To see the other types of publications on this topic, follow the link: Private art collections.
Dissertations / Theses on the topic 'Private art collections'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 32 dissertations / theses for your research on the topic 'Private art collections.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full text
2
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.
Full text
3
Coste-Gouzes, Ophélie. "Contribution à l'étude juridique des collections privées." Thesis, Montpellier, 2017. http://www.theses.fr/2017MONTD042/document.
Full textAbstract:
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
4
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/.
Full textAbstract:
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.
5
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.
Full textAbstract:
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
6
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.
Full textAbstract:
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.
7
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.
Full textAbstract:
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
8
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.
Full textAbstract:
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
9
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.
Full textAbstract:
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
10
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.
Full textAbstract:
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
11
Kreiser, Kelsey. "Collecting the Past: Using a Private Collection of Artifacts to Assess Prehistoric Occupation of the Chipola River Valley in Northwest Florida." Scholar Commons, 2018. http://scholarcommons.usf.edu/etd/7184.
Full textAbstract:
The Chipola River Valley in northwest Florida is an area of extensive occupation by pre-contact peoples, dating as far back as the Paleo-Indian time period (approximately 11,000 BC). With such a rich archaeological history, it has enticed many local divers to explore river bottoms and collect artifacts. I worked with one local collector to study over 700 projectile points found in the Chipola River. The collector has taken great care to protect and preserve these points and, in many cases, documented the GPS coordinates from where they were collected. Using the GPS coordinates and ArcMap, I have been able to compare where these artifacts were collected to the locations of known archaeological sites which had been previously documented along the Chipola. With this new data set, I used landscape theory to compare prehistoric settlement patterns in the Southeast to the patterns derived from this collection. Overall, this project has documented 80 new sites within the region, filling in areas of the river which previously had no known prehistoric sites. The work also added information for 19 previously-known sites, extending the occupations of some to either later or earlier time periods. Finally, this work can be used to evaluate various models of the early human settlement in the region, specifically the Oasis Model. I hope the success of this project encourages other archaeologists to work with knowledgeable collectors and avocationals to learn more about the archaeological history of different regions.
12
Walker, Jessica E. "Unexpected Reflection Collection." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1253634229.
Full text
13
Crawford, Jessie A. "Art for One or Art for All? Exploring the Role and Impact of Private Collection Museums in the United States." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1460929598.
Full text
14
Jordan, Christopher. "Steering taste : Ernest Marsh, a study of private collecting in England in the early 20th century." Thesis, University of the Arts London, 2007. http://ualresearchonline.arts.ac.uk/5253/.
Full textAbstract:
The primary aim of this thesis is to focus attention on the bourgeois, 'un-named' collector. The driving force behind most museum and art gallery collections of the Victorian and Edwardian period. British museum and art gallery records of gifted collections, bequests and loans usually note their donors. However, with a few notable exceptions, little is known about the collectors, their activities and motivation in making such presentations. Using the interests and activities of the Quaker miller and collector Ernest Marsh (1843-1945) as a case study, this thesis explores how in the period 1890-1945 a collector came to be a key agent in the construction and manifestation of taste in British Applied Arts and to a lesser degree in the Fine Arts. Through primary visual and documentary evidence of the Marsh home, and reference to contemporary and later commentaries it considers the relative influences of husband and wife on decorating and furnishing the domestic interior, the evolution of taste, and, for Ernest Marsh, its impact upon his artistic interests within the public arena. By examination of private papers, metropolitan and provincial art gallery and museum archives it also considers evidence of the inter-relationships between donors and curators, and the mutual advantages and disadvantages accruing to both, particularly focussing on the processes in bringing about changes in individual and institutional collecting policy. Further, by review of records of, in particular, the Contemporary Art Society and the Greenslade archive, it examines the degree to which private benefactors and those in public or semi-public office, acting as fund-raisers and spenders exercise influence through patronage of particular practitioners, choice of works and initiating new designs.
15
Zaninelli, Fulvia. "Alessandro Contini Bonacossi, antiquario (1878-1955) : the art market and cultural philanthropy in the formation of American museums." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31510.
