Academic literature on the topic 'Private art collections'
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Journal articles on the topic "Private art collections"
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Cordero, Jorge Sánchez. "The private art collections." Uniform Law Review - Revue de droit uniforme 20, no. 4 (December 2015): 617–25. http://dx.doi.org/10.1093/ulr/unv034.
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Barata, Ana. "Resources for Latin American art in the Gulbenkian Art Library." Art Libraries Journal 37, no. 4 (2012): 21–23. http://dx.doi.org/10.1017/s0307472200017697.
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From its creation in 1968 the Gulbenkian Art Library has possessed a number of special collections, and these have been enriched through major bequests or through acquisition. Currently there are about 180 collections with relevance for the study of Portuguese art and culture: they include private libraries, the private archives of Portuguese artists and architects, and photographic archives. Material in the special collections is available through the library’s catalogue and some have already been digitised and are available on the internet, depending on their copyright terms and conditions. Among these special collections two have special relevance to the study of the history of Brazilian art and architecture: the collection of Portuguese tiles and the Robert Smith Collection.
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Alexis, Gerald. "Contemporary Haitian Art: Private Collections – Public Property." Museum International 62, no. 4 (December 2010): 55–64. http://dx.doi.org/10.1111/j.1468-0033.2011.01754.x.
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Klyukanova, Larisa G. "Private Art Collecting as a PresentDay Culture Phenomenon." Observatory of Culture, no. 2 (April 28, 2015): 73–77. http://dx.doi.org/10.25281/2072-3156-2015-0-2-73-77.
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Analyses collecting as a type of cultural activity, its institutional and substantive aspects. The author investigates mechanisms of private collection functioning including formation of collections and storage, systematisation, and exhibition of artifacts. The importance of representing the cultural value and symbolic significance embodied in the collection items is highlighted.
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Andres, Hanna, and Mariia Lutska. "Features of Private Art Collecting in Ukraine in 1990s–2000s." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 29 (December 17, 2020): 66–71. http://dx.doi.org/10.33838/naoma.29.2020.66-71.
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The article analyzes private art collecting in 1990s–2000s in Ukraine. It is important to mention that collecting works of art in Ukraine of the time indicated in the article does not have comprehensive coverage. The complexity of the study of this issue is also due to the closeness and limitation of access to private collections. The collapse of the USSR, the transition from a totalitarian regime to democracy and the establishment of a market economy in Ukraine contributed to the formation and creation of private collections of artistic works. At this time, three main branches of non-state collecting begin to form: private collections, corporate collections of institutions (banks, insurance companies) and foundations. In the early 1990s the practice of collecting works by banks came to Ukraine from the West. Ukrincombank, Southern Bank, Gradobank, etc. were involved in that work. The interest of private individuals in forming their own collections also begins with Ukraine’s acquisition of Independence, but gains momentum in the early 2000s. The art collections were represented by E. Dymshyts, L. Bereznitsky, A. Adamovsky, I. Voronov, V. Pinchuk and others. One of the most important collections began to be initiated by Boris and Tatiana Hrynyov family of in 1996. Their idea of the collection arose from the concept of Kharkiv artists. In the circle of their interests — the art of Soviet nonconformists and Ukrainian contemporary art. Foundations of art appeared in Ukraine after the proclamation of Independence in 1991. These are non-governmental and non-profit organizations, established by private or corporate enti- ties. Important foundations in Ukraine, that have their own collections of art, are Soviart, Alexander Feldman Foundation, Stedley Art Foundation etc. The collections of the 1990s and 2000s are very important for the history of Ukrainian art and collecting. The collectors of this period have played a key role in preserving the artistic heritage of Independent Ukraine.
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Nikolaeva, E. V. "«Private art collections of Russia»: virtual museum concept." Vestnik of Saint Petersburg State University of Culture, no. 2 (31) (June 2017): 112–15. http://dx.doi.org/10.30725/2619-0303-2017-2-112-115.
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Currently, researches dedicated to the subject of private art collectingtend to appear. Virtual museum «Private art collections of Russia» will help to accumulate such information and bring it to wider audience.
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Di Benedetto, Claudio. "The Uffizi Library: a collection that documents collections." Art Libraries Journal 35, no. 2 (2010): 4–7. http://dx.doi.org/10.1017/s0307472200016321.
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The Biblioteca degli Uffizi acts as a documentary ‘black box’ for all the notable collecting that has taken place in Florence during the past 500 years. The Library’s collections stretch from the autograph 22-year diary of the 15th-century painter Neri di Bicci and the different editions of Vasari’s Lives of the painters, through the inventories and lists of objects acquired and held successively by the Medici, the House of Hapsburg-Lorraine and the new Italian united kingdom, and to all the memoirs and plans and catalogues of the directors and ‘royal antiquarians’ of the Uffizi Gallery. In addition it contains major works on art history, artists, public and private art collections, exhibitions and many related topics. The Library holds 77,000 printed books and more than 440 manuscripts; its catalogue is shared with the IRIS consortium of art history and humanities libraries and contributes to artlibraries.net through this shared bibliographic database. Several digitisation projects have already been completed or are currently in progress.
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Ulemnova, Olga L. "A.F. Mantel’s Art Collection in Museums of the Volga Region: Reconstruction Experience." Observatory of Culture 16, no. 4 (September 13, 2019): 386–405. http://dx.doi.org/10.25281/2072-3156-2019-16-4-386-405.
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A characteristic feature of the artistic life of Russia at the turn of the 19th—20th centuries was the growth in the number of private art collections and the expansion of the social composition of collectors due to the addition of industrialists, merchants and intellectuals. After the Russian Revolution of 1917, these collections became one of the important sources in the formation of art collections of metropolitan and provincial museums of Russia. The article is devoted to one of the most interesting private collections of the Kazan province — the collection of A.F. Mantel, formed at the beginning of the 20th century from paintings and graphics by the leading masters of the World of Art association: A.N. Benois, I.Ya. Bilibin, A.F. Gaush, B.M. Kustodiev, D.I. Mitrokhin, G.I. Narbut, N.K. Roerich and others. The article reveals the fates of once famous works of the artists from the World of Art association, which were shown at the association’s exhibitions and published in well-known books, magazines and almanacs such as Apollo, Libra, Rosehip, At Dawn and others. A.F. Mantel’s collection played an important role in the formation of museums in several cities of the Volga region — Kazan, Tetyushi, Kozmodemyansk — becoming one of the sources of contemporary national art collections. Due to various reasons, the most of the collection, including the part received by museums, was lost in the late 1910s — 1930s. Relying on archival and literary sources and museum collections, the author, for the first time, managed to restore, with a high degree of accuracy, the composition of the part of A.F. Mantel’s collection that was purchased for museums of Tetyushi and Kozmodemyansk, and to clarify the composition of the Kazan Museum’s collection.
