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Journal articles on the topic 'Private art collections'
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1
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.
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Gusarova, Ekaterina. "Ethiopian Manuscripts in the State and Private Collections of St Petersburg: An Overview." Aethiopica 18 (July 7, 2016): 109–27. http://dx.doi.org/10.15460/aethiopica.18.1.926.
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For more than two centuries St Petersburg, the capital of the former Russian Empire, has been famous for its collections of Ethiopian manuscripts, objects of art and documents concerning Ethiopian history. They are concentrated in three state institutions and in several private collections of African art. This article provides a short history of formation of Ethiopian manuscript collections of Russia and describes the process of their description and study. Some interesting and unpublished items were generally describedand their miniatures published.
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Atasoy, Nurhan. "Early ‘art libraries’ in Turkey." Art Libraries Journal 21, no. 2 (1996): 15–18. http://dx.doi.org/10.1017/s0307472200009822.
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Early Turkish libraries, attached to such institutions as mosques and medreses, comprised collections of manuscripts including many of great artistic value. Medreses and their libraries were endowed by the Ottoman rulers, who as patrons of the arts were also responsible for causing many manuscripts to be produced. Scholars owned private libraries, and libraries for the public existed in every district of Istanbul. Many of the collections of these libraries survive, in some cases in museums and in libraries of later origin, in Istanbul University Library, and in the National Library at Ankara.
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Johnston, Tiffany L. "American Dionysus: Carl W. Hamilton (1886–1967), collector of Italian Renaissance art." Journal of the History of Collections 31, no. 2 (October 31, 2018): 411–30. http://dx.doi.org/10.1093/jhc/fhy026.
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Abstract For nearly a decade Carl W. Hamilton was in possession of one of the most important private collections of Italian Renaissance painting in America. A self-made millionaire from humble beginnings, the young Hamilton captivated the art dealer Joseph Duveen and Duveen’s foremost experts in Italian Renaissance painting, Bernard and Mary Berenson. By inspiring and instructing Hamilton, Duveen and the Berensons hoped to focus his wealth and ambition to create a great collection and thereby profit by both him and the glory of his achievement. Though Hamilton’s personal collection proved ephemeral, many of his most important works of art nevertheless found their way into American public collections. Furthermore, Hamilton’s formative collecting experience – which developed his prejudices and preferences, sharpened his keen negotiating skills and solidified his zeal for collecting – helped to shape two significant collections of Old Masters in the Carolinas: the Museum & Gallery at Bob Jones University and the North Carolina Museum of Art.
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Folan, Lucie. "Wisdom of the Goddess: Uncovering the Provenance of a Twelfth-Century Indian Sculpture at the National Gallery of Australia." Collections: A Journal for Museum and Archives Professionals 15, no. 1 (March 2019): 5–41. http://dx.doi.org/10.1177/1550190619832383.
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The history of Prajnaparamita, Goddess of Wisdom, a twelfth-century Indian Buddhist sculpture in the National Gallery of Australia collection, has been researched and evaluated through a dedicated Asian Art Provenance Project. This article describes how the sculpture was traced from twelfth-century Odisha, India, to museums in Depression-era Brooklyn and Philadelphia, through dealers and private collectors Earl and Irene Morse, to Canberra, Australia, where it has been since 1990. Frieda Hauswirth Das (1886–1974), previously obscured from art-collecting records, is revealed as the private collector who purchased the sculpture in India in around 1930. Incidental discoveries are then documented, extending the published provenance of objects in museum collections in the United States and Europe. Finally, consideration is given to the sculpture’s changing legal and ethical position, and the collecting rationales of its various collectors. The case study illustrates the contributions provenance research can make to archeological, art-historical, and collections knowledge, and elucidates aspects of the heterodox twentieth-century Asian art trade, as well as concomitant shifts in collecting ethics.
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Velikodnaya, Irina L. "Collection of Autographs." Bibliotekovedenie [Library and Information Science (Russia)] 1, no. 1 (February 28, 2016): 55–59. http://dx.doi.org/10.25281/0869-608x-2016-1-1-55-59.
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The review considers two new editions, connected by the theme of autographs, - “The Bibliophile Garland to Anna Akhmatova. To the 125th Birth Anniversary: the Autographs in the Collection of M. Seslavinsky” and “The Art of Autograph. Inscriptions of Writers and Artists in the Private Collections of Russian Bibliophiles”, published in 2014-2015. Description and identification of the autograph, its introduction into scientific use, as well as its study are relevant problems of today, as the accumulated handwritten material of this kind requires samples of cataloguing. The Russian collectors propose to comprehend such material accumulated in private collections, publish previously unknown autographs, manuscripts, epistolary heritage of Russian poets, writers and artists. Peer-reviewed publications are required in the work of experts - literary critics, art historians, book historians, culturologists, students of specialized educational institutions, and all the interested in the history of the Russian culture.
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Ginés Blasi, Mònica. "Chinese art and material culture in private collections of 19th century Barcelona." Locus Amoenus 13 (December 22, 2015): 139. http://dx.doi.org/10.5565/rev/locus.237.
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Jacknis, Ira. "Anthropology, Art, and Folklore." Museum Worlds 7, no. 1 (July 1, 2019): 109–33. http://dx.doi.org/10.3167/armw.2019.070108.
