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Journal articles on the topic 'Pennsylvania in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Richmond-Cullen, catherine. "THE EFFECT OF AN ARTIST-IN-RESIDENCE PROGRAM ON SELF-REPORTED LONELINESS IN OLDER ADULTS." Innovation in Aging 3, Supplement_1 (2019): S53. http://dx.doi.org/10.1093/geroni/igz038.208.

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Abstract The study, funded by the Pennsylvania Council on the Arts and the Pennsylvania Department of Aging, measured the effect that an artist in residence program (conducted by state-vetted professional teaching artists) had on self-reported loneliness in older adult. All participants were aged sixty years or older and participated in programming in state-funded adult community centers located in fourteen sites throughout the Commonwealth of Pennsylvania. Artists offered 10 sessions in creating and critiquing art to older citizens in the artists’ respective art forms including performing art

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2

Saltzman, Martin D. "The art of distillation and the dawn of the hydrocarbon society." Bulletin for the History of Chemistry, no. 24 (1999): 53–60. https://doi.org/10.70359/bhc1999n24p053.

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The beginning of the petroleum industry in the US and the important role played by the process of distn. are discussed. The roots of the oil industry can be traced back to the fourth century B.C. in the Middle East. However, the com. prodn. of petroleum products started from the enterprise of Francis B. Brewer, George M. Bissell, Jonathan G. Eveleth, Dixi Crosby and Benjamin Silliman, Jr. Bissell, Eveleth and Brewer established the Pennsylvania Rock Oil Co. in Sept. 1854 in view of the potential of rock oil from Brewer's property as illuminant. The Pennsylvania Rock Oil Company of New York was

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3

Cymbala, Amy. "Editorial Notes: Exhibition Complex: Displaying People, Identity, and Culture." Contemporaneity: Historical Presence in Visual Culture 3 (June 5, 2014): 96–97. http://dx.doi.org/10.5195/contemp.2014.116.

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Editorial Notes on section relating to submissions from the symposium Exhibition Complex: Displaying People, Identity, and Culture held October 18-20, 2012 at the Carnegie Museum of Art, Pittsburgh, Pennsylvania.

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4

Álvarez, María Antonia. "RESEÑA de : Raffel, Burton. The Art of Translating Prose. Pennsylvania : The Pennsylvania State University Press, 1994." Epos : Revista de filología, no. 11 (January 1, 1995): 528. http://dx.doi.org/10.5944/epos.11.1995.9948.

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5

Beaucar, Barbara, Adrienne Pruitt, and Katy Rawdon. "‘Art is no trivial matter’: the Barnes Foundation Archives and Library." Art Libraries Journal 33, no. 1 (2008): 22–27. http://dx.doi.org/10.1017/s0307472200015182.

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The Barnes Foundation is an educational institution located near Philadelphia, Pennsylvania. The Foundation’s world-renowned art collection and its twelve-acre arboretum serve its mission to promote the advancement of education and the appreciation of fine arts and horticulture, through classes and workshops held in the Gallery and the Arboretum. The staff of the Foundation’s long-neglected archives and library is in the process of organizing and cataloguing its collections, and has recently completed a major grant-funded project to create finding aids for several of them.‘[A]rt is no trivial

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6

Jacknis, Ira. "Anthropology, Art, and Folklore." Museum Worlds 7, no. 1 (2019): 109–33. http://dx.doi.org/10.3167/armw.2019.070108.

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In the great age of museum institutionalization between 1875 and 1925, museums competed to form collections in newly defined object categories. Yet museums were uncertain about what to collect, as the boundaries between art and anthropology and between art and craft were fluid and contested. As a case study, this article traces the tortured fate of a large collection of folk pottery assembled by New York art patron Emily de Forest (1851–1942). After assembling her private collection, Mrs. de Forest encountered difficulties in donating it to the American Museum of Natural History and the Metrop

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7

Osthoff, Simone. "Art & Design Education Centered Around Democratic and Disruptive Practices." DAT Journal 4, no. 2 (2019): 84–96. http://dx.doi.org/10.29147/dat.v4i2.133.