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Макаренко, Зоя, Zoya Makarenko, Юлия Жилкова, Yuliya Zhilkova, Марина Бережная, and Marina Berezhnaya. "Items of jewelry art of pre- Mongolian Russia in the collections of Russian museums." Services in Russia and abroad 10, no. 4 (September 22, 2016): 122–31. http://dx.doi.org/10.12737/20189.
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The article deals with the question of exhibiting of jewelry art items of pre-Mongolian Russia in Russian museums. Public and private museums that were opening in the Russian Empire contributed to preservation of the cultural heritage of the country. When they were emerging, many private collectors donated part or all of their collections to state. This was especially promoted by opening of the Historical Museum in 1883 for the general public. Exhibits of public museum were replenished by the collections of Uvarovs, Kropotkins, Shcherbatovs, Golitsyns. The fate of collection of the outstanding collector M. Botkin is noteworthy.
Masterpieces of jewelry art of ancient Russia may be exhibited in only a few museums in the country, including two sites in the Moscow Kremlin, which show such kind of items. Collection "Russian gold and silverware of beginning of XII-XVII centuries" is located in the exposition hall 1 of Armory Chamber. The glass case 2 presents gold and silver items, made by goldsmiths of Kiev, Chernigov, Ryazan, Suzdal, Novgorod.
Museum affair after the October Revolution in the country was significantly reformed. Museums and collections of the palaces were declared as the national property. For registration, accounting and secure of all artistic and cultural treasures, the artistic and historical commissions and the State Museum Fund were created. Majority private collections were nationalized.
Russian Museum, located in the Mikhailovsky Palace in Sankt Petersburg has one of the largest collections of pre-Mongolian Russian treasures and individual items of jewelry art of X-XIII centuries.
Thousands of works of jewelry art of ancient Russia are collected in the expositions and funds of Russian museums. Today collections of not only central but also local museums are multiplied, facilities and exhibitions are quality improving.
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Dotevall, Rolf. "Elina Moustaira: Art Collections, Private and Public: A Comparative Legal Study." Tidsskrift for Rettsvitenskap 130, no. 05 (December 13, 2017): 490–92. http://dx.doi.org/10.18261/issn.1504-3096-2017-05-03.
Full textDissertations / Theses on the topic "Private art collections"
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Green, Judith Tybil. "Britain's Chinese collections, 1842-1943 : private collecting and the invention of Chinese art." Thesis, University of Sussex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271892.
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Brooke, Susannah Mary Louise. "Private art collections and London town houses, 1780-1830." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.607977.
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Coste-Gouzes, Ophélie. "Contribution à l'étude juridique des collections privées." Thesis, Montpellier, 2017. http://www.theses.fr/2017MONTD042/document.
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L’art de collectionner a traversé les siècles, les collections privées sont notamment à l’origine de notre patrimoine culturel. Pourtant, malgré l’importance du rôle de la collection, cette dernière reste encore un ensemble de choses mal identifié par le droit. En tant qu’ensemble de choses créé par la volonté de l’Homme, la collection n’est pas définie, et seules certaines collections sont encadrées par quelques dispositions. Par ailleurs, les collections privées sont des ensembles fragiles, elles relèvent de la propriété privée de leur collectionneur qui est libre d’en disposer comme il le souhaite. Le risque majeur de ces ensembles réside dans leur dispersion et dans l’atteinte à leur intégrité. Souvent soucieux de préserver l’intégrité et la cohérence de son ensemble, le collectionneur doit pouvoir bénéficier d’outils juridiques protecteurs adaptés à la collection. Finalement, qu’est-ce qu’une collection ? Que signifie cette notion de collection et quel(s) droit(s) peuvent s’en saisir ? Notre droit est-il en mesure de protéger efficacement une réunion de choses comme la collection privée ? En d’autres termes, la problématique consiste à répondre à la question suivante : quelle appréhension juridique pour les collections privées ? Partant, l’objectif de la thèse est de tenter de dégager une qualification juridique de la collection pour mieux adapter sa protection. En effet, la recherche se donne pour but de définir les fondements théoriques et juridiques susceptibles d’être adaptés à l’œuvre du collectionneur, pour tenter d’aboutir à un régime de protection efficaceThe art to collect crossed the centuries, the private collections are in particular at the origin of our cultural heritage. Nevertheless, in spite of the importance of the role of the collection, it still remains a set of things badly identified by the right. As together of things created by the will of the Man, the collection is not defined, and only ones certain collections are supervised by some measures.Besides, the private collections are fragile sets, they are a matter of the private property of their collector who is free to have it as he wishes it. The major risk of these sets lives in their dispersal and in the infringement on their integrity. Often worried of protecting the integrity and the coherence of his set, the collector must be able to benefit from protective legal tools adapted to the collection.Finally, what a collection? Means what this notion of collection and which right(s) can seize with it? Is our right able of protecting effectively a meeting of things as the private collection? In other words, the problem consists in answering the following question: what legal apprehension for the private collections?Therefore, the objective of the thesis is to try to identify a legal qualification of the collection to adapt better its protection. Indeed, the search gives for purpose to define the theoretical and legal foundations susceptible to be adapted to the work of the collector, to try to end in a regime of effective protection
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Lamb, Jacquelyn R. "The Patsy and Raymond Nasher Collection of Twentieth-Century Sculpture, 1967 to 1987." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc501252/.
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Over a period of two decades, Raymond D. Nasher, a Dallas-based real estate developer, and his late wife Patsy amassed a collection of significant modern sculptures. For years, pieces from the private collection--numbering over 300 as of 1990--were on display in various museums and civic institutions, and they were installed on a rotating basis at Northpark Center, a Dallas shopping mall developed by Nasher. Since the 1987 Dallas Museum of Art exhibition, the collection has been shown in several major international museums. This study documents the formative period of the collection, the Nashers' collecting and exhibiting philosophies, and four early exhibitions of the sculptures. It includes a chronology of the Nashers and major acquisitions of sculpture.
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Bargue, Elisabeth Evangélie. "Passion(s) dans l'espace public : histoire des collectionneurs et des collections privées d'art contemporain en Grèce au XXe siècle." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010571.
