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Journal articles on the topic 'Springfield Museum of Art'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Haskell, Heather R. "The Horace Smith Collection of Plaster Casts." Sculpture Review 51, no. 4 (2002): 14–17. http://dx.doi.org/10.1002/j.2632-3494.2002.tb00202.x.

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The George Walter Vincent Smith Art Museum opened to the citizens of Springfield, Massachusetts, in 1896. The museum, modeled after an Italian palazzo, houses the large decorative arts collection of George Walter Vincent Smith (1832–1923) and his wife, Belle Townsley (1845–1928). Smith served as the museum's first curator and combined his vast, diverse collection into consciously assembled still‐life arrangements. Over the years, one gallery within the museum remained devoted to a single art form—the plaster cast.

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2

Mühlberger, R. "The George Walter Smith art museum, Springfield, MA Afterword." Museum Management and Curatorship 6, no. 4 (1987): 371–72. http://dx.doi.org/10.1016/0260-4779(87)90018-5.

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3

Mortimer, Caroline. "The George Walter Vincent Smith art museum, Springfield, MA: I: The building and its decoration." International Journal of Museum Management and Curatorship 6, no. 4 (1987): 353–70. http://dx.doi.org/10.1080/09647778709515087.

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4

Mortimer, C. "The George Walter Vincent Smith art museum, Springfield, MA I: The building and its decoration." Museum Management and Curatorship 6, no. 4 (1987): 353–70. http://dx.doi.org/10.1016/0260-4779(87)90017-3.

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5

Simonneau, Karinne. "Diana, Callisto and Arcas: a matrimonial panel from the Springfield Museum of Fine Arts." Renaissance Studies 21, no. 1 (2007): 44–61. http://dx.doi.org/10.1111/j.1477-4658.2007.00346.x.

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6

Haynes, Gary. "Late Quaternary Mammalian Biogeography and Environments of the Great Plains and Prairies. Russell W. Graham, Holmes A. SemkenJr. , and Mary Ann Graham, editors. Scientific Papers Vol. XXII. Illinois State Museum, Springfield, 1987. xiv + 491 pp., appendix, index. $21.00 (paper)." American Antiquity 54, no. 3 (1989): 661. http://dx.doi.org/10.2307/280797.

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7

Gifford-Gonzalez, Diane. "Beamers, Bobwhites, and Blue-Points: Tributes to the Career of Paul W. Parmalee. James R. Purdue, Walter E. Klippel, and Bonnie W. Styles, editors. Scientific Papers Vol. XXIII, Illinois State Museum, and Report of Investigations No. 52, Department of Anthropology, University of Tennessee. Illinois State Museum, Springfield, 1991. ix + 436 pp., figures, tables, appendixes, literature cited. $19.50 (paper)." American Antiquity 59, no. 3 (1994): 566–67. http://dx.doi.org/10.2307/282474.

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8

Guarino, Regina. "The Art Museum." McNeese Review 60, no. 1 (2023): 121–25. http://dx.doi.org/10.1353/mcn.2023.a925635.

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9

Yuliasari, Yuliasari, and Yeptadian Sari. "Penerapan Konsep Arsitektur Kontemporer pada Art 1 : New Museum and Art Space." Journal of Architectural Design and Development 1, no. 1 (2020): 37. http://dx.doi.org/10.37253/jad.v1i1.718.

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Museum merupakan bangunan yang diperuntukkan sebagai tempat untuk pameran benda-benda karya seni yang memiliki nilai sejarah, seni dan ilmu. Namun pada kenyataannya, museum tidak lagi dianggap tempat penting karena kondisi beberapa museum di Indonesia kurang diperhatikan. Sehingga tingkat kunjungan masyarakat ke museum semakin menurun. Berdasarkan latar belakang tersebut maka perlu penerapan arsitektur kontemporer agar tempat yang tadinya dianggap demikian menjadi tempat yang menarik untuk dikunjungi masyarakat tanpa mengenal umur dan kalangan. Penelitian ini bertujuan untuk memahami penerapan

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Ortíz Triviño, Jorge Eduardo, and Rodolfo Cipagauta. "A virtual art museum." Ingeniería e Investigación 26, no. 3 (2006): 78–84. http://dx.doi.org/10.15446/ing.investig.v26n3.14754.