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This article emphasizes approaches to design which are centered on democratic and disruptive practices. By focusing on artists and designers who embrace a critical edge of the discipline, it begins describinga few themes explored in the symposium Matters of Art & Design Education (MADE), at the Pennsylvania State University, and examines some of the theoretical horizons they point to. In the second part of the article, the author interviews the artist and designer Carlos Rosas, who helped develop, and is currently the Professsor in Charge of the IDS—Interdisciplinary Digital Studio program

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Tostões, Ana. "David B. Brownlee interviewed by Ana Tostões." Louis I. Kahn – The Permanence, no. 58 (2018): 60–62. http://dx.doi.org/10.52200/58.a.2rykcqpi.

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In February 2018, Ana Tostões interviewed David Brownlee, pioneer researcher on Louis I. Kahn and an historian of modern architecture and professor of the history of art at the University of Pennsylvania, in order to debate Kahn’s realm of ideas and their contemporary significance. David Brownlee was guest curator of the exhibition Louis I. Kahn: In the Realm of Architecture (Museum of Modern Art, New York, 1992), and is co-author of the homonymous book (with David G. De Long, New York, 1991, translated into four other languages) that stands as the first worldwide comprehensive publication on

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Bruce, Caitlin Frances. "Hemispheric Conversations: Exploring Links between Past and Present, Industrial and Post-Industrial through Site-Specific Graffitti Practice at the Carrie Furnaces." Contemporaneity: Historical Presence in Visual Culture 7 (October 30, 2018): 17–26. http://dx.doi.org/10.5195/contemp.2018.236.

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In this article, I briefly discuss a project I co-organized this year in collaboration with Oreen Cohen, Shane Pilster, Rivers of Steel, University of Pittsburgh, Pennsylvania Partners in the Arts, and the American Studies Association. Named “Hemispheric Conversations: Urban Art Project” we used international collaboration between artists in Chicago, Pittsburgh, and León Guanajuato Mexico as a platform for conversation about how to reimagine our shared urban spaces. In a political moment that might be a cause for despair, collaborative art practice in urban space can serve as one vehicle to re

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Arango, Obed, Guadalupe Castillo, Horacio De La Luz, et al. "All of the Knowledge [of the World] from and for Everyone: Exploring New Epistemologies through Participatory Research for Equity and Inclusion." Gemeinsam leben, no. 1 (January 28, 2021): 41–47. http://dx.doi.org/10.3262/gl2101041.

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CCATE, the Center for Culture, Art, Training and Education, is a non-profit community center that was born out of the initiative of a Latinx immigrant community in Norristown, Pennsylvania. CCATE’s mission is the development and empowerment of the Latinx immigrant community through the promotion of culture, art, work training and education with the goal of social transformation. The center offers educational programming for young people, families and adults based on their goals, dreams, skills and talents. One of the most robust programs is a community-based participatory research circle, and

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11

Chakravarty, Eliza F., Thomas M. Bush, Susan Manzi, Ann E. Clarke, and Michael M. Ward. "Prevalence of adult systemic lupus erythematosus in California and Pennsylvania in 2000: Estimates obtained using hospitalization data." Arthritis & Rheumatism 56, no. 6 (2007): 2092–94. http://dx.doi.org/10.1002/art.22641.

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12

Weberg, Lorraine C., and Marietta Bushnell. "ART AND DESIGN SCHOOL TOL: Profile: Pennsylvania Academy of Fine Arts Library." Art Documentation: Journal of the Art Libraries Society of North America 6, no. 3 (1987): 123. http://dx.doi.org/10.1086/adx.6.3.27947787.

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13

Steen, Virginia D., Chester V. Oddis, Claudia G. Conte, Janine Janoski, Gayle Ziegler Casterline, and Thomas A. Medsger. "Incidence OF systemic sclerosis in allegheny county, Pennsylvania. A twenty-year study of hospital-diagnosed cases, 1963–1982." Arthritis & Rheumatism 40, no. 3 (1997): 441–45. http://dx.doi.org/10.1002/art.1780400309.