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Cette étude se propose de présenter l'évolution des collections privées d'art contemporain en Grèce au cours du siècle dernier. Malgré la forte présence du phénomène, les études à ce sujet sont rares, surtout concernant la période contemporaine qui est souvent délaissée au profit de l'archéologie et de la période byzantine. Pourtant, le phénomène du collectionnisme est très présent en Grèce et il est étroitement lié à I'histoire politique et sociale du pays, à des phénomènes tels que l'évergétisme, la diaspora et l'essor économique du pays à partir des années quatre-vingts lors de son entrée dans la Communauté Économique Européenne. Ainsi, l'aspect du phénomène se trouve-t-il en constante mutation. L'objectif de cette étude est donc une première approche des divers aspects du collectionnisme, étudié en relation avec l'histoire culturelle du pays, à travers les portraits de nombreux collectionneurs grecs qui ont vécu au XXe siècle. Ces passionnés d'art ont fortement marqué le paysage artistique et culturel de leur pays d'origine - mais aussi parfois de leur pays d'accueil - notamment grâce à la mise en valeur d'artistes et à l'influence du goût, mais surtout parce que leur activité est liée à la constitution de collection de musées de beaux-arts et de fondations privéesThis study aims to describe the history and situation of the private contemporary art collections in Greece du ring the last century. Despite the strong presence of the phenomenon, studies on this subject are scarce, especially in regard to the contemporary period, which is often neglected in favor of the Archeological and Byzantine period. However, the phenomenon of collecting contemporary art is very present in Greece and it is closely linked to the political and social history, to phenomenas such as benefaction, diaspora and the economic growth of the country, from the eighties upon entry into the European Economic Community. Thus, the appearance of the phenomenon is constantly changing. What is studied here is a first approach to the various aspects of collecting contemporary art in relation to the cultural history of the country, through the portraits of many iconic Greek collectors who lived in the twentieth century. These art lovers have strongly influenced the artistic and cultural landscape of their country of origin - but also sometimes to their home countries - through the discovery of artists and the influence of taste. The latter was achieved especially because their activity was related to the establishment of the permanent collections of fine art museums and private foundations
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Pierce, Alexandria 1949. "Imperialist intent - colonial response : the art collection and cultural milieu of Lord Strathcona in nineteenth-century Montreal." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84197.
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This thesis addresses the nineteenth-century art collection of Donald Alexander Smith, Lord Strathcona (1820--1914), in relation to intersecting questions of imperialism, colonial relations, and cultural status. Both the formation of the collection and its dispersal are linked to a dialectic of cultural hegemony and national identity in nineteenth-century Canada. Smith came penniless to Montreal from Scotland in 1838, became the wealthiest man in Canada by the end of the century, and is known as Lord Strathcona after being raised to the peerage by Queen Victoria in 1897. My discussion of the rise and fall of Strathcona's collection is informed by postcolonial theory and its critical re-reading of imperialism. While British imperialism was the ideology that governed Strathcona's activities, Anthony Giddens's structuration theory is introduced to account for how personal agency remains operative within this dominant ideology.Strathcona formed a significant collection of European paintings and Asian art, which was, however, largely dispersed by the institution charged with its care, thus reducing its significance. Krzysztof Pomian's concept of collectors as select individuals who mediate symbolic cultural power through semiotic constructs provides an important methodological anchor for an analysis of the collector and his collection, as does Carol Duncan's work on the motivation to collect art and to structure cultural identity through control of museums. As well, the princely model of collecting reveals the humanist values operative throughout the centuries by comparison of Strathcona to the Medici in terms of the deployment of spectacle.
This thesis makes use of primary source materials to compare Strathcona's collection to several of his peers in order to place him in his cultural milieu during a time in Canadian history when Montreal was a British enclave in a French province. Analysis of fragmented primary source inventories, catalogues, personal letters, and records held by the Montreal Museum of Fine Arts and the National Archives of Canada, identification of paintings documented in the Notman photographs of 1914--1915, and my tracing of the public portraits of Strathcona by Robert Harris still on view in Montreal institutions allowed me to create useful inventories that previously did not exist.
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Paree, Daphné. "Du rêve du collectionneur aux réalités du musée: l'histoire du musée de Mariemont, 1917-1960." Doctoral thesis, Universite Libre de Bruxelles, 2014. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209296.
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Situé au cœur du Hainaut, le musée de Mariemont doit son existence à la volonté de Raoul Warocqué, riche industriel, homme politique et philanthrope qui lègue en 1917 son château et les collections qu’il renferme à l’État belge. Formé ainsi d’un contenant et d’un contenu, le musée de Mariemont incarne bien, du moins jusqu’à l’incendie du château en 1960, ce qu’Anne-Doris Meyer a appelé les « musées de collectionneurs », dont bon nombre d’exemples voient le jour à la charnière des 19e et 20e siècles, en Belgique comme à l’étranger.De l’histoire du musée de Mariemont, on ne retient généralement que le geste qui lui a donné naissance. Aucune étude ne s’était penchée jusqu’ici sur ce qui se passe après le décès de Raoul Warocqué. En comblant cette lacune, cette thèse offre l’opportunité d’examiner comment une collection privée se mue en musée public, comment les pouvoirs publics veillent à concilier le souhait du bienfaiteur et les missions du musée, quelles difficultés ils ont rencontrées dans la gestion de ce patrimoine d’origine privée et quelles solutions ils y ont apportées.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished
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Miranda, Antonella. "La collection de Léopold de Bourbon, prince de Salerne (1790-1851) : sa formation et sa dispersion." Thesis, Lille 3, 2015. http://www.theses.fr/2015LIL30055.
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Cette étude, dans sa description du contexte historique et culturel de Naples autour des années 30 du XIX siècle, s’est orientée, en premier lieu, vers la recherche de la bibliographie plus ancienne (P. Colletta etc) ainsi que sur le dépouillement systématique des vingts volumes du journal “Monitore Napoletano”. Parallèlement elle commence l’étude des anciens guides de la ville, auprès de la Bibllioteca Nazionale de Naples, afin de retrouver les descriptions des collections privées napolitaines, des collectionneurs et du gout artistique de l’époque, la circulation des tableaux parmi les plus prestigieuses collections du royaume, ainsi que les premières descriptions des appartements du prince Leopoldo au Palais Royal de NaplesThe present study in describing the historical and cultural context around Naples the 30 years of the nineteenth century, it is oriented in the first instance, to seek oldest bibliography (P. Colletta, B. Croce, A. Acton, etc.) and to carry out the systematic examination of the twenty volumes of the newspaper "Neapolitan Monitor". In parallel, it was started the study of the ancient city guides, at the National Library of Naples in order to trace the descriptions of the collections Private Neapolitan, collectors and the artistic taste of the time, circulation the paintings in the most prestigious collections of the kingdom, and the first descriptions Prince Leopold of the apartments at the Royal Palace of Naples
Il presente studio nel descrivere il contesto storico e culturale di Napoli attorno agli anni 30 del XIX secolo, si è orientato, in prima istanza, nel ricercare la bibliografia più antica (P. Colletta, B. Croce, A. Acton, etc.) e ad effettuare lo spoglio sistematico dei venti volumi del giornale «Monitore Napoletano». Parallelamente, ha preso l’avvio lo studio delle guide antiche della città, presso la Biblioteca Nazionale di Napoli al fine di rintracciare le descrizioni delle collezioni private napoletane, dei collezionisti e il gusto artistico del tempo, la circolazione dei dipinti nelle più prestigiose collezioni del regno, nonché le prime descrizioni degli appartamenti del principe Leopoldo a Palazzo Reale di Napoli
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Laborie, Isabelle. "L'oeuvre, reflet d'un milieu : Michel-Maximilien Leenhardt, dit Max Leenhardt (1853-1941)." Thesis, Toulouse 2, 2019. http://dante.univ-tlse2.fr/id/eprint/7516.