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This paper presents some indispensable technical aspects for designing an art museum based on virtual reality (VR) technology. A VR setting can be produced which is able to submerge users having a basic immersion level in a didactic, entertaining, cultural and artistic experience. Specialised tools, object-orientated programming language and low-cost peripheral equipment are suggested so that the VR experience can be developed and executed on reasonably-priced computers. The VR concept, characteristics, components, application and systems are analysed, as is the design for implementing it.

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11

Tollfree, Eleanor. "Art and the Museum." Art Book 8, no. 2 (2001): 3–5. http://dx.doi.org/10.1111/1467-8357.00235.

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12

Carrier, David. "The Art Museum Today." Curator: The Museum Journal 54, no. 2 (2011): 181–89. http://dx.doi.org/10.1111/j.2151-6952.2011.00080.x.

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13

Guffey, Elizabeth. "The Disabling Art Museum." Journal of Visual Culture 14, no. 1 (2015): 61–73. http://dx.doi.org/10.1177/1470412914565965.

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14

Blair, Jennifer. "Art Museum Image Gallery." Charleston Advisor 21, no. 3 (2020): 15–19. http://dx.doi.org/10.5260/chara.21.3.15.

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Art Museum Image Gallery provides access through a subscription to museum collections of over 156,000 high-quality images sourced from the Art Archive of Picture Desk, Inc. and includes paintings, prints, ceramics, sculpture, and other art. The images span from 3000 B.C. to the present, with an emphasis on cultural and area studies. The price varies and is based on subscribers’ overlap with packages and other factors unique to institution needs, but primarily is on bracket determined by number of users. The interface could use improvement in its limiters. But individual item displays surpass s

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15

Offringa, Dirkie, and Suzelle Botha. "The Pretoria Art Museum." de arte 33, no. 57 (1998): 58–60. http://dx.doi.org/10.1080/00043389.1998.11761269.

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16

van Deventer, Anriet. "The Pietersburg Art Museum." de arte 33, no. 57 (1998): 61–62. http://dx.doi.org/10.1080/00043389.1998.11761270.

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17

Stylianou-Lambert, Theopisti. "Perceiving the art museum." Museum Management and Curatorship 24, no. 2 (2009): 139–58. http://dx.doi.org/10.1080/09647770902731783.

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18

Hebb, Timothy Tore. "Kalmar Museum of Art." Architectural Design 78, no. 6 (2008): 134–35. http://dx.doi.org/10.1002/ad.791.

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19

Hughston, Milan R. "NATIONAL MUSEUM OF AMERICAN ART, SMITHSONIAN INSTITUTION. National Museum of American Art." Art Documentation: Journal of the Art Libraries Society of North America 16, no. 2 (1997): 53–54. http://dx.doi.org/10.1086/adx.16.2.27948904.

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20

Lee, Jungwon. "Why a Contemporary Art Museum?: The Museum Experience through Contemporary Art Exhibition." International Journal of the Inclusive Museum 17, no. 2 (2024): 51–71. http://dx.doi.org/10.18848/1835-2014/cgp/v17i02/51-71.

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21

Vossen-Delbrück, Else. "Libraries of art museums." Art Libraries Journal 12, no. 1 (1987): 12–13. http://dx.doi.org/10.1017/s0307472200004983.

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With one exception Dutch art museum libraries date from the second half of the 19th century or later. In general, museum libraries reflect the scope of the museum they serve and exist primarily for the use of museum staff although the public are also admitted. Most now use the same cataloguing rules; manual catalogues are still commonplace but are likely to be displaced by the computer.

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22

Atkinson, Jeanette, Tracy Buck, Simon Jean, et al. "Exhibition Reviews." Museum Worlds 1, no. 1 (2013): 206–40. http://dx.doi.org/10.3167/armw.2013.010114.