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14

Kletchka, Dana Carlisle. "Instructional Resources: The Art of Red Grooms: Selections from the Palmer Museum of Art the Pennsylvania State University." Art Education 55, no. 4 (2002): 25. http://dx.doi.org/10.2307/3193965.

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15

Nichols, Mason. "Project Spotlight: Prominent Navy Yard structure shows off with textured panels." PCI Journal 70, no. 2 (2025): 15. https://doi.org/10.15554/pcij70.2-ps2.

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The structure at 2500 League Island Boulevard, a 130,000 ft2 (1200 m2), state-of-the-art flex production building constructed with 172 precast concrete panels, is a recent addition to the Philadelphia Navy Yard in Pennsylvania. Bill Hydock, preconstruction manager with Universal Concrete Products, says that a high degree of collaboration and open communication lines among all parties involved led to an innovative panelization approach on the project.

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16

Rotté, Joanna. "Questions of Life and Art: Recollecting Harold Clurman." New Theatre Quarterly 8, no. 31 (1992): 241–48. http://dx.doi.org/10.1017/s0266464x00006862.

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When Harold Clurman died in 1980, he was almost as old as the century, but still in harness – perhaps the most venerable as well as the most versatile polymath of the American theatre. His life in the theatre extended from acting with the Theatre Guild in the ‘twenties, through his creation and direction of the Group Theatre in the ‘thirties, to a distinguished post-war career as free-lance director, highly respected theatre critic – first for the New Republic, then since 1953 for The Nation – and also theatre historian and university teacher. It was in this last role that, as a student, Joann

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17

Yelinek, Kathryn. "“It Can Be Done Much Faster!”: The Transition from the Samuel G. Dixon State Hospital to the South Mountain Restoration Center." Pennsylvania History: A Journal of Mid-Atlantic Studies 89, no. 3 (2022): 385–411. http://dx.doi.org/10.5325/pennhistory.89.3.0385.

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ABSTRACT The South Mountain Restoration Center currently is a Pennsylvania state-owned long-term care center, but it traces its beginnings to a small camp for consumptives in the early 1900s. From this camp, high atop a mountain in rural southcentral Pennsylvania, the Center transformed itself in the 1930s into a state-of-the art tuberculosis sanatorium. In the 1960s it reinvented itself as a geriatric center that stood at the forefront of the Commonwealth’s services for the aging. An examination of the pivotal years 1965–68, when the sanatorium gave way to the restoration center, will show ho

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18

Lund, Curt. "Dancing in the Darkroom." Afterimage 48, no. 4 (2021): 3–23. http://dx.doi.org/10.1525/aft.2021.48.4.3.

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Russian émigré Alexey Brodovitch, best known for leading a radical shift in magazine design in the United States during his twenty-four-year tenure (1934–58) as art director of Harper’s Bazaar, also pursued innovative practices in other fields of art, design, and education. His ballet photography, made during rehearsals and performances of touring dance companies in New York City from 1935 to 1938, explored unusual methods of capturing dancers in motion. Brodovitch’s images would eventually come to be celebrated for their unconventional approach, but at the time, Brodovitch was not sure of his

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19

Atkinson, Robert E. "The Hand in Art: Kelly Family Gates at Addams Hall, University of Pennsylvania." Journal of Hand Surgery 38, no. 12 (2013): 2450–51. http://dx.doi.org/10.1016/j.jhsa.2013.09.022.

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20

Oliver, Keisha S. M. "Communal Articulation: De-centering University Art Museum Language Through a Black Feminist Encounter." Visual Arts Research 50, no. 2 (2024): 74–90. http://dx.doi.org/10.5406/21518009.50.2.06.

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Abstract Language is central to art museum visitor engagement and art interpretation. For university art museums in the United States that primarily exist as teaching and research institutions, language is particularly important in the transference of knowledge and cross-cultural meaning making. Art museums in state universities, much like their national and independent counterparts, have increasingly served more diverse audiences as a by-product of globalization. Using the case study of The Palmer Museum of Art at The Pennsylvania State University as a contested site, I explore some of the ba

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21

Zakariya, Mohamed. "Islam and Art." American Journal of Islam and Society 3, no. 2 (1986): 327–30. http://dx.doi.org/10.35632/ajis.v3i2.2758.