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In the great age of museum institutionalization between 1875 and 1925, museums competed to form collections in newly defined object categories. Yet museums were uncertain about what to collect, as the boundaries between art and anthropology and between art and craft were fluid and contested. As a case study, this article traces the tortured fate of a large collection of folk pottery assembled by New York art patron Emily de Forest (1851–1942). After assembling her private collection, Mrs. de Forest encountered difficulties in donating it to the American Museum of Natural History and the Metropolitan Museum of Art. After becoming part of the Philadelphia Museum of Art, it finally found a home at the Pennsylvania State Museum of Anthropology. Emily de Forest represents an initial movement in the estheticization of ethnic and folk crafts, an appropriation that has since led to the establishment of specifically defined museums of folk art and craft.
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Wang, Yu, and Zhengding Liao. "Porcelain interior plastic of the 1950s in museums and private collections in China." Issues of Museology 12, no. 1 (2021): 58–67. http://dx.doi.org/10.21638/spbu27.2021.106.
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In the two decades since the establishment of the people’s Republic of China, the challenges facing porcelain production have changed significantly. Porcelain production is one of the most important and oldest traditions in China. In the 1950s, porcelain craftsmen became involved in the creation of new forms of interior plastics. Many of the pieces they created are now part of museum collections and represent the history of the development of Chinese interior porcelain. Using the example of three museums and three reference monuments, the article examines the key trends in the development of porcelain art and stylistic changes that occurred during this period. The following museums have been selected as examples to showcase the specifics of Chinese porcelain art from this period: the China Ceramic and Porcelain Museum located in Jingdezhen City, which is the country’s first major art museum specializing in ceramics; the Chinese Fine Arts Museum in Beijing, which specializes in collecting, researching and displaying works of Chinese artists of modern and contemporary eras; and the Guangdong Folk Art Museum, which specializes in collecting, researching and displaying Chinese folk art. All of these museums are engaged in collecting porcelain, including interior porcelain plastics from the mid-20th century. In the collections of the aforementioned museums, three works were selected for analysis. These are three paired compositions created in the second half of the 1950s: the sculpture “An Old Man and a Child with a Peach” by Zeng Longsheng, “Good Aunt from the Commune” by Zhou Guozhen and “Fifteen coins. The rat case” by Lin Hongxi. These porcelain compositions reveal close relations with Chinese national culture and not only reflect various scenes, but are also aimed at expanding the role of porcelain in decorating residential interiors.
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Wishaupt, Maggy. "Art Nouveau and ‘Nieuwe Kunst’: books and book collections in the Netherlands." Art Libraries Journal 25, no. 1 (2000): 25–30. http://dx.doi.org/10.1017/s030747220001141x.
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‘Nieuwe Kunst’ is the Dutch variant of what is known as Art Nouveau or Jugendstil in other parts of Europe. As far as book art is concerned, the highlight of this style was between 1892 and 1903. When interest in Art Nouveau began to flourish again in the 1960s, private individuals and libraries in the Netherlands started to collect Nieuwe Kunst books; these collections reflect a varied production, in form as well as in content.
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Poludneva, E. I. "The attribution features of the items from the private collection of Japanese miniature sculpture on the example of the exhibition “Netsuke. The private collection” in Primorye State Art Gallery." Iskusstvo Evrazii [The Art of Eurasia], no. 3(18) (September 30, 2020): 83–90. http://dx.doi.org/10.46748/arteuras.2020.03.007.
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The features of attribution work with the items from the private collection for the exhibition of the old Japanese sculpture “Netsuke. The private collection” in Primorye State Art Gallery have been considered in the paper. The items from private collections usually are excluded from a scientific circulation but they often are of a great scientific interest for art historians and museum researchers. The author aims to include into a scientific circulation several items of miniature sculpture netsuke which would be of an art history interest and which have never been exhibited before. The process of the items attribution, plot and stylistic features specification has been described on a basis of the expert opinion, comparative analysis with the items from the sufficient museum collections. The author comes to a conclusion that the plots and iconography of some items are rather rare and their description would make a contribution to the Japanese miniature sculpture research. В статье рассматриваются особенности атрибуционной работы с предметами из частной коллекции для выставки старинной японской миниатюрной скульптуры «Нэцкэ. Частная коллекция» в Приморской государственной картинной галерее. Произведения из частных коллекций, как правило, исключены из научного оборота, однако часто представляют большой научный интерес для искусствоведов и музейных работников. Автор ставит своей целью ввести в научный оборот несколько произведений миниатюрной скульптуры нэцкэ, представляющих искусствоведческий интерес и ранее никогда не экспонировавшихся. Описывается процесс атрибуции произведений, определения сюжета, стилистики на основе экспертного мнения, сравнительного анализа с предметами из крупных музейных коллекций. Автор приходит к выводу, что сюжеты и иконография некоторых предметов весьма редки, и их описание внесет определенный вклад в изучение японской миниатюрной скульптуры.
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Barrett, Colleen. "Freda Matassa. Valuing Your Collection." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 19, no. 1 (May 17, 2018): 75. http://dx.doi.org/10.5860/rbm.19.1.75.
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Following her previous publications, Museum Collections Management and Organizing Exhibitions, Matassa here presents a straightforward guide to approaching the often tricky but necessary valuation of various materials housed in museums, libraries, and archives. As a past head of collections management at the Tate Galleries and the current director of the art consultancy firm Matassa Toffolo, Matassa began this work in 2011 at the request of the European Commission’s Workplan for Culture. The request followed her report (coauthored with Dr. Cornelia Dümke) entitled Valuation of Works of Art for Lending and Borrowing Purposes, which exposed high insurance costs as a major hurdle to collection loans and uncovered a lack of best practices for training curators that would enable them to value their collections. This work begins solving the problem of establishing value in both public and private institutions, through an example-filled exploration of issues and possible solutions.
