as a rule, remain on the periphery of the study of Renaissance art, overshadowed by the altarpieces of the new Renaissance pala quadra type. Nevertheless, the late polyptychs, produced in various centers outside Florence (Umbria, Rome, Northern Italy, Liguria), are often impressive art-works by leading artists, commissioned by prominent patrons. This indicates that the polyptych, as a form of altarpiece with its specific ways of constructing meanings, which avoid direct narrative and are based on a visual confronta

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Rzewuska, Magdalena. "Glosa do uchwały SN z dnia 13 kwietnia 2022 roku, sygn. III CZP 76/22." Przegląd Prawa i Administracji 131 (March 23, 2023): 183–91. http://dx.doi.org/10.19195/0137-1134.131.12.

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Przedmiotem opracowania jest analiza uchwały Sądu Najwyższego z dnia 13 kwietnia 2022 roku o sygnaturze III CZP 76/22, w której sąd za dopuszczalne uznał zagrożenie „osobie uprawnionej do kontaktów z dzieckiem nakazaniem zapłaty określonej sumy pieniężnej na rzecz osoby, pod której pieczą dziecko pozostaje, za ich niezrealizowanie (art. 59815 § 2 k.p.c.) także wtedy, gdy w ugodzie użyto określenia, że uprawniony ma prawo do kontaktów z dzieckiem, a pominięto będący odpowiednikiem prawa obowiązek realizowania uzgodnionych kontaktów”. Autorka pozytywnie ustosunkowała się do stanowiska SN wyrażon

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Leimer, M. "‘Berlin Sees Bizarre Russian Art Show’: The Press Coverage of the Erste Russische Kunstausstellung(1922) and the Perception of Russia’s Modernist Art." February Journal, no. 01-02 (February 28, 2023): 192–209. https://doi.org/10.35074/fj.2023.86.54.011.

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The Erste Russische Kunstausstellung (First Russian Art Exhibition) that took place in Berlin in 1922 was an important event for the development of modernism. International artists and patrons visited the show at the Galerie van Diemen that combined paintings from late Tsardom and the pre-revolutionary avant-garde with the recent artistic production of Russia’s non-objective art movements. While the role of the Van Diemen show for the progressive international art scene in the early 1920s has long been acknowledged, little is known about the perception of this ‘Russian’ labeled modernism among

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Liros, Alex. "[no title]." Art Libraries Journal 17, no. 1 (1992): 20–21. http://dx.doi.org/10.1017/s0307472200007586.

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I work three days a week for the North York Public Library Board: one day at the Central Library’s Literature and Fine Arts Department, and two at the York Woods Library, a regional branch with high immigrant use. As a part-time librarian and as an artist focussing on the more traditional aspects of art, drawing and painting, I usually leave library thoughts at the library door. If anything, it’s the patrons themselves who have inspired my art. However, the Fine Arts collection at the Central Library provides me with resource materials to observe and connect what artists in the past have done

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