Full textAbstract:
This thesis aims to document and discuss the role and legacy of the Italian antiquario Alessandro Contini Bonacossi (1878-1955) in the international secondary art market for Old Master paintings during the first half of the twentieth century. Grounded in the discovery of primary archival evidence and set against the major historical events that unfolded during his lifetime, this work presents its findings by following a research process adopted to answer the following research questions: who was Contini Bonacossi, what was his business network (where was he buying paintings, at what prices, and who were his clients), what was his modus operandi for selling and marketing his work, and what is his legacy. To answer these questions, I made extensive use of primary sources, the vast majority of which are unpublished or have never been used before in this context, framed by a contextualized analysis of their historical background. The archival investigation has brought to light, for the first time, documentary evidence of Contini Bonacossi's transactions and business ties with other European dealers such as Duveen Brothers, Heinemann Galleries, Colin Agnew, Colnaghi, Böhler, Steinmeyer, and Kleinberger Galleries; with scholars such as Wilhelm von Bode, Roberto Longhi, and Bernard Berenson; as well as previously unknown connections Contini Bonacossi had with members of the Harvard museum community and the Boston cultural elite such as Paul Sachs (1878-1965), Edward W. Forbes (1873-1969) Denmann Ross (1853-1935); and offers new details regarding his relationship with the Kress Brothers, their gifts of artworks to the new National Gallery of Art in Washington DC, and the Kress Foundation's Regional Program that endowed museums across the US. Ultimately, this work adds to our knowledge important sources for the study of the history of private and public collecting during its crucial years in the formation of American museums. More broadly, in documenting Contini Bonacossi's case, this study strives to rethink the role of art dealers, to look at them not solely as market professionals engaged in the dynamics of supply, demand and profit, but first and foremost as bearers and sellers of culture, whose activities were fully embedded in the socio-political environment of their time and so to acknowledge and extend knowledge about their active role in the international dissemination and interpretation of cultural heritage.
16
Woodward, Deena. "Paleo-Indian to Spanish Occupation around Choctawhatchee Bay, Northwest Florida, as Documented in a Private Artifact Collection." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4259.
Full textAbstract:
This project documents and analyzes a substantial private collection of artifacts from archaeological sites around Choctawhatchee Bay, northwest Florida. The goals are to determine what the materials can contribute to the archaeological record, how they enhance our knowledge of the people who lived there over the past 2000 years, and how this information can be used to expand or contradict models of prehistoric lifeways in this region. This is done by comparing artifact assemblages, looking at site distribution patterns, and using pXRF trace-element analysis to compare Late Archaic clay objects with those from elsewhere along the Gulf.
Examination of the assemblage and the results of the pXRF trace-element analysis show that both materials and finished products were imported into this region from as far away as Poverty Point, Louisiana, especially during Late Archaic times. In addition to the movement of artifacts, site distribution patterns around Choctawhatchee Bay show that people also moved into and away from the area during periods of low and high sea levels.
17
Peirson, Stacey Jean. "Private collecting, teaching and institutionalisation : the percival david foundation and the field of chinese art in Britain, 1920 -1960." Thesis, University of Sussex, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.496597.
Full text
18
Bazunu, Antoinette. "Are Florida's children safer? : a public management perspective of the decision to privatize child welfare services in district 7." Honors in the Major Thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1062.
Full textAbstract:
This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Health and Public Affairs
Public Administration
19
Scott, Katherine Anne. "Reining in the State: Civil Society, Congress, and the Movement to Democratize the National Security State, 1970-1978." Diss., Temple University Libraries, 2009. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/38730.
Full textAbstract:
HistoryPh.D.