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I met Dr. Lois Lamya al Faruqi last March, while I was giving a lectureon Arabic calligraphy at the University of Pennsylvania in Philadelphia. I hadcorresponded with her previously and had been impressed by her graciousnessand her insight into the complex field of Islamic art. Now, here she and herhusband were, and I was pleased to have these bright lights of the Muslimcommunity in my audience. At the end of my remarks, someone asked theinevitable question, "What is the significance, the symbolism of the designsused to highlight a calligraphic piece?" I replied that, while some Islamicdesigns

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22

Gultom, Frianna, Faustine Gultom, Marco Kosasih, et al. "What is Home? A Collaborative Multimodal Inquiry Project by Transnational Youth in South Philadelphia." in:cite journal 2 (June 26, 2019): 4–24. http://dx.doi.org/10.33137/incite.2.32826.

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This piece reflects the work of a group of middle- and high-school students who are exploring issues of social justice, educational equity, and access in the context of a community- based partnership between the University of Pennsylvania and the St. Thomas Aquinas community in South Philadelphia. The youth, who represent a range of racial, linguistic, and cultural backgrounds, each explored what “home” meant to them through multiple rounds of writing and revision. Then, after reflecting further through art projects and group conversations, they collaboratively assembled these final compositio

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23

Simpson, Marianna Shreve. "Dioscorides Disordered: Some Notes on the University of Pennsylvania's Fragmentary Kitāb-i Hashāyish." Manuscript Studies: A Journal of the Schoenberg Institute for Manuscript Studies 9, no. 2 (2024): 354–94. https://doi.org/10.1353/mns.2024.a945381.

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Abstract: The Schoenberg Collection of Manuscripts at the University of Pennsylvania includes a fragmentary Persian version of Dioscorides De Materia Medica , entitled the Kitāb-i Ḥashāyish and illustrated with over 300 images and attributed to India in the late sixteenth or seventeenth century (LJS 278). This annotation and the accompanying appendix comprise an initial attempt to study the manuscript's material and artistic contents, to reorder its disbound folios, and to reconstruct its original appearance and product. Also under consideration here is the manuscript's attribution, an issue o

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24

Burroughs, Charles. "Theatrical Spectacles and Spectacular Theater: Papers in Art History from the Pennsylvania State University, VI." Sixteenth Century Journal 23, no. 1 (1992): 176. http://dx.doi.org/10.2307/2542098.

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25

Sussman, Herbert. "BOOK REVIEW: Kenneth Bendiner.THE ART OF FORD MADOX BROWN.University Park: Pennsylvania State University Press, 1998." Victorian Studies 42, no. 3 (1999): 557–59. http://dx.doi.org/10.2979/vic.1999.42.3.557.

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26

McLaughlin, Dorothy. "Art Therapy with Homeless Women and Children in a Bridge Housing Program in Scranton, Pennsylvania." Art Therapy 7, no. 2 (1990): 55–59. http://dx.doi.org/10.1080/07421656.1990.10758894.

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27

Marché, Theresa, and Theresa Marche. "Examination of Factors Affecting Change in a Pennsylvania School District's Art Program from 1924 to 1992." Studies in Art Education 39, no. 1 (1997): 24. http://dx.doi.org/10.2307/1320717.

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28

Sokol, David M. "The Urban Scene: Race, Reginald Marsh, and American Art CarmenitaHigginbotham. University Park: Pennsylvania State University Press, 2015." Journal of American Culture 39, no. 4 (2016): 481. http://dx.doi.org/10.1111/jacc.12669.

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Linden, Diana L. "Modern? American? Jew? Museums and Exhibitions of Ben Shahn's Late Paintings." Prospects 30 (October 2005): 665–84. http://dx.doi.org/10.1017/s0361233300002222.