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La découverte fortuite d’archives conservées intactes depuis 1941, apporte un éclairage nouveau à la carrière de l’artiste français Michel Maximilien Leenhardt (dit Max Leenhardt, 1853-1941). Ces sources dévoilent les multiples centres d’intérêt d’un créateur qui fut peintre, graveur, architecte, écrivain et philosophe. L’approche de sa production se révèle complexe tant elle s’adapte à un contexte relationnel, une destination ou une émulation artistique, nous obligeant à considérer certaines d’entre elle, compte tenu de leur édition imprimée, comme des œuvres de propagande chargées d’un message politique ou mystique. Durant les périodes de crise socio-économique et de conflits armés, la peinture « sur le motif » se révèle propice à la réflexion philosophique et mystique. Max Leenhardt rejoint alors les idéaux du mouvement du « renouveau de l’art chrétien suisse », que cela soit par des toiles historiques aux proportions frôlant le gigantisme ou des couchers de soleil sur des horizons. Ainsi, après avoir identifié chaque réseau et leurs influences respectives sur la production artistique, nous exposerons les aspirations et les compromis auquel l’artiste est arrivé. C’est en effet son appartenance à la haute bourgeoisie protestante et son éducation qui l’obligeront à relever des défis esthétiques, comme inventer une esthétique à mi-chemin entre impressionnisme et symbolisme apte à véhiculer un message engagé, militant ou spirituelThe accidental discovery of archives preserved intact since 1941, brings a new light to the career of the French artist Michel Maximilien Leenhardt (known as Max Leenhardt). These sources reveal the multiple interests of a creator who was a painter, engraver, architect, writer and philosopher. The approach to his production is complex since it adapts to a relational context, a particular aim or an artistic emulation, obliging us to consider some of them, given their printed edition, as propaganda works which carry a political or mystical message. During the periods of socio-economic crisis and armed conflicts, painting “on the motive” is a way to philosophical and mystical thoughts. Max Leenhardt then joined the ideals of the movement of the «renewal of Swiss Christian art», whether through historical canvases with dimensions close to gigantism or sunsets on horizons. Thus, after identifying each network and their respective influences on the artistic production, we will detail the aspirations and compromises achieved by the artist. It is in fact his belonging to the Protestant upper bourgeoisie and his education that will force him to face aesthetic challenges, such as inventing an aesthetic halfway between impressionism and symbolism able to convey a committed message, militant or spiritual
Die zufällige Entdeckung von Archivmaterial, das seit 1941 unberührt geblieben war, stellt den Werdegang des französischen Malers Michel Maximilien Leenhardt (genannt Max Leenhardt) in einem neuen Licht dar. Diese Quellen lassen seine breit gefächerten Interessen erkennen, sei es in der Malerei, der Kupferstechkunst, der Architektur, der Dichtkunst oder der Philosophie. Sich seinem Schaffen zu nähern erweist sich umso schwieriger als es in engem Zusammenhang mit den Beziehungsgeflechten des Malers, seinen Reisen oder im Wettstreit mit anderen Künstlern entsteht. So müssen wir einige Werke, die in gedruckter Form herausgegeben worden sind, auch als Propagandawerke betrachten, die eine politische oder mystische Botschaft beinhalten. In Zeiten sozialer und wirtschaftlicher Krisen sowie kriegerischer Auseinandersetzungen bietet die Malerei „vor dem Motiv“ ((ohne Vorzeichnung und Nachbearbeitung im Atelier)) Raum für die philosophische und mystische Reflexion. Max Leenhardt wendet sich damit den Idealen der Bewegung zur „Erneuerung der christlichen Kunst in der Schweiz“ zu, was sich an seinen Historienbildern fast gigantischen Ausmaßes oder auch in seinen Sonnenuntergängen vor verschiedenen Horizonten manifestiert. Wir werden zunächst die Beziehungsnetzwerke mit ihren jeweiligen Einflüssen auf das Kunstschaffen des Malers herausarbeiten und anschließend seine Bestrebungen darlegen sowie die Kompromisse, die er eingehen musste. Aufgewachsen im protestantischen Großbürgertum und nach dessen Prinzipien erzogen sah er sich mit ästhetischen Herausforderungen konfrontiert - eine neue Ästhetik zu erfinden, auf halbem Weg zwischen Impressionismus und Symbolismus, um seine Botschaft, sei sie engagierter, militanter oder geistiger Natur, zu vermitteln
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Joyeux, Hélène. "Un certain "esprit de collection" : les collectionneurs d'art français du monde de la mode (XXe-XXIe siècles)." Thesis, Paris 1, 2020. http://www.theses.fr/2020PA01H040.
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Depuis l’invention de la haute couture à la fin du XIXème siècle, jusqu’à aujourd’hui, le milieu de la mode est l’un des secteurs professionnels qui concentre le plus de collectionneurs. Dès lors, on peut se demander s’il existe un collectionnisme propre aux collectionneurs du milieu de la mode, et si tel est le cas, comment il s’est structuré et de quelle façon il a évolué. Si celui-ci est le premier axe choisi pour rendre compte de ces relations, il n’est pas le seul car il ne peut se comprendre sans aborder, plus largement, d’autres formes de collaborations entre les acteurs de ces milieux. Le collectionnisme s’inscrit en effet dans un ensemble de relations entre grands couturiers, ou dirigeants de groupes de luxe, artistes, marchands, galeristes, journalistes, critiques, photographes, clients d’un secteur comme de l’autre.… etc. Pour ce faire, nous avons choisi trois exemples de collectionnisme, qui ont en commun d’avoir marqué leur époque, le champ de la mode et celui de la collection : ceux de Jacques Doucet, du couple Pierre Bergé-Yves Saint Laurent et de Bernard Arnault à travers la marque et la fondation Louis Vuitton. Cette thèse se propose donc d’analyser le collectionnisme du point de vue du collectionneur mais aussi, à inscrire ces collections à la fois dans leurs époques respectives, dans leur filiation, dans l’histoire de l’art et l’histoire de la modeSince the invention of haute couture at the end of the XIXth century until today, the fashion world has been one of the professional sectors where the collectors are the most numerous. This raises the question of whether there is a specific type of collectionnism among the fashion collectors, and if so, how is it structured and how has it evolved. If this is the first line of research chosen to analyze these relationships, it is certainly not the only one but it cannot be understood without addressing, more widely other forms of collaboration between all the peripheral creative actors in this field. Indeed, collectionism is part of the network of relationships between leading fashion designers, or leaders of luxury goods companies, artists, art dealers, gallery owners, journalists, critics, photographers and clients of both sectors, etc. To do so, we have chosen three examples of collectionism that have in common the fact that they have marked their era, contemporary fashion and the ‘spirit’ of collection: those of Jacques Doucet, the couple Pierre Bergé and Yves Saint Laurent and Bernard Arnault through the brand Louis Vuitton and the Louis Vuitton Foundation. This thesis proposes to analyze and explore collectionism from the point of view of the collector but also, to place these collections at the same time in their respective era, in their filiations, in the history of art and fashion history
Books on the topic "Private art collections"
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Afrika Museum (Berg en Dal, Netherlands) and Vereniging Vrienden van Etnografica, eds. Tribal treasures in Dutch private collections. Netherlands]: Vereniging Vrienden Etnografica, 2008.