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Jankevičiūtė, Giedrė, and Osvaldas Daugelis. "Collecting Art in the Turmoil of War: Lithuania in 1939–1944." Art History & Criticism 16, no. 1 (December 1, 2020): 35–63. http://dx.doi.org/10.2478/mik-2020-0003.
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SummaryThe article deals with the growth of the art collections of the Lithuanian national and municipal museums during WWII, a period traditionally seen as particularly unfavourable for cultural activities. During this period, the dynamics of Lithuanian museum art collections were maintained by two main sources. The first was caused by nationalist politics, or, more precisely, one of its priorities to support Lithuanian art by acquiring artworks from contemporaries. The exception to this strategy is the attention given to the multicultural art scene of Vilnius, partly Jewish, but especially Polish art, which led to the purchase of Polish artists’ works for the Vilnius Municipal Museum and the Vytautas the Great Museum of Culture in Kaunas, which had the status of a national art collection. The second important source was the nationalisation of private property during the Soviet occupation of 1940–1941. This process enabled the Lithuanian museums to enrich their collections with valuable objets d’art first of all, but also with paintings, sculptures and graphic prints. Due to the nationalisation of manor property, the collections of provincial museums, primarily Šiauliai Aušra and Samogitian Museum Alka in Telšiai, significantly increased. The wave of emigration of Lithuanian citizens to the West at the end of the Second World War was also a favourable factor in expanding museum collections, as both artists and owners of their works left a number of valuables to museums as depositors. On the other hand, some museum valuables were transported from Vilnius to Poland in 1945–1948 by the wave of the so-called repatriation of former Vilnius residents who had Polish citizenship in 1930s. The article systematises previously published data and provides new information in order to reconstruct the dynamics of the growth of Lithuanian museum art collections caused by radical political changes, which took place in the mid 20th century.
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Wasserman, Krystyna. "The National Museum of Women in the Arts Library and Research Center." Art Libraries Journal 13, no. 3 (1988): 10–13. http://dx.doi.org/10.1017/s0307472200005757.
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The National Museum of Women in the Arts was established in Washington in 1981 to make known the achievements of women in the visual arts. Its Library and Research Center plays a central part in the Museum’s essentially educative role, providing information on art by women primarily by means of one of the largest specialised collections of materials on women’s art. This includes extensive archival files and a number of special collections. Ongoing projects include the compilation of a database on women artists, an inventory of works of art by women in private and public collections, and an index to women artists documented in group exhibition catalogues. The activities of the Library and Research Center demonstrate how this and other art libraries can counteract the neglect of women in the arts.
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Makarova, Evgeniya. "Collections, acquisitions and activities in the Library of the State Hermitage." Art Libraries Journal 17, no. 2 (1992): 20–23. http://dx.doi.org/10.1017/s030747220000777x.
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The Library of The Hermitage at St Petersburg traces its origins to the library which Catherine II brought to the Winter Palace in 1762, and which took its place alongside her collections of fine and decorative arts. It was only later, under Alexander I, that the Library began to be conceived less as a collection in its own right and more as a study collection serving the needs of the other collections. From the 1850s, the Library was located in “The Hermitage”, purpose-built to house the Imperial collections. After a number of setbacks, the Library recommenced its development in 1919, gaining a separate building and acquiring some noteworthy collections from private hands and other sources. Currently the Library possesses some 570,000 volumes, accommodated in a central collection and in seven departmental libraries; it was perhaps the leading art library in the former USSR. Its activities include the lending of books to other libraries, and the provision of training opportunities to students of librarianship.
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Собкович Ольга. "ТВОРИ ПЕТРА ХОЛОДНОГО-СТАРШОГО З ПРИВАТНИХ КОЛЕКЦІЙ. НОВІ ШТРИХИ ДО ДОСЛІДЖЕННЯ МИСТЕЦЬКОЇ СПАДЩИНИ." International Journal of Innovative Technologies in Social Science, no. 2(23) (February 28, 2020): 3–9. http://dx.doi.org/10.31435/rsglobal_ijitss/28022020/6942.
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This publication analyses the artwork by Petro Kholodny Sr., the distinguished artist of the first third of the XX century, from private collections, that gives an opportunity to better comprise and study the artist's searches in different periods of his creative work in the visual-stylistic and genre-thematic spheres. The Moscow collection of easel paintings by the Kholodny family is analysed, showing a range of artistic interests up to 1917. Landscapes and sketches from this collection testify his fascination with plein-airism and, at the same time, with heritage of impressionism. Artist’s portraits and landscapes from various private collections outside and within Ukraine and little-known works of sacral painting of the Lviv period are also analysed: sketches of icons; the “Blahovishchennia” (Annunciation) icon reflecting the national line of modernist style in Ukraine. The mentioned images greatly expand the interpretation of Kholodny Sr’s searches in the synthesis of modern art and Ukrainian-Byzantine tradition and his coloristic feeling.
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Cooper, Emmanuel. "The People’s Art." Art Libraries Journal 12, no. 4 (1987): 44–48. http://dx.doi.org/10.1017/s0307472200005411.