This dissertation explores the battle to democratize the national security state, 1970-1978. It examines the neo-progressive movement to institutionalize a new domestic policy regime, in an attempt to force government transparency, protect individual privacy from state intrusion, and create new judicial and legislative checks on domestic security operations. It proceeds chronologically, first outlining the state's overwhelming response to the domestic unrest of the 1960s. During this period, the Department of Justice developed new capacities to better predict urban unrest, growing a computerized databank that contained millions of dossiers on dissenting Americans and the Department of Defense greatly expanded existing capacities, applying cold war counterinsurgency and counterintelligence techniques developed abroad to the problems of protests and riots at home. The remainder of the dissertation examines how the state's secret response to unrest and disorder became public in the early 1970s. It traces the development of a loose coalition of reformers who challenged domestic security policy and coordinated legislative and litigative strategies to check executive power.
Temple University--Theses
20
Transue, Samuel D. "Are building design rating systems effective towards the goal of sustainability in the design and construction of public and private buildings and how will new energy performance and sustainable design requirements affect the professional liability of building design professionals?" Honors in the Major Thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/524.
Full textAbstract:
The following paper will explore the future of sustainable building practices as it relates to building design rating systems and whether building design rating systems are effective in conserving energy and resources in the construction of new buildings. This paper will begin by highlighting some of the general principles behind sustainable design practices, and the challenges of determining if building design rating systems are utilized effectively towards the goal of sustainability. In addition, the paper will highlight issues specific to ongoing litigation in Gifford v. U.S. Green Building Council and allegations made within the lawsuit that question the methodology and efficacy of building design rating systems. How political and ideological influences have propelled sustainability practices into the mainstream, and to what extent government is and should be involved in regulating building design rating systems will also be explored. Lastly, how will new energy performance and sustainable design methodologies, which are now being required in the law, affect the professional liability of building design professionals in the future?B.A. and B.S.
Bachelors
Health and Public Affairs
Legal Studies
21
Lindblom, Martin. "Which News Articles are You Reading? : Using Fingerprinting to Attack Internal Pages of News Websites." Thesis, Linköpings universitet, Institutionen för datavetenskap, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-178397.
Full textAbstract:
When performing fingerprinting attacks against websites in a controlled environment astudy may achieve very promising results. However, these can be misleading as the closedworld setting may not accurately represent the real-world. This is a problem many priorworks have been critiqued for, the inability to transfer their results from the closed-worldsetting to the real-world. Being able to do so is of great importance to establish what thereal-world consequences would be of fingerprint attacks. If unable to apply one’s findingsoutside of a tightly controlled environment it is difficult to gauge if these attacks types posea real threat or not. Thereby, this thesis has, contrary to previous work, based its settingon a real-world scenario to provide tangible insights into vulnerabilities of news websites.Furthermore, it targeted internal pages of websites, something understudied by previousliterature. All of this while presenting a novel classifier that is lightweight and requireslittle training, and a framework for automatically collecting and labelling encrypted TCPtraffic without the use of a proxy.
22
Berrios-Ayala, Mark. "Brave New World Reloaded: Advocating for Basic Constitutional Search Protections to Apply to Cell Phones from Eavesdropping and Tracking by Government and Corporate Entities." Honors in the Major Thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1547.
Full textAbstract:
Imagine a world where someone’s personal information is constantly compromised, where federal government entities AKA Big Brother always knows what anyone is Googling, who an individual is texting, and their emoticons on Twitter. Government entities have been doing this for years; they never cared if they were breaking the law or their moral compass of
human dignity. Every day the Federal government blatantly siphons data with programs from the original ECHELON to the new series like PRISM and Xkeyscore so they can keep their tabs on issues that are none of their business; namely, the personal lives of millions. Our allies are taking note; some are learning our bad habits, from Government Communications Headquarters’ (GCHQ) mass shadowing sharing plan to America’s Russian inspiration, SORM. Some countries are following the United States’ poster child pose of a Brave New World like order of global events. Others like Germany are showing their resolve in their disdain for the rise of tyranny. Soon, these new found surveillance troubles will test the resolve of the American Constitution and its nation’s strong love and tradition of liberty. Courts are currently at work to resolve how current concepts of liberty and privacy apply to the current conditions facing the privacy of society. It remains to be determined how liberty will be affected as well; liberty for the United States of America, for the European Union, the Russian Federation and for the people of the World in regards to the extent of privacy in today’s blurred privacy expectations.B.S.