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D, Horikawa Michael, Saville Jennifer 1955-, and Honolulu Academy of Arts, eds. Finding paradise: Island art in private collections. Honolulu: Honolulu Academy of Arts, 2002.
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Burrus, Christina. The art collectors of Russia: Private treasurers revealed. London: Tauris Park Books, 1994.
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Burrus, Christina. Art collectors of Russia: The private treasures revealed. London: Tauris Parke Books, 1994.
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Levin, Mai, Jelena Tsurkan, and Valeri Tsurkan. US Art Gallery. Tallinn: US Art OÜ, 2009.
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Gardner, Elizabeth E. A bibliographical repertory of Italian private collections. Vicenza: Neri Pozza, 1998.
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Chicago, Art Institute of, ed. Gray collection: Seven centuries of art. Chicago: Art Institute of Chicago, 2010.
Find full textBook chapters on the topic "Private art collections"
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Rouveret, Agnès. "Painting and Private Art Collections in Rome." In A Companion to Ancient Aesthetics, 109–27. Hoboken, NJ: John Wiley & Sons, Inc, 2015. http://dx.doi.org/10.1002/9781119009795.ch7.
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Gadoin, Isabelle. "A New Sociology of Collecting." In Private Collectors of Islamic Art in Late Nineteenth-Century London, 117–53. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003167709-5.
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Rocha, Rogério V. M., Pedro P. Libório, Harsh Kupwade Patil, and Diego F. Aranha. "A Differentially Private Hybrid Approach to Traffic Monitoring." In Applied Cryptography and Network Security, 233–56. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-78375-4_10.
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AbstractIn recent years, privacy research has been gaining ground in vehicular communication technologies. Collecting data from connected vehicles presents a range of opportunities for industry and government to perform data analytics. Although many researchers have explored some privacy solutions for vehicular communications, the conditions to deploy them are still maturing, especially when it comes to privacy for sensitive data aggregation analysis. In this work, we propose a hybrid solution combining the original differential privacy framework with an instance-based additive noise technique. The results show that for typical instances we obtain a significant reduction in outliers. As far as we know, our paper is the first detailed experimental evaluation of differentially private techniques applied to traffic monitoring. The validation of the proposed solution was performed through extensive simulations in typical traffic scenarios using real data.
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Vuelta García, Salomé. "El teatro del Siglo de Oro en el fondo Orsi de la Biblioteca Estense de Módena." In Studi e saggi, 399–420. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.24.
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This paper offers an overall study of the texts derived from the Spanish classical theater contained in the Orsi collection of the Estense Library of Modena, which has so far not been adequately investigated. The remarkable interest of Giovan Gioseffo Orsi (1652-1733) and his entourage for the Spanish theater emerged, played in the public theaters, private villas, academies and Jesuit colleges of Modena and Bologna between the end of the XVII and the beginning of the XVIII century. In addition, several unknown adaptations and remakes come to light, deriving from Spanish pièces included in the Diferentes autores collection - which had a considerable European circulation -, and some canovacci, long considered lost, dating back to the companies of the professional comedians Giovanni Andrea Cavazzoni and Luigi Riccoboni. The analysis conducted on some of these texts, of which there are multiple versions, allows us to go into the translator’s laboratory, greatly increasing our knowledge of the theatrical rewriting methods of the time.
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Ghelfi, Barbara. "Bolognese Painters in the Private Collections of Romagna:." In Reframing Seventeenth-Century Bolognese Art, 117–38. Amsterdam University Press, 2019. http://dx.doi.org/10.2307/j.ctvnwbzm1.11.
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"6. Bolognese Painters in the Private Collections of Romagna: The Albicini Marchis Collection in Forlì." In Reframing Seventeenth-Century Bolognese Art, 117–38. Amsterdam University Press, 2019. http://dx.doi.org/10.1515/9789048537556-008.
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Arnold, Dana. "4. Presenting art history." In Art History: A Very Short Introduction, 63–87. Oxford University Press, 2020. http://dx.doi.org/10.1093/actrade/9780198831808.003.0004.
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‘Presenting art history’ considers the different ways of presenting art history, and especially the importance of the gallery or museum. It maps out the development of collections from the cabinet of curiosities to the private and corporate sponsor and collector of today and discusses the impact the amassing of objects has had on their perceived value and on the histories of art, and how writing about objects can affect their ‘value’. The emergence of the prestige building by a star architect to house art collections has become an increasingly global phenomenon, which along with ‘blockbuster’ exhibitions has had a significant impact on the presentation and understanding of art history.
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Jowell, Frances Suzman. "‘It is not my fault if in all the private collections, the Dutch paintings surpass all.’." In Art Markets, Agents and Collectors. Bloomsbury Visual Arts, 2021. http://dx.doi.org/10.5040/9781501348907.0026.
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Jules-Rosette, Bennetta, and J. R. Osborn. "Remixing the Results and Looking Ahead." In African Art Reframed, 266–78. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043277.003.0008.
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Theories and ideologies of museum culture are collaboratively created by directors, curators, artists, and their audiences. This book examines these processes through the frameworks of five transformational nodes and dialogues with artists and curators. Based on these materials, nine guideposts emerge: creating transparency in curatorial networks; expanding south-north connections and exchanges; (3) reworking and blending artistic genre classifications; marketing and permeability of artworks; connecting museums with other multicultural institutions and frameworks; linking public and private collections; reconfiguring archives and databases; developing new museum learning strategies; and opening up new avenues of connectivity with diverse communities. By adopting and following these strategies, museums may display new works, showcase changing curatorial directions, and attract broader museum audiences.
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Jules-Rosette, Bennetta, and J. R. Osborn. "Personal Journeys and Reflections on African Art." In African Art Reframed, 279–92. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043277.003.0009.
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Museum visits are highly personal. In this chapter, the authors share their personal journeys of museum worlds in order to inspire readers to embark on their own explorations. There are many channels through which African art reaches the rest of the world, including museum imports, private markets, catalogues, book publications, and tourist photographs. All of these outlets contribute to personal discoveries of African art. The book began with a focus on official museums, but, as the sample grew, the researchers moved beyond the walls of museums into personal collections and outdoor venues of artistic performances and festivals. The chapter discusses the authors’ interdisciplinary conversations along the way and the researchers’ reflexivity at the surprise of discovering oneself as a museum subject.