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‘The People’s Art’ is a project, originally titled ‘Visual Arts and the Working Class’ and funded by the Calouste Gulbenkian Foundation, which aims to locate and document visual art produced by working class people in Britain since 1750 and especially from 1870 to the present. A lot of material, including work from the home and the workplace, ranging from paintings and photography to decorative and domestic arts of all kinds, has been located in museums (often in storerooms) and in private collections. An exhibition and an illustrated publication are planned. ‘The People’s Art’ demonstrates that the making of art can have a role in people’s lives which is too often overlooked, neglected, or denied, and which is not adequately represented in publications, exhibitions, museums, or libraries.
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Géger, Melinda. "Dél-Dunántúli szakrális emlékek. Kiállítás a Rippl-Rónai Múzeumban, 2014. január 30 – április 10." Kaposvári Rippl-Rónai Múzeum Közleményei, no. 3 (2014): 287–96. http://dx.doi.org/10.26080/krrmkozl.2014.3.287.
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In 2014, special religious relic exhibition of art was displayed in the Rippl-Rónai Museum, Kaposvár. Some of the exhibited material came from those museums’ collections found in South Transdanubia, while others were from private collections. The main aim of the exhibition was to find the local religious relics, again. Principally, this exhibition based on those relics which were moved by Sándor Klempa, the bishop of Veszprém from different Somogy County Baroque churches to the Diocese Collection, Veszprém in the 1950-60s. One of the most important part of the exhibition were those works painted by the most significant religious artists, István Dorffmaister and some church-related works from Rippl-Rónai Ödön’s collection were also exhibited.
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Van der Grijp, Paul. "The Sacred Gift: Donations from Private Collectors to Public Museums." Museum Anthropology Review 8, no. 1 (July 15, 2014): 22–44. http://dx.doi.org/10.14434/mar.v8i1.3099.
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The phenomenon of gifting from private collectors to museums has not yet been studied in depth. Prestigious art collections usually attract more attention than modest collections, which can also include other objects than artworks. The present analysis is concerned with both elite and popular collections and is illustrated with examples from various areas of the world, including Asia and the Pacific. Constituent parts of collections are seen as “semiophors” or carriers of meaning with a sacred dimension. They are set apart from ordinary objects. Moreover, through collecting, collectors can demonstrate their excellence in a competitive way. They not only rival one another, but sometimes compete with museums, and in such cases they may choose not to donate. On the other hand, museum directors and curators are not always keen to receive entire collections but may prefer to choose the best pieces and, in doing so, may injure the pride of generous donors. Donations to museums differ from bequests in wills to family members or close friends, in that they are given to the imagined community as a whole, which provides a sacred dimension to this kind of gift.
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Komič Marn, Renata. "Saint Joseph and Baby Jesus by Valentin Metzinger and Other Paintings from the Strahl Collection in the Museum of Arts and Crafts in Zagreb." Radovi Instituta za povijest umjetnosti, no. 42 (January 2019): 141–52. http://dx.doi.org/10.31664/ripu.2018.42.10.
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Karl Ritter von Strahl (1850−1929) was the last owner of the renowned collection of paintings and art objects kept in his castle of Stara Loka (Altenlack) near Škofja Loka in Carniola. In 1929, Strahl sold 32 paintings to Stanko Senečić, an antique dealer from Nova Ves in Zagreb. In the Museum of Arts and Crafts in Zagreb, there are five paintings of hitherto unknown provenance, which undoubtedly originate from the Strahl Collection. The paper discusses the circumstances of Senečić’ s purchase and the earlier provenance of the five paintings. Furthermore, different paths by which the paintings came to the museum in Zagreb are analyzed. As previous research of the interwar art market in the Kingdom of Serbs, Croats, and Slovenes (later Kingdom of Yugoslavia) has shown that Croatian private buyers and professional antique dealers visited regularly the sales of castle and manor furnishings in interwar Slovenia, we can assume that there are more art heritage items originating from Slovenia in present-day Croatian public and private collections, awaiting an analysis of their provenance.
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Averyanova, M. A. "К вопросу об атрибуции русской оригинальной графики XX века из частных коллекций в собрании ИОХМ им. В.П. Сукачёва." Iskusstvo Evrazii [The Art of Eurasia], no. 2(21) (June 30, 2021): 46–53. http://dx.doi.org/10.46748/arteuras.2021.02.004.
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The article is devoted to the attribution of the original graphics of the 20th century from private collections in the collection of the Irkutsk Regional Art Museum named after V.P. Sukachev. The stages of studying a particular work of art are described in detail. Attention is paid to the research of recent years, which allows us to talk about the ongoing work with objects from museum collections. As a result of the study, based on the source studies and comparative stylistic methods, it was possible to clarify the attribution of a number of illustrations to literary works, small-format watercolors and some drawings. Such works include, for example, the works of N.V. Kuzmin, T.A. Mavrina; K.S. Petrov-Vodkin, described in the article. Статья посвящена атрибуции оригинальной графики XX века из частных коллекций в собрании Иркутского областного художественного музея им. В. П. Сукачёва. Подробно расписаны этапы изучения того или иного произведения искусства. Уделено внимание исследованиям последних лет, позволяющим говорить о непрекращающейся работе с предметами из музейных коллекций. В результате исследования с опорой на источниковедческий и сравнительно-стилистический методы удалось уточнить атрибуцию ряда иллюстраций к литературным произведениям, небольших по формату акварелей и входящих в серии рисунков. К числу таких произведений относятся, например, работы Н.В. Кузьмина, Т.А. Мавриной, К.С. Петрова-Водкина, описанные в статье.