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Steampunk (Bradford Industrial Museum, UK)Framing India: Paris-Delhi-Bombay . . . (Centre Pompidou, Paris)E Tū Ake: Māori Standing Strong/Māori: leurs trésors ont une âme (Te Papa, Wellington, and Musée du quai Branly, Paris)The New American Art Galleries, Virginia Museum of Fine Arts, RichmondScott's Last Expedition (Natural History Museum, London)Left-Wing Art, Right-Wing Art, Pure Art: New National Art (Museum of Modern Art, Warsaw)Focus on Strangers: Photo Albums of World War II (Stadtmuseum, Jena)A Museum That Is Not: A Fanatical Narrative of What a Museum Can Be (Guandong Times Museum, G

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23

Imajo, Motoi. "New lighting for museum and museum of art." JOURNAL OF THE ILLUMINATING ENGINEERING INSTITUTE OF JAPAN 74, Appendix (1990): 177. http://dx.doi.org/10.2150/jieij1980.74.appendix_177.

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24

Miller, Jack, and Laurie B. Reese. "MUSEUM TOL: Confessions of an Art Museum Librarian." Art Documentation: Journal of the Art Libraries Society of North America 6, no. 4 (1987): 168–69. http://dx.doi.org/10.1086/adx.6.4.27947827.

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25

Jensen, Kirsten, and Karen Grøn. "The Kaleidoscope of Culture: expanding the museum experience and the museum narrative by inviting visitors into the curatorial process." Museum and Society 13, no. 3 (2015): 385–95. http://dx.doi.org/10.29311/mas.v13i3.337.

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Traditional art museum exhibitions are planned according to art-historical elements. At Trapholt – a museum of modern Danish art, design and applied art in Denmark, we are interested in exploring what happens when ordinary visitors are invited to curate personal exhibitions in the museum space. This paper analyses the project The Kaleidoscope of Culture, where people with no art historical background were invited to curate exhibitions based on the Trapholt collection of art and their own cultural backgrounds and experiences. The main argument is that, by allowing these personal voices in the m

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26

Carrier, David. "THE ART MUSEUM AS A WORK OF ART: THE J. PAUL GETTY MUSEUM." Source: Notes in the History of Art 22, no. 2 (2003): 36–44. http://dx.doi.org/10.1086/sou.22.2.23206841.

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27

Eskilson, S. "Museum Movies: The Museum of Modern Art and the Birth of Art Cinema." Journal of American History 93, no. 1 (2006): 267–68. http://dx.doi.org/10.2307/4486181.

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28

Rasmussen, Briley. "Museum as Métier: Victor D'Amico and the Museum of Modern Art." Journal of Aesthetic Education 57, no. 4 (2023): 60–75. http://dx.doi.org/10.5406/15437809.57.4.04.

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Abstract Although Victor D'Amico's pedagogy and legacy are well known within the field of art education, discussions of his work often disregard the context in which he worked for over thirty years—The Museum of Modern Art. This essay examines D'Amico's key projects, considering how they were supported by and in collaboration with his museum colleagues. The result was a unique legacy steeped in a pedagogy of modern art and museum education. As a conclusion, this essay looks at the training of art educators and museum educators as requiring different kinds of foundational work and an acknowledg

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29

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

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

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30

Umralieva, L. M., and A. K. Sabyrova. "Application of the Virtual Museum Method in the Process of Analyzing Applied Art and Creative Works." Iasaýı ýnıversıtetіnіń habarshysy 127, no. 1 (2023): 35–363. http://dx.doi.org/10.47526/2023-1/2664-0686.29.

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The article presents the results of the research and the art history, educational possibilities of the virtual museum method. The exhibits of art in the museum are classified depending on consumer, technical, form, machine-tool features. For residents and students living away from the centers of the Museum of Art, the art history opportunities and needs of the virtual museum are open. The features of the art exhibits in the museum, criteria and methods of their analysis, content, program, methods of presentation of works of art to future teachers are presented. The virtual museum is recognized

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31

Bračun Sova, Rajka. "Art Appreciation as a Learned Competence: A Museum-based Qualitative Study of Adult Art Specialist and Art Non-Specialist Visitors." Center for Educational Policy Studies Journal 5, no. 4 (2015): 141–57. http://dx.doi.org/10.26529/cepsj.121.