Bachelors
Health and Public Affairs
Legal Studies
23
Michel, Victoire Marie Isabelle. "From private collections to public exhibitions : the case study of Châteu La Coste." Master's thesis, 2020. http://hdl.handle.net/10400.14/33406.
Full textAbstract:
The current report corresponds to an internship at Château La Coste, in the
department of art and architecture for the private collection of Patrick McKillen in Aix-En-
Provence, France. The duration was of 4 months from the 15th August 2019 to the 15th
December 2019. The collection of Patrick McKillen at Château La Coste consists of an
outdoor exhibition 36 artworks and architecture installation from famous contemporary
artists and architects worldwide. The first artist to construct a massive architectural building
on the property was Tadao Ando, who built the art centre starting from 2009 and welcomed
its first visitors only in the summer of 2011. The ongoing constructions on site today are of;
Richard Roger, James Turell, Jean Nouvelle with Louise Bourgeois and Richard Long. On
top of the outdoor installations there are three exhibition galleries on site, two Wilmotte
galleries and Renzo Piano pavilion with a gallery space.
The purpose of the internship experience was to understand and explore the
functioning of private collections to their opening to the public by being in the heart of the
management structure of Château La Coste. The internship was a need to comprehend the
grounding work of exhibiting artworks that are the public.
This report aims at answering the question of why private collectors open their
collection to the public, how they follow their vision and why these new collectors have a
willingness to open private collections to the public. The growing number of institutions like
this one are becoming case studies to understand the changing cultural dynamics in the art
market. This phenomenon is global and has become a new norm to consume culture to
consume culture thought the private collection it is not a unique case that we are seeing with
Château La Coste. Through academic research and my personal experience at the Château
La Coste this report aims at understanding the trend of contemporary art collecting and
exhibiting in our time.
24
Blanckenberg, Leigh Deborah. "On collecting southern African art: interrogating private collecting practices and the construction of 'traditional' southern African art as 'national' and 'cultural heritage'." Thesis, 2012. http://hdl.handle.net/10539/11754.
Full textAbstract:
M.A. University of the Witwatersrand, Faculty of Humanities (Art History), 2012This dissertation critically engages Karel Nel’s personal/private collection of southern African art in relation to other collections to which he is connected. An examination of Nel’s collecting practices is conducted, after an extensive comparison with the public collections held by both the Wits Art Museum and the Johannesburg Art Gallery. I then investigate the degree of influence between his private collecting praxes and the collecting praxes of the selected public institutions. It is argued that this helps to establish the degree to which private collecting influences the creation of what is understood as ‘national’ and ‘cultural heritage’ in public collections of southern African art.
25
Kritzinger, Nicola. "The public influence of the private collector: a hand in history." Thesis, 2014.
Find full textAbstract:
Thesis (M.A.)--University of the Witwatersrand, Faculty of Humanities, History of Arts, 2013This report examines the collecting practices of the private collector of South African art, situated in South Africa, and considers the way in which the act of collecting influences both the contemporary market and the construction of the art historical canon. The report questions the contribution made to the South African art world by collecting practices and considers what is involved in the collecting of fine art. I discuss the collector in relation to Sylvester Ogbechie’s (2010) notion of cultural brokerage; I examine notions of both public and private through the writings of Michael Warner (2002); and I consider what makes into one a collector, with reference to Thomas G. Tanselle’s (1998) text A Rationale of Collecting, while engaging several other sources. The report continues with a comparison between international collectors, with a focus on the ways in which they contribute to what becomes and remains relevant, as well as discussing some local collectors. I conclude with an examination of the way in which auction houses have played a seminal role in the establishment of the canon in South Africa, and the role of the collector in relation to this system. In summary, this paper examines the ways in which the private collector of South African art has a great influence on what is perceived as relevant to the canon, to culture and to art history.
26
Watrelot, Michaela. "Wilhelm von Bode a medzinárodný trh s umením: nepublikovaná korešpondencia s Rudolphom Kannom a Josephom Duveenom." Doctoral thesis, 2021. http://www.nusl.cz/ntk/nusl-438464.