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The year 1998 marked the centennial of the birth of artist Ben Shahn (1898–1969). Coupled with the approach of the millennium, which many museums celebrated by surveying the cultural production of the 20th century, the centennial offered the perfect opportunity to mount a major exhibition of Shahn's work (the last comprehensive exhibition had taken place at the Jewish Museum in New York City in 1976). The moment was also propitious because a renewed interest in narrative, figurative art, and political art encouraged scholarly and popular appreciation of Ben Shahn, whose reputation within the h

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Augustyn, Frederick J. "Things American: Art Museums and Civic Culture in the Progressive Era JeffreyTrask. Philadelphia: University of Pennsylvania Press, 2012." Journal of American Culture 36, no. 4 (2013): 405–6. http://dx.doi.org/10.1111/jacc.12097.

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31

Wiley, Eric. "Republic of Taste: Art, Politics, and Everyday Life in Early America Catherine E.Kelly. University of Pennsylvania Press, 2016." Journal of American Culture 41, no. 2 (2018): 236–37. http://dx.doi.org/10.1111/jacc.12892.

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32

Cardete del Olmo, Mª Cruz. "Smith, Tyler Jo (2021). Religion in the Art of Archaic and Classical Greece. Philadelphia: University of Pennsylvania Press." ARYS. Antigüedad: Religiones y Sociedades, no. 21 (October 10, 2023): 637–40. http://dx.doi.org/10.20318/arys.2023.7421.

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33

Junior, Nicole Shawan. "Presumption of Paternity, But Not Equality." Massachusetts Review 64, no. 4 (2023): 99–104. http://dx.doi.org/10.1353/mar.2023.a914905.

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Abstract: Through recollection, Junior, a lawyer who has spent a decade prosecuting intimate partner violence, is faced with the biases inherent to legal presumption when she finds herself having to prove to the Pennsylvania Superior Court that the child she brought into the world with her wife can legally be declared hers. In the context of family law, a child born of a married couple is presumed to be the husband's, regardless of biological relation. However, this presumption only applies to cis-men. It does not apply to cis-women wives who, though not biologically or gestationally related t

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34

Muir, Edward. "Barbara Wisch and Susan Scott Munshower, eds. “All the world's a stage …“: Art and pageantry in the Renaissance and Baroque. Part i, Triumphal Celebrations and the Rituals of Statecraft. Part 2, Theatrical Spectacle and Spectacular Theatre. (Papers in Art History from The Pennsylvania State University, 6.) University Park, Pennsylvania: Department of Art History, The Pennsylvania State University, 1990. 2 vols. + 307 pls. + xx + 620 pp. $50." Renaissance Quarterly 45, no. 3 (1992): 560–62. http://dx.doi.org/10.2307/2862681.

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35

Wolfthal, Diane. "Susan L. Smith, The Power of Women: A Topos in Medieval Art and Literature. University of Pennsylvania Press, 1995." Medieval Feminist Newsletter 22 (September 1996): 55–58. http://dx.doi.org/10.17077/1054-1004.1410.

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36

Piggush, Yvette R. "Visualizing Early American Art Audiences: The Pennsylvania Academy of the Fine Arts and Allston's Dead Man Restored." Early American Studies: An Interdisciplinary Journal 9, no. 3 (2011): 716–47. http://dx.doi.org/10.1353/eam.2011.0030.

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37

M'ikanatha, Nkuchia M., Courtney Yealy, Anna-Marie Warrington, et al. "Use of an annual art competition to promote Web site traffic and engage children in antimicrobial stewardship in Pennsylvania." American Journal of Infection Control 46, no. 2 (2018): 217–20. http://dx.doi.org/10.1016/j.ajic.2017.06.035.

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38

Topsfield, Andrew. "Stella Kramrisch: Painted delight: Indian paintings from Philadelphia collections, xxii, 195 pp. Philadelphia: Philadelphia Museum of Art and University of Pennsylvania Press, 1986. (Distributed by the University of Pennsylvania Press. £45.)." Bulletin of the School of Oriental and African Studies 51, no. 2 (1988): 358. http://dx.doi.org/10.1017/s0041977x00114995.

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39

Dyson, Robert H. "The Achaemenid painted pottery of Hasanlu IIIA." Anatolian Studies 49 (December 1999): 101–10. http://dx.doi.org/10.2307/3643065.