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Since Bourdieu, it has been argued that art appreciation requires “knowledge”. The focus of this qualitative study was to examine art appreciation as a learned competence by exploring two different groups of museum visitors: art specialists and art non-specialists. The research was conducted at Moderna galerija in Ljubljana. Twenty-three adults were recruited and accompanied during their visit to the museum. Participants were requested to “think out loud”, which meant to talk about what they saw, thought, and felt about the artworks. There was a short interview conducted with each participant

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32

Petrosyan, Lusine. "MONUMENTAL ART IN MUSEUM DESIGN." JOURNAL FOR ARMENIAN STUDIES 3, no. 66 (2025): 175–91. https://doi.org/10.24234/journalforarmenianstudies.v3i66.130.

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As a result of the conducted research, it can be asserted that the use of monumental art in museums unites various art forms - mural, mosaic, sculpture, and others that integrate into the architectural environment and create a unified, powerful aesthetic and ideological impact. It also serves educational and ideological purposes, especially in the preservation of cultural values and historical memory among the public. The application of monumental art in museum design highlights our cultural heritage and history, making them impressive and educational. The design of museums through monumental

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33

Holt, Sharon Ann, Sophie Kazan, Gloriana Amador, et al. "Exhibitions." Museum Worlds 6, no. 1 (2018): 125–57. http://dx.doi.org/10.3167/armw.2018.060110.

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Exhibition Review EssaysThe National Museum of African American History and Culture, Washington, D.C.After Darkness: Social Impact and Art InstitutionsExhibition ReviewsBehind the Red Door: A Vision of the Erotic in Costa Rican Art, The Museum of Costa Rican Art, San José“A Positive Future in Classical Antiquities”: Teece Museum, University of Canterbury, ChristchurchHeavenly Bodies: Fashion and the Catholic Imagination: The Metropolitan Museum of Art, New YorkAnche le Statue Muoiono: Conflitto e Patrimonio tra Antico e Contemporaneo, Museo Egizio, Fondazione Sandretto Re Rebaudengo, Musei Rea

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34

Wasielewski, Amanda. "The Museum in Quarantine: Architecture, Experience and the Virtual Museum." Journal of Curatorial Studies 11, no. 1 (2022): 4–24. http://dx.doi.org/10.1386/jcs_00053_1.

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The effects of the COVID-19 pandemic, beginning in early 2020, were felt across all industries and public institutions, including art museums. Shuttered art museums sought to maintain public interest in their collections and exhibitions by promoting existing online tools, such as the virtual art museum tours hosted by Google Arts & Culture. This article analyses these tours from the perspective of museology and architecture and argues that, rather than a form of virtual reality, these tours are a peculiar kind of image database. As such, they are part of Google’s growing efforts towards ma

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35

Yang, Yeon Kyoung. "A Study of Art Museums Convergence Education Guidelines Model for Social Improvement and Talents Development of Mild Autism Spectrum Disability." Korea Institute of Design Research Society 8, no. 1 (2023): 164–77. http://dx.doi.org/10.46248/kidrs.2023.1.164.

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In order to establish an effective museum convergence education guide and model, this study first sought ways to redefine the local and social role of art museums for the people with autism developmental disabilities. Second, the effectiveness of art enjoyment, mental recovery, and self-exploration were analyzed, and through the participation of family guardians in art museum programs. Third, various attempts and new role implications were derived to expand the social convergence platform of art museum exhibition-linked education. Fourth, an integrated model such as communication, healing, emp

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36

Stone, Denise L. "The Secondary Art Specialist and the Art Museum." Studies in Art Education 35, no. 1 (1993): 45. http://dx.doi.org/10.2307/1320837.

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37

Nazarov, Anton Sergeevich. "ART REALM OF TODAY’S MUSEUM AND ART MEDIATION." Sphere of Culture, no. 2 (2022): 55–64. http://dx.doi.org/10.48164/2713-301x_2022_8_55.