Full textAbstract:
Wilhelm von Bode and the International Art Market: the Unpublished Correspondence with Rudolphe Kann and Joseph Duveen This dissertation explores changing trends in the European and American art market in the late 19th and beginning of the 20th Centuries, in particular their influences, presented from the perspective of Wilhelm von Bode, renowned connoisseur and, at the time, director general of the Berlin Museums and explored predominantly through his relationship with the private collector Rudolphe Kann and art dealer Joseph Duveen. At the time, the collection of Rudolphe Kann was considered to be one of the most refined among the European private collections, yet it hasn't received much attention by contemporary scholars. This dissertation therefore offers the most systematic review of Kann's collection since 1907, the year when Bode compiled the revised catalogue. Wilhelm Bode was actively involved in building the Kann collection, as shown by the extensive numbers of private, previously unpublished, correspondence, which provided the foundation of this research. After the dealer Joseph Duveen bought the entire art collection of this prominent Parisian collector in the summer 1907 and subsequently sold almost all of the artworks to American collectors, the competitiveness of European private...
27
Lebeau, Justine. "La réactualisation des collections fermées, études de cas : le Isabella Stewart Gardner Museum, le Kettle's Yard Museum & Gallery et la New Art Gallery Walsall." Mémoire, 2010. http://www.archipel.uqam.ca/3723/1/M11689.pdf.
Full textAbstract:
Ce mémoire fait l'analyse du phénomène de réactualisation des collections fermées et de ses stratégies en se basant sur trois études de cas : le Isabella Stewart Gardner Museum, le Kettle's Yard Museum & Gallery et la New Art Gallery Walsall. Restreintes par des législations, ces institutions ont développé différentes stratégies leur permettant de réinscrire le contenu de leurs collections fermées à l'intérieur d'enjeux actuels. Dans un premier temps, de la présentation de nos trois études de cas sont apparues des caractéristiques que nous avons réunies pour exposer l'idée de collection fermée et souligner sa valeur esthétique, historique et artistique : les restrictions testamentaires, la vision du collectionneur, l'expérience du visiteur, le type d'accrochage et la mise en exposition des œuvres et des objets. Ces caractéristiques nous ont permis de cerner le contexte à l'intérieur duquel les conservateurs, les directeurs et les commissaires d'exposition interviennent pour réactualiser les paramètres temporels, narratifs et spatiaux de la collection fermée. L'idée de collection fermée est également développée à l'aide de propositions connexes provenant de 1'histoire de l'art et de la culture. Dans un deuxième temps, quatre des principales stratégies de réactualisation ont été dégagées de nos trois cas de figure : la construction d'une nouvelle architecture basée sur la collection fermée, la mise en place de programmes d'artistes en résidence, la création de programmes d'expositions temporaires et l'accumulation d'œuvres à l'intérieur d'une collection parallèle. Ces stratégies permettent une ouverture et une réorganisation des paramètres narratifs, spatiaux et temporels de la collection fermée à partir du présent actuel tout en respectant les restrictions protégeant son intégralité. L'analyse de ces stratégies permet non seulement de marquer les paramètres de la collection fermée sur lesquels la réactualisation s'opère, mais également de mettre en évidence les valeurs esthétiques et conceptuelles des projets d'artistes, architecturaux, d'exposition et de collection menés autour de la collection fermée. Dans un troisième temps, nous avons questionné la constitution et le fonctionnement temporel de la collection fermée et du phénomène de réactualisation pour pointer les changements qui s'opèrent dans le temps sur la collection fermée. De sa constitution par le collectionneur à sa relecture à partir des interventions du présent en passant par son legs restrictif, la collection fermée subit des changements malgré l'immobilité de sa mise en exposition. Enfin, notre recherche ouvre sur de nouvelles hypothèses. La réactualisation serait rendue possible à l'heure actuelle en relation avec une nouvelle conception de l'histoire basée sur une vision anachronique du temps. Cette vision anachronique et son potentiel pour la discipline de l'histoire de l'art développés par Georges Didi-Huberman (2000) nous ont permis d'explorer le phénomène de réactualisation non seulement dans la gestion muséologique des collections qu'il implique, mais également d'en traiter par rapport à la constitution de l'histoire de l'art et du rapport instauré avec le passé.