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This paper presents data on the painted pottery of Hasanlu II/IIIA from an analysis of field records. The excavation programme at Tepe Hasanlu was carried out between 1956 and 1977 for the University of Pennsylvania Museum, the Metropolitan Museum of Art, and the Archaeological Service of Iran. Period II/IIIA, the final pre-Islamic occupation of the site, dates to the Late Achaemenid-Early Hellenistic period. The painted pottery includes Western Triangle Ware, Cream-slipped Bichrome Ware, Brown-line Ware, and Classic Triangle Ware.Site and sequenceHasanlu is one of several large Iron Age mound

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40

Gilrain, Jane. "Homer to Hip-Hop: Teaching Writing through Painting, Performance, and Poetry." Language Arts 92, no. 5 (2015): 328–42. http://dx.doi.org/10.58680/la201527191.

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A fourth-grade classroom at Freemansburg Elementary School receives a Teacher-Artist Partnership grant from the Pennsylvania Council on the Arts in cooperation with the Allentown Art Museum and the Bethlehem Area School District to teach reading and writing through arts integration. Two artists’ Mark McKenna, theater artist, and William Christine, visual artist’ join the ELA classroom three days a week. “Tales from the Odyssey,” a fourth-grade version of Homer’s classic by Mary Pope Osborne provides the inspiration. Students become engaged with the material physically, mentally, and emotionall

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Henry, Matthew S. "Extractive Fictions and Postextraction Futurisms." Environmental Humanities 11, no. 2 (2019): 402–26. http://dx.doi.org/10.1215/22011919-7754534.

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Abstract This essay operates at the intersection of the energy humanities and environmental justice studies to survey extractive fictions, a term I use to describe literature and other cultural forms that render visible the socioecological impacts of extractive capitalism and problematize extraction as a cultural practice. The essay first theorizes extraction and examines cultural representations of coal and gas fields in northern Appalachia, including Ann Pancake’s novel Strange as This Weather Has Been (2007) and Jennifer Haigh’s novel Heat and Light (2015). Each, by rendering visible instan

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Sun, Yuran. "ARCHITECT YO MING PEI. THE ART OF ARCHITECTURE OF MUSEUM BUILDINGS." Scientific and analytical journal Burganov House. The space of culture 19, no. 6 (2023): 17–30. http://dx.doi.org/10.36340/2071-6818-2023-19-6-17-30.

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Famous Chinese-American architect I.M. Pei was born in Guangdong, China in 1917.He traveled to the United States in 1935. Initially educated at the University of Pennsylvania, he continued his studies at the Massachusetts Institute of Technology (Bachelor of Architecture in 1940) and Harvard Graduate School of Design (Master of Architecture in 1946). I.M. Pei is widely praised for his bold design and clear geometric forms in his project. His career spanned 60 years and left many outstanding architectural works. I.M. Pei, revered as "the consummate master of modern architecture," his architectu

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ALLEYNEDETTMERS, P. "The steelband movement: the forging of a national art in Trinidad and Tobago Stuempfle, Stephen (1996), University of Pennsylvania Press (Pennsylvania and London). xx + 287 pp. $dollar;36.95 hbk, $dollar;15.95 pbk." Bulletin of Latin American Research 16, no. 2 (1997): 227–28. http://dx.doi.org/10.1016/s0261-3050(97)83601-7.

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44

Weifang, Li. "Soft Law in Promoting the Return of Zhaoling Two Steeds in Tang Dynasty." Santander Art and Culture Law Review, no. 2 (6) (2020): 293–312. http://dx.doi.org/10.4467/2450050xsnr.20.021.13024.

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It is generally accepted that stolen cultural objects shall be returned, but it is still a more complex and comparatively ambiguous matter when it comes to solving cases left over by history. The Six Stone Horse Reliefs are one of the most influential works of art in Chinese history, but unfortunately the beginning of 20th century witnessed the political and social upheaval of China, which resulted not only in people’s suffering but also in the loss of the cultural relics. The Six Stone Horse Reliefs were stolen and broken in China. Two of the six stone horses, called Sa Luzi and Quan Maogua,

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CORBETT, DAVID PETERS. "The Problematic Past in the Work of Charles Sheeler, 1917–1927." Journal of American Studies 45, no. 3 (2011): 559–80. http://dx.doi.org/10.1017/s0021875811000120.