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Getashvili, N. V. "Private Collections as the Core of Picasso Art Museums: The Problem of Selection and Exposition, Intentions and Reality." Art & Culture Studies, no. 2 (June 2021): 88–103. http://dx.doi.org/10.51678/2226-0072-2021-2-88-103.
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The article reviews the history of several Picasso public museums, which have been based around private art collections. It examines the personal motivations and social conditions that accompanied the conception and realization of the projects. The records of Museu Picasso in Barcelona contain evidence highlighting Picasso’s lasting close friendship with Jaume Sabartés, who donated his private collection to the museum. These documents reveal the dramatic context surrounding Picasso’s citizenship, his persona non grata status, as well as the latent Catalan opposition to state authority. In addition, the article utilizes the case of Picasso museums to highlight and discuss a series of problematic issues related to adapting the modernist artworks, which have been installed within historic buildings and cultural heritage sites.
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Gerasimova, Natalia V. "The Interaction of the State Museum Fund and Museums of the Tatar ASSR in the 1920s." Observatory of Culture 15, no. 6 (December 28, 2018): 754–63. http://dx.doi.org/10.25281/2072-3156-2018-15-6-754-763.
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The article is devoted to one of the Soviet State’s policy directions at the first stage of its existence, aimed at the preservation of cultural values and the formation of museum art collections. The poorly studied question about the features of this policy implementation is revealed on the example of the TASSR (Kazan Province — before May 1920), where in the 1920s a whole network of museums was created; almost in each of them, an art department was organized. The appeal to this topic is relevant in connection with the opening of a large number of public and private museums, which face similar challenges, as well as the active scientific activities of museums to study their own collections, in the framework of creation of the State Catalogue of the Museum Fund of the Russian Federation. For the first time, the article introduces into scientific circulation a number of sources, on the basis of which the main directions of this activity, as well as the museums’ art collections themselves, are analyzed. In the TASSR, the interaction with the State Museum Fund (SMF) was carried out by the Department for Museums and Protection of Monuments of Art, Antiquities and Nature, employees of which (P.M. Dulsky and P.E. Kornilov) were engaged not only in organization of the artworks’ transferring to museums, but also in their selection. The article states that, thanks to the SMF, the Central Museum of the TASSR had the most complete and valuable art collection, and an interesting collection was formed in the Kozmodemyansky District Museum, which was part of the Kazan Province until 1920. This study shows that the SMF was an important and effective mechanism for the implementation of state policy in the field of culture: its activities contributed to the creation of provincial museums’ collections, based on scientific principles and aimed at presenting the history of fine arts development.
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Boer, Tanja de. "The Museum of the Book in the Hague." Art Libraries Journal 25, no. 1 (2000): 19–24. http://dx.doi.org/10.1017/s0307472200011408.
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Established in 1960, the Museum van het Boek is known for its holdings and exhibitions of Western book art from the last 110 years. Building on the starter collections of two donors, a private printer and a bibliophile, the Museum’s acquisitions now focus mainly on modern book art. More than 25,000 of the 450,000 objects in the Museum are books showing the development of standard Dutch publishing, the work of individual book illustrators, type designers and calligraphers, contemporary Dutch private presses and artists’ books. There is also considerable foreign material, notably from Germany and Great Britain.
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Effros, B. "Art of the 'Dark Ages': Showing Merovingian artefacts in North American public and private collections." Journal of the History of Collections 17, no. 1 (January 1, 2005): 85–113. http://dx.doi.org/10.1093/jhc/fhi002.
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Bolotova, Alexandra I. "The Tretyakov Gallery Library." Art Libraries Journal 17, no. 2 (1992): 24–26. http://dx.doi.org/10.1017/s0307472200007781.
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The Library of the Tretyakov Gallery in Moscow contains over 50,000 books on Russian and foreign art. The collections date back to the gift, in 1899, of the library of P. M. Tretyakov. From 1918, the Library and the Gallery received the benefit of State support; the Library gained books from private collections and as a result of the closure of other museums, and it continued to receive donations. From 1931, copies of Russian publications on art were received on legal deposit, and many publications are additionally acquired in exchange for copies of the Gallery’s own publications. As well as books, the Library contains collections of manuscripts, of press-cuttings, and of exhibition invitation cards and posters. The Library maintains several card indexes, on Soviet art and the participation of Soviet artists in exhibitions, and of journal articles, illustrations, illustrators, and exhibition catalogues. The Library has itself published several reference books.
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Shpytkovska, Natalia. "Development of Art Collecting in Ukraine: Historical, Cultural, and Social Background During Late 17th–18th Centuries." Artistic Culture. Topical Issues, no. 17(1) (June 8, 2021): 182–91. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235258.
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The article studies the origins and features of the art collecting at the territory of modern Ukraine. Socio-cultural, geo-political and historical backsground of the 17th–18th centuries became subject for consideration while making conclusions regarding the reasons and period when art collecting became widespread among the ruling elites and noble families of the region. The history of such collections is examined, their main characteristics and components at the time when Ukraine was divided into Left-bank and Right-bank Ukraine were observed.The research identifies main types of artistic practices widespread at that time in Ukraine, which served as the source of collectibles for private and primary institutional collections. The article considers differences of art collecting phenomenon caused by geographical context (Right-bank, Left-bank Ukraine) and by the changes in political and religious factors that all had impacted behavior and preferences of collectors. The research covers main well-known art collectors and demonstrates examples of collections, which laid the foundation for the transformation of collecting from the individual accumulation and preservation of cultural values to the formation of museum-level collections of national and worldwide importance.