Conference papers on the topic "Private art collections"
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Lendvay, Miklós. "Országos Könyvtári Platform – központi könyvtári szolgáltatások együttműködő rendszere." In Networkshop. HUNGARNET Egyesület, 2020. http://dx.doi.org/10.31915/nws.2020.10.
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In 2020/21, the collaborative distributed Hungarian library platform will be completed and introduced, revolutionizing library services with state-of-the-art IT solutions. The Hungarian National Library Platform (HNLP) puts the national library services, the common catalog and interlibrary loan, the services of the ISBN office, the digitization cooperation on a new foundation, and integrates the Hungarian National Namespace and opens up entity-based data connections beyond the library world. It expands the range of services provided to readers, providing legitimate digital content to both library visitors and remotely logged in online users. It provides modern interfaces for publishers and authors to expand the range of information about their publications with relevant data. It is open to libraries to replace, in part or in full, their existing IT solutions and, moving into the cloud-based system, use it as their own integrated library platform. The parameterdriven HNLP allows connected libraries to create a unique brand image, deliver their collections in the most diverse way, while becoming an integral part of an entity-based data model-based metadata repository and digital object repository. The collaboration between libraries, which began in 2016 with the design of the new platform, has now entered a new phase: our partners review the specifications, the libraries provide their data for the developed modules, test the system elements, and then the entire platform in an integrated way. The first module of the HNLP, the “old and rare books” module, was launched in October 2019, followed by the launch of the Library Science Library in 2020, and in 2021 the operation of the National Széchényi Library in this modern environment will follow. What are the main pillars of this platform? What secures the required flexibility? What makes it capable of accommodating any type of metadata and serving any type of library? How can all types of libraries be connected, small and large libraries, university and church, public and private libraries alike? How is the system open to the processing of archival and museum materials? What has been achieved so far and what are the next steps until the full transition?
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LaVoice, Kelly, Daniel Hickey, and Mark Williams. "Pain Points and Solutions: Bringing Data for Startups to Campus." In Charleston Library Conference. Purdue Univeristy, 2020. http://dx.doi.org/10.5703/1288284317163.
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Entrepreneurship is growing as a cross- and inter-disciplinary area of focus for higher education. From patent and tech transfer offices to business, science, and engineering programs, the demand for entrepreneurship resources and support delivered via libraries is booming. Building library collections to help patrons design, launch, and run successful businesses is challenging: Market research and private equity/venture capital resources arrive at premium prices. Increasingly, these resources must interoperate with software used to clean, analyze, and visualize data. This data is often difficult to find and deploy. Restrictive, corporate-style licenses reflect that new vendors are not yet acclimated to the academic market’s access requirements and licensing constraints. This paper will share a framework for how to understand entrepreneurship in higher education and explain the types of information commonly requested by users. Such information often exists in disciplinary silos, emphasizing the importance of collaborative collection development across subject lines. The authors will explore the unique challenges to building collections that serve patrons developing new ventures. This includes collaborating with external stakeholders to fund resources that have not been traditionally purchased by libraries. Strategies for licensing data and other e-resources in this space will be discussed, including the central complications arising from universities as incubators for for-profit startups. The authors will suggest best practices for building relationships with stakeholders, developing relevant collections and services, and marketing these resources to support communities.
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McAllister, Courtney, and Megan Brown. "Wrangling Weirdness: Lessons Learned from Academic Law Library Collections." In Charleston Library Conference. Purdue Univeristy, 2020. http://dx.doi.org/10.5703/1288284317168.
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Academic law libraries face some challenges that are consistent with larger trends in higher education. However, there are unique aspects that shape the way collections are selected, evaluated, managed, and promoted. Most electronic resources designed for legal research do not generate COUNTER compliant usage data. Many subscription resources and services that libraries provide access to are primarily geared towards non-academic customers, such as law firms and corporations. Patrons increasingly need and request research products that rely on data collection, personalization, and non-IP access controls, which complicates law librarians’ professional commitment to things like preserving patron privacy and providing walk-in access. Law library technical services departments are perpetually negotiating these and other challenges to ensure the needs of law faculty and students are met as seamlessly as possible. Some of these methods and strategies might be applicable to other types of libraries navigating unfamiliar issues.
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Opoku-Boateng, Judith. "Applying the “baby nursing model” in under-resourced audiovisual archives in Africa." In SOIMA 2015: Unlocking Sound and Image Heritage. International Centre for the Study of the Preservation and Restoration of Cultural Property, 2017. http://dx.doi.org/10.18146/soima2015.4.18.
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It is a well-known fact that there has been extensive documentation of African traditional arts in post-colonial Africa, which has contributed to the growing accumulation of field recordings in Africa that could form the nucleus for archives in individual African countries. These include private collections as well as recordings at broadcasting and television stations; government ministries such as Tourism, Culture and Information; museums and academic institutions. Sadly, these precious traditions – which have been expensively captured – are often not properly managed in their host institutions. The caretakers of this heritage mostly sit by as collections deteriorate and sometimes are disposed of due to lack of institutional support. Such practices prevail in most African archives. This paper proposes a new mode of consciousness of the value of audiovisual heritage materials by comparing them with human babies. This new archival management principle, ‘the baby nursing model’, has been adopted and practiced at the University of Ghana and has achieved positive results.
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Winter, Renee. "Intertwining spheres." In SOIMA 2015: Unlocking Sound and Image Heritage. International Centre for the Study of the Preservation and Restoration of Cultural Property, 2017. http://dx.doi.org/10.18146/soima2015.4.20.
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Public audiovisual archives like the Österreichische Mediathek (Austrian National Audiovisual Archive) have long been concerned with documenting the political as well as the cultural public sphere. National and international efforts have worked to collect and preserve historic film documents from the private sphere. An ongoing Österreichische Mediathek project addresses a source typically viewed as marginal: private video sources from the 1980s and 1990s. The challenges are not only to develop a collection and archiving strategy for a type of content on which there is little to no scientific research but also to master the technical challenges of archiving such materials for the long term. This paper examines the development and the workflow of the project and goes on to consider the historical functions of home videos and their qualities as historical sources.
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Tikhomirov, M. M., N. V. Loukachevitch, and E. A. Parkhomenko. "COMBINED APPROACH TO HYPERNYM DETECTION FOR THESAURUS ENRICHMENT." In International Conference on Computational Linguistics and Intellectual Technologies "Dialogue". Russian State University for the Humanities, 2020. http://dx.doi.org/10.28995/2075-7182-2020-19-736-746.
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This paper describes a combined approach to hypernym detection task. The approach combines the following techniques: distribution semantics, rulebased patterns, and modern neural networks (BERT). An important feature of our solution is that hypernyms are extracted only from a single text collection provided by the organizers. The described approach obtained the fourth result on the private nouns track. It was found out that the use of the rulebased patterns can significantly improve the results. Also, using the BERT model as an additional factor always helps to improve the performance.
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Pepper, Darrell W., Yitung Chen, and Joseph M. Lombardo. "A Parallel h-Adaptive Finite Element Model for Wind Energy Assessment in Nevada." In ASME 2003 Wind Energy Symposium. ASMEDC, 2003. http://dx.doi.org/10.1115/wind2003-1341.