______________________________________________________________________________
MOTS-CLÉS DE L’AUTEUR : Collection fermée, Isabella Stewart Gardner Museum, Kettle's Yard Museum & Gallery, New Art Gallery Walsall, réactualisation, exposition
28
Fexa, Leduc Isabelle. "L'art contemporain à l'ère des glissements du privé vers le public : pour une relecture de la vie privée." Thèse, 2014. http://hdl.handle.net/1866/11584.
Full textAbstract:
Ce mémoire de maîtrise porte principalement sur les œuvres des artistes Sophie Calle, Sylvie Cotton, Donigan Cumming, Martin Dufrasne et Marc-Antoine K. Phaneuf. L’objectif de cette recherche est d’observer les différents allers-retours qu’ils effectuent dans leur pratique entre la sphère privée et la sphère publique et qui problématisent notre rapport à l’intimité.
Dans le premier chapitre, je déterminerai ce qui caractérise respectivement l’espace public et l’espace privé, pour ensuite cibler les lieux et les figures de l’intime. Dans le deuxième chapitre, seront étudiés les gestes et les méthodes d’appropriation de la sphère privée par les artistes à l’aide de la pratique de la collection, la pratique ethnographique ainsi que la pratique de la surveillance. L’impact de ces pratiques sur l’investissement de l’artiste dans la durée est relevé, ainsi que leur inscription dans un art dit contextuel. Enfin, je terminerai par une réflexion sur ma propre pratique, en considérant ce qui l’apparente et la distingue des artistes étudiés dans celui-ci.This Master’s thesis deals with the works of artists Sophie Calle, Sylvie Cotton, Donigan Cumming, Martin Dufrasne, and Marc-Antoine K. Phaneuf. The objective of this research is to observe the back and forth explored by the artists in their practices between the private and the public sphere and how these problematize our relationship with intimacy. In the first chapter, I will determine the elements that respectively characterize the public and the private space, and then find the places and forms that define intimacy. In the second chapter, I will examine the private sphere's appropriation gestures and methods employed by the artists through a study of collecting, ethnographic, and surveillance practices. I will underline the impact of such practices on the artists' investment in time and their implication in contextual art. Finally, I will deliberate on my very own practices, considering how they differentiate or resemble the practices of the artists studied in this memoir.
29
Dobešová, Michaela Filipa. "Sbírka vlámského a holandského malířství Vlastislava Zátky." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-323034.
Full textAbstract:
Art collection of Flemish and Dutch paintings collected by Vlastislav Zátka Dr. Vlastislav Zátka, a lawyer and businessman, was important in bringing together and organising a diverse art collection. This thesis discusses his approach to art, his perception of the artwork as well as the overlap with the Flemish and Dutch paintings in the collections of the Aleš South Bohemian Gallery in Hluboka , the National Gallery in Prague and private collectors of this circuit , but it also deals with the efforts of Vladislav Zátka to verify purchased art and to, then, include the expert's opinions. The focal point is the carefully charted correspondence of Vlastislav Zátka in the archives of the Aleš South Bohemian Gallery in Hluboka and its analysis. Keywords: Dutch and Flemish paintings Collecting Vlastislav Zatka Landscape painting Still life painting Maritime painting Maecenas / Benefactor Correspondence Art expert authentification Gallery / Art museum
30
Van, Rensburg Angelique Gene Janse. "Aspekte van deursoeking en beslaglegging in Suid Afrikaanse openbare skole : n Vergelykende studie." Thesis, 2010. http://hdl.handle.net/10500/3921.