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Gavrilov, D., R. Gr Maev, and D. P. Almond. "A review of imaging methods in analysis of works of art: Thermographic imaging method in art analysis." Canadian Journal of Physics 92, no. 4 (April 2014): 341–64. http://dx.doi.org/10.1139/cjp-2013-0128.
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This article discusses a number of modern techniques used for the analysis of works of art. The most widely used approaches as well as lesser known ones are outlined in terms of their applications and the kind of information on the condition of artworks that can be extracted. Special attention is paid to the method of thermographic analysis of works of pictorial art. The principles of the technique, various computational approaches, and safety concerns are discussed. A set of examples is provided for the demonstration of the capabilities of thermographic assessment, including a range of real canvas and panel paintings exhibited in museums and in private collections.
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Tarasenko, M. "SHABTIS IN THE COLLECTION OF THE MUSEUM OF ORIENTAL ART IN ZOLOCHIV CASTLE." Bulletin of Taras Shevchenko National University of Kyiv. History, no. 136 (2018): 74–82. http://dx.doi.org/10.17721/1728-2640.2018.136.1.16.
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A group of six shabtis from the collection of the Museum of Oriental Art in Zolochiv Castle, Lviv region, Ukraine are published and analysed in the paper. 1. Green glazed shabti of Psamtek, Late Period, inv. no. 5879. 2. Sky blue glazed faience shabti of Pa-di-Amun, 21st Dynasty, inv. no. 5890. 3. “Female” brown terracotta pseudo-shabti, Roman Period or modern imitation, inv. no. C-I-284. 4. “Female” brown terracotta pseudo-shabti, Roman Period or modern imitation, inv. no. C-I-2286. 5. Small blue glazed faience shabti without inscriptions inv. no. ЕP 7117. 6. Small brown terracotta shabti without inscriptions inv. no. ЕP 5888. At least five of them came from the private collections of the 19th century (Lubomirski, Pininski).
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Batil qızı Sadıqova, Aytac. "Miniature art and its development characteristics in Azerbaijan." SCIENTIFIC WORK 15, no. 3 (March 24, 2021): 87–90. http://dx.doi.org/10.36719/2663-4619/64/87-90.
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The history of miniature art dates back to ancient times. This art in itself combines many fields of art. One of the main characteristics of miniature art is the ability to describe the events in the books in the form of plots. In this field, more Tabriz artists have managed to create unique pearls of art. The unique specimens created by the masters of Tabriz are now kept in various museums and private collections around the world. Each of these preserved specimens has its own aesthetic and artistic value. The article thoroughly analyzes their general artistic characteristics. Key words: Miniature, development, formation, color, shape, effect, composition
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Koot, Geert-Jan, and Fransje Kuyvenhoven. "The ‘Willet-Holthuysen’ Collection of Books." Art Libraries Journal 12, no. 1 (1987): 32–38. http://dx.doi.org/10.1017/s0307472200005034.
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The Museum Willet-Holthuysen, comprising the house and private collections of Abram Willet and his wife Louisa Holthuysen, was bequeathed to Amsterdam on the death of the latter and in 1929 became the home of the Institute of Art History of the University of Amsterdam. The collection of books, originally scattered through the house, had previously been gathered together, and although added to up until 1965 remained essentially the reference library of a 19th century collector whose special interests were the decorative arts, particularly glass and ceramics. The art historical volumes were moved with the Institute in 1961-62 and remain in the care of the Institute’s Library; they are likely to become more accessible when the Institute is rehoused once more in the near future.
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Gakhar, A. P. "Collection development and the acquisition of art materials at the Indira Gandhi National Centre for the Arts." Art Libraries Journal 18, no. 2 (1993): 4–8. http://dx.doi.org/10.1017/s0307472200008270.
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Collection development plays a pivotal role in all libraries, and should be guided by a library’s purpose and the needs of its users. The Reference Library at the Indira Gandhi National Centre for the Arts aims to provide material on all the arts, within a broad context, and acquires material in several formats and in many languages. Materials acquired include rare books, the collections of private scholars, journals, microfilm of mss, visual resources, videos, and sound recordings. It is hoped that some of the problems that have been encountered can be resolved by means of contact and cooperation with other art libraries in Southern and South-East Asia.
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BROWN, CHRISTOPHER. "The Renaissance of Museums in Britain." European Review 13, no. 4 (October 2005): 617–36. http://dx.doi.org/10.1017/s1062798705000840.