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A Petrov-Galerkin finite element model that employs local mesh adaptation is being developed to determine potential wind energy sites within the state of Nevada. Meteorological data collected from various private, county, city, and government agencies are used to generate diagnostic flow fields, which subsequently provide initial conditions for the prognostic solution of the time-dependent equations of motion and species transport. The model runs on a multiprocessor SGI Onyx 3800. Results of the data collection, including wind energy site forecasts, will be made available on the web when the assessment for the entire state is completed.
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Mirica, Andreea, and Iulia Elena Toma. "Web visibility of Romanian universities – an analysis based on website analytics and social media data." In Fourth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2018. http://dx.doi.org/10.4995/head18.2018.8036.
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There are many aspects that influence the importance of a university. Among these, web visibility is taking advantage of available technology, focusing on the benefits of internet and social media. This paper provides an analysis of the Romanian public and private universities websites, using alexa.com, a tool for website traffic analysis. Moreover, the official social media accounts of universities (Facebook, Twitter, Google+, Flickr, YouTube and Instagram) were analysed, collecting several data such as: the number of likes and followers, the number of subscribers and the number of posts. The analysis was performed using ANOVA and Nonparametric Test for the presence via websites and Spearman and Pearson correlation to assess the correlation between social media and website traffic. In general, public universities from Romania have more visibility and a higher number of links to their websites compared to private ones. Based on the fact that Facebook and site content are often related, it should be noted that activity on Facebook may improve website rankings for Romanian universities.
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Flikkema, Paul G., and Bertrand Cambou. "When things are sensors for cloud AI: Protecting privacy through data collection transparency in the age of digital assistants." In 2017 Global Internet of Things Summit (GIoTS). IEEE, 2017. http://dx.doi.org/10.1109/giots.2017.8016284.
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Machado, Javam De Castro, and Paulo Roberto Pessoa Amora. "How can DB Systems be ready for privacy regulations." In XXXV Simpósio Brasileiro de Banco de Dados. Sociedade Brasileira de Computação - SBC, 2020. http://dx.doi.org/10.5753/sbbd.2020.13647.
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Personal data usage and collection are activities that used to growunrestricted. However, several laws in the physical world ensure rights to peo-ple regarding their privacy and information usage. In the last years, legislatorspassed many laws, regulations, and acts to replicate these rights to the digitalworld. By doing so, new constraints, rights, and duties appear on every compo-nent of the data usage and collection workflow. In this paper, we introduce someof these laws, describe some of the rights that highly impact the current designof DBMSs, discuss the challenges raised by these regulations, as well as relatedworks and research opportunities.
Reports on the topic "Private art collections"
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Frijters, Paul. WELLBYs, cost-benefit analyses and the Easterlin Discount. Verlag der Österreichischen Akademie der Wissenschaften, March 2021. http://dx.doi.org/10.1553/populationyearbook2021.deb04.
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The current practise of cost-benefit analysis inWestern countries consists of a collection of various incompatible ideas and methodologies to obtain replicable numbers for the costs and benefits of major public spending plans. This paper describes the main elements of the dominant methodology, which combines consumer and producer surplus, price-taking, government-inputs-as-outputs, hedonic pricing of externalities, and the issue-specific use of partial or general equilibrium thinking. The paper then discusses how that methodology can be augmented and partially replaced by looking at how prospective policies would change the total number of WELLBYs (life satisfaction-adjusted years of life) of the population. The ability of the WELLBY methodology to address complex externalities is illustrated by the Easterlin Discount, which is a proposed reduction factor of 75% on all estimates of private consumption benefits to offset the envy caused in others.
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Saville, Alan, and Caroline Wickham-Jones, eds. Palaeolithic and Mesolithic Scotland : Scottish Archaeological Research Framework Panel Report. Society for Antiquaries of Scotland, June 2012. http://dx.doi.org/10.9750/scarf.06.2012.163.
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Why research Palaeolithic and Mesolithic Scotland? Palaeolithic and Mesolithic archaeology sheds light on the first colonisation and subsequent early inhabitation of Scotland. It is a growing and exciting field where increasing Scottish evidence has been given wider significance in the context of European prehistory. It extends over a long period, which saw great changes, including substantial environmental transformations, and the impact of, and societal response to, climate change. The period as a whole provides the foundation for the human occupation of Scotland and is crucial for understanding prehistoric society, both for Scotland and across North-West Europe. Within the Palaeolithic and Mesolithic periods there are considerable opportunities for pioneering research. Individual projects can still have a substantial impact and there remain opportunities for pioneering discoveries including cemeteries, domestic and other structures, stratified sites, and for exploring the huge evidential potential of water-logged and underwater sites. Palaeolithic and Mesolithic archaeology also stimulates and draws upon exciting multi-disciplinary collaborations. Panel Task and Remit The panel remit was to review critically the current state of knowledge and consider promising areas of future research into the earliest prehistory of Scotland. This was undertaken with a view to improved understanding of all aspects of the colonization and inhabitation of the country by peoples practising a wholly hunter-fisher-gatherer way of life prior to the advent of farming. In so doing, it was recognised as particularly important that both environmental data (including vegetation, fauna, sea level, and landscape work) and cultural change during this period be evaluated. The resultant report, outlines the different areas of research in which archaeologists interested in early prehistory work, and highlights the research topics to which they aspire. The report is structured by theme: history of investigation; reconstruction of the environment; the nature of the archaeological record; methodologies for recreating the past; and finally, the lifestyles of past people – the latter representing both a statement of current knowledge and the ultimate aim for archaeologists; the goal of all the former sections. The document is reinforced by material on-line which provides further detail and resources. The Palaeolithic and Mesolithic panel report of ScARF is intended as a resource to be utilised, built upon, and kept updated, hopefully by those it has helped inspire and inform as well as those who follow in their footsteps. Future Research The main recommendations of the panel report can be summarized under four key headings: Visibility: Due to the considerable length of time over which sites were formed, and the predominant mobility of the population, early prehistoric remains are to be found right across the landscape, although they often survive as ephemeral traces and in low densities. Therefore, all archaeological work should take into account the expectation of Palaeolithic and Mesolithic ScARF Panel Report iv encountering early prehistoric remains. This applies equally to both commercial and research archaeology, and to amateur activity which often makes the initial discovery. This should not be seen as an obstacle, but as a benefit, and not finding such remains should be cause for question. There is no doubt that important evidence of these periods remains unrecognised in private, public, and commercial collections and there is a strong need for backlog evaluation, proper curation and analysis. The inadequate representation of Palaeolithic and Mesolithic information in existing national and local databases must be addressed. Collaboration: Multi-disciplinary, collaborative, and cross- sector approaches must be encouraged – site prospection, prediction, recognition, and contextualisation are key areas to this end. Reconstructing past environments and their chronological frameworks, and exploring submerged and buried landscapes offer existing examples of fruitful, cross-disciplinary work. Palaeolithic and Mesolithic archaeology has an important place within Quaternary science and the potential for deeply buried remains means that geoarchaeology should have a prominent role. Innovation: Research-led projects are currently making a substantial impact across all aspects of Palaeolithic and Mesolithic archaeology; a funding policy that acknowledges risk and promotes the innovation that these periods demand should be encouraged. The exploration of lesser known areas, work on different types of site, new approaches to artefacts, and the application of novel methodologies should all be promoted when engaging with the challenges of early prehistory. Tackling the ‘big questions’: Archaeologists should engage with the big questions of earliest prehistory in Scotland, including the colonisation of new land, how lifestyles in past societies were organized, the effects of and the responses to environmental change, and the transitions to new modes of life. This should be done through a holistic view of the available data, encompassing all the complexities of interpretation and developing competing and testable models. Scottish data can be used to address many of the currently topical research topics in archaeology, and will provide a springboard to a better understanding of early prehistoric life in Scotland and beyond.