Full textAbstract:
Afrikaans textThe Canadian and South African legal systems established equivalent constitutional values and principles pertaining to searches conducted with or without a valid search warrant. It creates the basis for a comparative study on this particular aspect. The Supreme Court of Canada held in R v A. M 2008 S.C.C 19 random sniffer dog searches conducted without neither a reasonable suspicion nor any legislative authority on learners enrolled in public schools, is unconstitutional due to its infringement of a learner's reasonable expectation to privacy, as protected in section 8 of the Canadian Charter of rights and Freedoms. South African learners are randomly search by law enforcement officers by using sniffer dogs for purposes of detecting the possession of illegal drugs in instances without neither a reasonable suspicion nor statutory authority. The search is subsequently conducted in terms of the common law. The common law is not regarded as law of general application to limit a fundamental right in terms of the limitation clause. By taking into consideration the ratio in R v A. M (supra) the conclusion is subsequently that random sniffer dog searches conducted on learners in South African public schools, without neither a reasonable suspicion nor statutory authority, is unconstitutional which infringes section 14 of the Constitution of South Africa of 1996.
Die basis vir hierdie studie is ontleen aan die ooreenstemmende vereistes en beginsels in die Kanadese en Suid Afrikaanse reg ten aansien van deursoekings met of sonder 'n wettige lasbrief uitgevoer. In die Kanadese beslissing van R v A.M 2008 SCC 19 is die grondwetlikheid van ewekansige deursoekings met behuip van snuffelhonde op leerders sonder statutere magtiging uitgevoer, deur die Supreme Court of Canada as ongrondwetlik bevind aangesien 'n leerder wel oor 'n redelike verwagting op privaatheid beskik. Indien leerders sonder 'n redelike vermoede en statutere magtiging met behuip van snuffelhonde deursoek word, geskied dit ingevolge die gemenereg en dit word nie beskou as 'n algemeen geldende reg om 'n fundamentele reg kragtens die beperkingsklousule te beperk nie. Met inagneming van die ratio in R v A.M (supra) kan daar dus tot die gevolgtrekking gekom word dat ewekansige deursoekings met behulp van snuffelhonde op Suid Afrikanse leerders in die afwesigheid van 'n redelike vermoede asook sonder statutere magtiging uitgevoer, tans ongrondwetlike optrede daarstel wat op artikel 14 van die Grondwet van 1996 inbreuk maak.
Law (College)
LL.M.
31
Meyerhöfer, Dietrich. "Johann Friedrich von Uffenbach. Sammler – Stifter – Wissenschaftler." Doctoral thesis, 2020. http://hdl.handle.net/21.11130/00-1735-0000-0005-13B0-E.
Full text
32
El-Khatib, Mayar. "Highway Development Decision-Making Under Uncertainty: Analysis, Critique and Advancement." Thesis, 2010. http://hdl.handle.net/10012/5741.
Full textAbstract:
While decision-making under uncertainty is a major universal problem, its implications in the field of transportation systems are especially enormous; where the benefits of right decisions are tremendous, the consequences of wrong ones are potentially disastrous.
In the realm of highway systems, decisions related to the highway configuration (number of lanes, right of way, etc.) need to incorporate both the traffic demand and land price uncertainties. In the literature, these uncertainties have generally been modeled using the Geometric Brownian Motion (GBM) process, which has been used extensively in modeling many other real life phenomena. But few scholars, including those who used the GBM in highway configuration decisions, have offered any rigorous justification for the use of this model.
This thesis attempts to offer a detailed analysis of various aspects of transportation systems in relation to decision-making. It reveals some general insights as well as a new concept that extends the notion of opportunity cost to situations where wrong decisions could be made. Claiming deficiency of the GBM model, it also introduces a new formulation that utilizes a large and flexible parametric family of jump models (i.e., Lévy processes). To validate this claim, data related to traffic demand and land prices were collected and analyzed to reveal that their distributions, heavy-tailed and asymmetric, do not match well with the GBM model. As a remedy, this research used the Merton, Kou, and negative inverse Gaussian Lévy processes as possible alternatives.
Though the results show indifference in relation to final decisions among the models, mathematically, they improve the precision of uncertainty models and the decision-making process. This furthers the quest for optimality in highway projects and beyond.