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In this paper – given as a lecture at Netherlands Institute for Advanced Study in the summer of 2003 – I survey the remarkable renaissance of museums – national and regional, public and private – in Britain in recent years, largely made possible with the financial support of the Heritage Lottery Fund. I look in detail at four non-national museum projects of particular interest: the Horniman Museum in South London, a remarkable and idiosyncratic collection of anthropological, natural history and musical material which has recently been re-housed and redisplayed; secondly, the nearby Dulwich Picture Gallery, famous for its 17th- and 18th-century Old Master paintings, a masterpiece of 19th-century architecture by Sir John Soane, which has been restored, and modern museum services provided. The third is the New Art Gallery, Walsall, where the Garman Ryan collection of early 20th-century painting and sculpture form the centrepiece of a new building with fine galleries and the forum is the Manchester Art Gallery, where the former City Art Gallery and the Athenaeum have been combined in a single building in which to display the city's rich art collections. The Ashmolean Museum in Oxford, of which I am Director, is the most important museum of art and archaeology in England outside London and the greatest University Museum in the world. Its astonishingly rich collections are introduced and the transformational plan for the museum is described. In July 2005 the Heritage Lottery Fund announced a grant of £15 million and the renovation of the Museum is now underway.
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Gilchrist, Stephen, and Henry Skerritt. "Awakening Objects and Indigenizing the Museum: Stephen Gilchrist in Conversation with Henry F. Skerritt." Contemporaneity: Historical Presence in Visual Culture 5 (November 30, 2016): 108–21. http://dx.doi.org/10.5195/contemp.2016.183.
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Curated by Stephen Gilchrist, Everywhen: The Eternal Present in Indigenous Art from Australia was held at Harvard Art Museums from February 5, 2016–September 18, 2016. The exhibition was a survey of contemporary Indigenous art from Australia, exploring the ways in which time is embedded within Indigenous artistic, social, historical, and philosophical life. The exhibition included more than seventy works drawn from public and private collections in Australia and the United States, and featured many works that have never been seen outside Australia. Everywhen is Gilchrist’s second major exhibition in the United States, following Crossing Cultures: The Owen and Wagner Collection of Contemporary Aboriginal Australian Art at the Hood Museum of Art in 2012. Conducted on April 22, 2016, this conversation considers the position of Indigenous art in the museum, and the active ways in which curators and institutions can work to “indigenize” their institutions. Gilchrist discusses the evolution of Everywhen, along with the curatorial strategies employed to change the status of object-viewer relations in the exhibition. The transcription has been edited for clarity.
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Bincsik, Monika. "European collectors and Japanese merchants of lacquer in ‘Old Japan’." Journal of the History of Collections 20, no. 2 (August 5, 2008): 217–36. http://dx.doi.org/10.1093/jhc/fhn013.
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Abstract During the Meiji period, following the opening of Japan's borders to foreign trade, not only did the Japanese lacquer trading system and the market undergo a marked change but so too did almost all the factors affecting collecting activities: the European reception of the aesthetics and history of Japanese lacquer art, the taste of the collectors, the structure of private collections, the systematization of museum collections, along with changes in the art canon in the second half of the nineteenth century. The patterns of collecting Japanese lacquer art in the second half of the nineteenth century cannot be understood in depth without discussing shortly its preliminaries in the seventeenth and eighteenth centuries, focusing also on the art historical reception of Japanese lacquer in Europe. Supplementary material relating to this article in the form of a list of dealers and distributors of lacquer in Japan during the Meiji period (1868–1912) is available online.
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Bincsik, Monika, Shinya Maezaki, and Kenji Hattori. "Digital archive project to catalogue exported Japanese decorative arts." International Journal of Humanities and Arts Computing 6, no. 1-2 (March 2012): 42–56. http://dx.doi.org/10.3366/ijhac.2012.0037.
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In Europe, Japanese ceramic and lacquer objects have been collected and used as interior decoration since the early seventeenth century. In the nineteenth century, the worldwide fashion for Japonisme generated an extensive trade in various Japanese decorative arts. Consequently, museums and private collections all over the world have rich holdings of Japanese decorative arts. Despite their popularity and profound influence on Western applied arts, the systematic research of Japanese decorative arts in Western collections is backward compared to the investigation of other art forms. It is actually difficult to gain access to the objects scattered in numerous collections or to achieve high-quality images, not to mention that there are only a few specialists capable of documenting the objects. Generally, that is why there are only very few online databases dedicated to decorative arts. The Art Research Centre, Ritsumeikan University (Kyoto, Japan), has developed databases of various Japanese cultural assets, tangible as well as intangible art forms and, based on the expertise in developing scholarly databases, has launched online image databases of three-dimensional art objects. The purpose of the project is to advance searchable, academic databases and to foster international cooperation between researchers and students of Japanese art by sharing high-quality images on the Web.
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Duarte, Adelaide. "The Periphery Is Beautiful: The Rise of the Portuguese Contemporary Art Market in the 21st Century." Arts 9, no. 4 (November 9, 2020): 115. http://dx.doi.org/10.3390/arts9040115.
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The aim of this article is to characterise the rise of the Portuguese contemporary art market since the beginning of the 21st century, within the broader context of the global contemporary art market. Against a theoretical backdrop of the globalisation of markets for contemporary art and the concept of the periphery, I will analyse Lisbon’s art scene as a local phenomenon that is looking for an international recognition. In doing so, I am focusing on two working hypotheses. The first relates to the efforts made by the gallery sector to raise the international profile of its artists, giving them sought-after widespread recognition, which encompasses a historical perspective on the situation and a prominent role for the younger generation of gallerists. The second intends to observe the role played by private collectors and their contributions towards boosting the art scene, assembling their contemporary art collections and making them available to the public. I conclude that this has led to an upsurge in the contemporary art market in connection with the growing number of validating structures, museums, and art centres, due mainly to the fact that the shortcomings of the public sector are being made up for by private initiatives.