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Stall, Nathan M., Kevin A. Brown, Antonina Maltsev, Aaron Jones, Andrew P. Costa, Vanessa Allen, Adalsteinn D. Brown, et al. COVID-19 and Ontario’s Long-Term Care Homes. Ontario COVID-19 Science Advisory Table, January 2021. http://dx.doi.org/10.47326/ocsat.2021.02.07.1.0.
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Key Message Ontario long-term care (LTC) home residents have experienced disproportionately high morbidity and mortality, both from COVID-19 and from the conditions associated with the COVID-19 pandemic. There are several measures that could be effective in preventing COVID-19 outbreaks, hospitalizations, and deaths in Ontario’s LTC homes, if implemented. First, temporary staffing could be minimized by improving staff working conditions. Second, homes could be further decrowded by a continued disallowance of three- and four-resident rooms and additional temporary housing for the most crowded homes. Third, the risk of SARS-CoV-2 infection in staff could be minimized by approaches that reduce the risk of transmission in communities with a high burden of COVID-19. Summary Background The Province of Ontario has 626 licensed LTC homes and 77,257 long-stay beds; 58% of homes are privately owned, 24% are non-profit/charitable, 16% are municipal. LTC homes were strongly affected during Ontario’s first and second waves of the COVID-19 pandemic. Questions What do we know about the first and second waves of COVID-19 in Ontario LTC homes? Which risk factors are associated with COVID-19 outbreaks in Ontario LTC homes and the extent and death rates associated with outbreaks? What has been the impact of the COVID-19 pandemic on the general health and wellbeing of LTC residents? How has the existing Ontario evidence on COVID-19 in LTC settings been used to support public health interventions and policy changes in these settings? What are the further measures that could be effective in preventing COVID-19 outbreaks, hospitalizations, and deaths in Ontario’s LTC homes? Findings As of January 14, 2021, a total of 3,211 Ontario LTC home residents have died of COVID-19, totaling 60.7% of all 5,289 COVID-19 deaths in Ontario to date. There have now been more cumulative LTC home outbreaks during the second wave as compared with the first wave. The infection and death rates among LTC residents have been lower during the second wave, as compared with the first wave, and a greater number of LTC outbreaks have involved only staff infections. The growth rate of SARS-CoV-2 infections among LTC residents was slower during the first two months of the second wave in September and October 2020, as compared with the first wave. However, the growth rate after the two-month mark is comparatively faster during the second wave. The majority of second wave infections and deaths in LTC homes have occurred between December 1, 2020, and January 14, 2021 (most recent date of data extraction prior to publication). This highlights the recent intensification of the COVID-19 pandemic in LTC homes that has mirrored the recent increase in community transmission of SARS-CoV-2 across Ontario. Evidence from Ontario demonstrates that the risk factors for SARS-CoV-2 outbreaks and subsequent deaths in LTC are distinct from the risk factors for outbreaks and deaths in the community (Figure 1). The most important risk factors for whether a LTC home will experience an outbreak is the daily incidence of SARS-CoV-2 infections in the communities surrounding the home and the occurrence of staff infections. The most important risk factors for the magnitude of an outbreak and the number of resulting resident deaths are older design, chain ownership, and crowding. Figure 1. Anatomy of Outbreaks and Spread of COVID-19 in LTC Homes and Among Residents Figure from Peter Hamilton, personal communication. Many Ontario LTC home residents have experienced severe and potentially irreversible physical, cognitive, psychological, and functional declines as a result of precautionary public health interventions imposed on homes, such as limiting access to general visitors and essential caregivers, resident absences, and group activities. There has also been an increase in the prescribing of psychoactive drugs to Ontario LTC residents. The accumulating evidence on COVID-19 in Ontario’s LTC homes has been leveraged in several ways to support public health interventions and policy during the pandemic. Ontario evidence showed that SARS-CoV-2 infections among LTC staff was associated with subsequent COVID-19 deaths among LTC residents, which motivated a public order to restrict LTC staff from working in more than one LTC home in the first wave. Emerging Ontario evidence on risk factors for LTC home outbreaks and deaths has been incorporated into provincial pandemic surveillance tools. Public health directives now attempt to limit crowding in LTC homes by restricting occupancy to two residents per room. The LTC visitor policy was also revised to designate a maximum of two essential caregivers who can visit residents without time limits, including when a home is experiencing an outbreak. Several further measures could be effective in preventing COVID-19 outbreaks, hospitalizations, and deaths in Ontario’s LTC homes. First, temporary staffing could be minimized by improving staff working conditions. Second, the risk of SARS-CoV-2 infection in staff could be minimized by measures that reduce the risk of transmission in communities with a high burden of COVID-19. Third, LTC homes could be further decrowded by a continued disallowance of three- and four-resident rooms and additional temporary housing for the most crowded homes. Other important issues include improved prevention and detection of SARS-CoV-2 infection in LTC staff, enhanced infection prevention and control (IPAC) capacity within the LTC homes, a more balanced and nuanced approach to public health measures and IPAC strategies in LTC homes, strategies to promote vaccine acceptance amongst residents and staff, and further improving data collection on LTC homes, residents, staff, visitors and essential caregivers for the duration of the COVID-19 pandemic. Interpretation Comparisons of the first and second waves of the COVID-19 pandemic in the LTC setting reveal improvement in some but not all epidemiological indicators. Despite this, the second wave is now intensifying within LTC homes and without action we will likely experience a substantial additional loss of life before the widespread administration and time-dependent maximal effectiveness of COVID-19 vaccines. The predictors of outbreaks, the spread of infection, and deaths in Ontario’s LTC homes are well documented and have remained unchanged between the first and the second wave. Some of the evidence on COVID-19 in Ontario’s LTC homes has been effectively leveraged to support public health interventions and policies. Several further measures, if implemented, have the potential to prevent additional LTC home COVID-19 outbreaks and deaths.