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AbstractThis article examines the place of the past in Charles Sheeler's photographs and paintings made in Doylestown, Pennsylvania, around 1917, in New York City during the 1920s, and in the short film of New York, Manhatta (1921), which he made with the photographer Paul Strand. It situates these works in the context of the scholarship on Sheeler and on the art of New York in the early twentieth century, in particular that of the Ashcan School and of visual representation which attends to the architectural fabric of the city in preference to depicting its inhabitants. The article argues that

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Culhane, Dennis, John Fantuzzo, Matthew Hill, and TC Burnett. "Maximizing the Use of Integrated Data Systems: Understanding the Challenges and Advancing Solutions." ANNALS of the American Academy of Political and Social Science 675, no. 1 (2017): 221–39. http://dx.doi.org/10.1177/0002716217743441.

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State and local governments are seeking to use their health, education, and human services administrative data to address major social problems. As they attempt to move forward to develop and use integrated data systems (IDS), they have encountered substantial challenges. The Actionable Intelligence for Social Policy (AISP) team at the University of Pennsylvania targeted four common sets of challenges to IDS use: IDS governance, legal agreements, technology and data security, and data standards. The purpose of this article is to present the results from a year-long convening of four panels of

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Bagińska, Agnieszka. "Anny Bilińskiej <i>Portret George’a Greya Barnarda w pracowni</i>, czyli walka dwóch natur." Rocznik Muzeum Narodowego w Warszawie. Nowa Seria / Journal of the National Museum in Warsaw. New Series, no. 10(46) (December 31, 2021): 55–83. https://doi.org/10.63538/rmnwns.010.03.

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Artykuł jest próbą interpretacji Portretu Geogre’a Greya Barnarda (State Museum of Pennsylvania, Harrisburg, USA), jednego z najważniejszych rzeźbiarzy amerykańskich. Materiały archiwalne umożliwiły odtworzenie historii i recepcji obrazu namalowanego przez Annę Bilińską w 1890 w Paryżu, na zlecenie milionera Alfreda Corninga Clarka, mecenasa artysty. Okoliczności powstania dzieła posłużyły za punkt wyjścia rozważań o relacji rzeźbiarza z jego patronem, o sposobach mitologizowania życia artysty i jego pracy w odniesieniu do wartości amerykańskich: natury, niewinności, męskości i siły. Widoczny

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Vadelorge, Loïc. "European Museums in the Twentieth Century." Contemporary European History 10, no. 2 (2001): 307–16. http://dx.doi.org/10.1017/s0960777301002077.

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James D. Herbert, Paris 1937: Worlds on Exhibition (Ithaca: Cornell University Press, 1998), 207 pp., £31.50, ISBN 0-801-43494-7. Andrea Kupfer Schneider, Creating the Musée d'Orsay. The Politics of Culture in France (University Park, PA: Pennsylvania State University Press, 1998), 150 pp., $25.00, ISBN 0-271-01752-X. Juan Pedro Lorente, Cathedral of Urban Modernity. The First Museums of Contemporary Art, 1800–1930 (Aldershot: Ashgate, 1998), £47.50, ISBN 1-859-28383-7. Ministère de la Culture et de la Communication, Direction des Musées de France, Centre national de la Recherche Scientifique,

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Schoolman, Edward M. "Linda Safran: The Medieval Salento: Art and Identity in Southern Italy. Philadelphia: University of Pennsylvania Press, 2014; pp. viii + 469." Journal of Religious History 42, no. 3 (2018): 478–79. http://dx.doi.org/10.1111/1467-9809.12539.

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Reed, Marcia. ""ALL THE WORLD'S A STAGE...": ART AND PAGEANTRY IN THE RENAISSANCE AND BAROQUE. (Papers in Art History from The Pennsylvania State University, vol. VI). Barbara Wisch , Susan Scott Munshower." Art Documentation: Journal of the Art Libraries Society of North America 10, no. 4 (1991): 204–5. http://dx.doi.org/10.1086/adx.10.4.27948401.

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