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Grama, Emanuela. "Arbiters of Value: The Nationalization of Art and the Politics of Expertise in Early Socialist Romania." East European Politics and Societies: and Cultures 33, no. 3 (January 24, 2019): 656–76. http://dx.doi.org/10.1177/0888325418821425.
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In 1948, immediately after the Communist Party came to power in Romania, state officials commissioned a group of art experts to radically transform the existing public and private art collections into a national system of museums. These professionals became the new regime’s arbiters of value: the ultimate authority in assessing the cultural and financial value of artwork, and thus deciding their fate and final location. Newly available archival evidence reveals the specific strategies that they employed, and the particular political needs of the state they were able to capitalize on in order to survive and even thrive under a regime that, in principle, should have disavowed them. Even though many of them had professionally come of age during the interwar period, the art experts managed to make themselves indispensable to the new state. They functioned as a pivotal mediator between state officials and a broader public because they knew how to use the national network of museums to put the new state on display. Through the rearrangement of public and private collections across the country, and the centralization of art in museums, they produced a particular “order of things” meant not only to entice the public to view the socialist state as the pinnacle of progress and as a benefactor to the masses but also to validate their expertise and forge a new political trajectory for themselves. The strategic movement of art objects that they orchestrated reveals the material and spatial dimensions of state-making in early socialism.
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Fetter, Bruna. "O PAPEL DO MERCADO NA LEGITIMAÇÃO ARTÍSTICA E ALGUNS REFLEXOS PARA HISTÓRIAS DA ARTE EM CONSTRUÇÃO / The role of the market for artistic legitimation and some reflexes for art histories under construction." arte e ensaios 26, no. 40 (December 2, 2020): 173–83. http://dx.doi.org/10.37235/ae.n40.12.
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O mundo contemporâneo apresenta uma série de desafios para o sistema da arte. Mudanças econômicas, sociais, culturais e organizacionais na década passada produziram um mercado global de arte cuja influência já atinge desde a produção artística à programação de importantes instituições. O número de museus privados cresce, enquanto instituições públicas não possuem verba para investir em novas aquisições para suas coleções. Nesse cenário, nos perguntamos: em 50 ou 100 anos, o que estará legitimado nas coleções institucionais referentes à atualidade? Onde estarão as obras mais significativas dos artistas brasileiros contemporâneos? Quem serão os artistas brasileiros mais reconhecidos? Quais critérios estéticos estão sendo legitimados através dos mecanismos dessa nova institucionalização no Brasil? Quais narrativas acompanharão a historicizacão da arte contemporânea brasileira? Que papel o mercado e os colecionadores privados têm desempenhado na definição de histórias da arte em construção?Palavras-chave: Mercado de arte; Legitimação; Papel do colecionador; História da arte; Arte brasileira.Abstract:The contemporary world presents a series of challenges for the art system. Economic, social, cultural and organizational changes in the past decade have produced a global art market whose influence already reaches from artistic production to the programming of important institutions. The number of private museums grows, while public institutions do not have funds to invest in new acquisitions for their collections. In this scenario, we ask ourselves: in 50 or 100 years, what will be legitimized in the institutional collections for today? Where are the most significant works by contemporary Brazilian artists? Who will be the most recognized Brazilian artists? What aesthetic criteria are being legitimized through the mechanisms of this new institutionalization in Brazil? Which narratives will accompany the historicization of contemporary Brazilian art? What role have the market and private collectors been playing in shaping art histories under construction?Keywords: Art market; Legitimation; Collector's role; Art history; Brazilian art.
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Marks, P. "The ethics of art dealing." International Journal of Cultural Property 7, no. 1 (January 1998): 116–27. http://dx.doi.org/10.1017/s0940739198770109.
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The ethics of dealing in antiquities may be discussed in two parts: first, the ethical standards that govern the trade and its relation to clients, and second, the new legal standards that affect dealers and collectors arising from political ambitions in the international relations between source and market nations. Friction between these competing interests began with the ratification of the UNESCO Convention in 1972 and the passage of the Cultural Property Implementation Act in 1983. Unrealistic political approaches to the illicit trade in antiquities have exacerbated rather than solved the problem. A resolution of the conflicts, contradictions, and ambiguities of the present situation can be achieved by stressing the safety of objects and archaeological sites over partisan goals. A satisfactory denouement can be achieved through a partnership between source countries and the market, through an abandonment of retentionist export controls, and through the establishment of an open, free, and rational coalition. Any solution to present difficulties ought to acknowledge the value of continuing to collect and preserve antiquities in private and public collections.
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Bell, Catherine. "Worshiping the Ancestors: Chinese Commemorative Portraits. By Jan Stuart and Evelyn S. Rawski. [Washington, DC and Stanford, CA: Freer Gallery of Art and the Arthur M. Sackler Gallery in association with Stanford University Press, 2001. 216pp. $75.00. ISBN 08047 4262 6.]." China Quarterly 173 (March 2003): 214–51. http://dx.doi.org/10.1017/s000944390343012x.
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This lovely book accompanies a show of ancestor portraits from the mid-15th to the 20th century held at the Smithsonian's Arthur M. Sackler Gallery in 2001. The Sackler's recently acquired collection, supplemented for the show with contributions from the Freer Gallery and private collections, consists of 85 paintings depicting mostly noble and upper-class men and women, probably sold by families caught in the disruptions of the late Qing.