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38

Lee, Eunjeok. "Art Museum Education to Form Art Subject Competencies." Korean Association For Learner-Centered Curriculum And Instruction 18, no. 9 (2018): 955–77. http://dx.doi.org/10.22251/jlcci.2018.18.9.955.

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39

Stone, Denise Lauzier. "The Art Museum and the Elementary Art Specialist." Journal of Museum Education 17, no. 1 (1992): 9–11. http://dx.doi.org/10.1080/10598650.1992.11510190.

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40

Graham, Stephen Valambras. "Discovering art online: Digitising university art museum collections." Humanities Research XX, no. 1 (2024): 201–21. http://dx.doi.org/10.22459/hr.xx.01.2024.13.

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41

Crampton, Sharon. "The art collection of Oliewenhuis Art Museum, Bloemfontein." de arte 37, no. 65 (2002): 98–101. http://dx.doi.org/10.1080/00043389.2002.11876993.

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42

Jacoby, Thomas. "ETHIOPIAN ART: THE WALTERS ART MUSEUM. Kelly Holbert." Art Documentation: Journal of the Art Libraries Society of North America 21, no. 2 (2002): 46. http://dx.doi.org/10.1086/adx.21.2.27949210.

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43

Moomaw, Kate. "Collecting participatory art at the Denver Art Museum." Studies in Conservation 61, sup2 (2016): 130–36. http://dx.doi.org/10.1080/00393630.2016.1190904.

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44

Barbosa, Ana Mae Tavares Bastos. "Art education in a museum of contemporary art." Museum International 41, no. 1 (1989): 45–49. http://dx.doi.org/10.1111/j.1468-0033.1989.tb00757.x.

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45

Darish, Patricia J. "African Art at the Indiana University Art Museum." African Arts 20, no. 3 (1987): 30. http://dx.doi.org/10.2307/3336475.

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46

Sepessy, Joan, and William B. Walker. "MUSEUM TOL: Librarians in The Metropolitan Museum of Art." Art Documentation: Journal of the Art Libraries Society of North America 5, no. 3 (1986): 125. http://dx.doi.org/10.1086/adx.5.3.27947625.

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47

Smith, Donna B. "National Museum of American Art9839National Museum of American Art." Electronic Resources Review 2, no. 4 (1998): 43–44. http://dx.doi.org/10.1108/err.1998.2.4.43.39.

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48

Schleicher, Alexander. "Museum of Contemporary Art by Artists." Advanced Engineering Forum 12 (November 2014): 79–87. http://dx.doi.org/10.4028/www.scientific.net/aef.12.79.

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Museum is type of building which among architectural work occupies a special place by its distinct function of documenting existence and progress of humankind, society and their environment. This is reflected in the outstanding architecture of these buildings. 95% of museum buildings arose after World War II. This authorizes us to talk about the museum as a “20th century phenomenon“ especially of the second half of it. The unprecedented growth of museums after World War II – most of them are museums of art, especially contemporary art – entitles a question which is often discussed: What is an

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49

Pane, Imam Faisal, and Rahmita Dewi Lubis. "Museum and Gallery of Contemporary Art Medan (Contemporary Architecture)." International Journal of Architecture and Urbanism 1, no. 1 (2017): 82–90. http://dx.doi.org/10.32734/ijau.v1i1.265.

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The Museum is a place to see showpieces as art, artifacts, and other cultural relics. The purpose of the museum is not only for education but also as entertainment. This design takes the case study of a contemporary art museum. This museum has a gallery, which function is to sell and auction the contemporary art. This Museum and Gallery designed with contemporary architecture style, suitable for the main function of the building which is museum and gallery of contemporary art. The museum and gallery will also help to develop the tourism in Medan and to be an education facility to the public. T

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50

Mihalache, Irina. "Art Museum Dining: The History of Eating Out at the Art Gallery of Ontario." Museum and Society 15, no. 3 (2018): 287–300. http://dx.doi.org/10.29311/mas.v15i3.2543.

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Using archival materials from the Art Gallery of Ontario (AGO), this article recreates the culinary history of the art museum and advocates for the inclusion of food in the literature on art museum history and practice. The AGO, like many other North American art museums, has a rich culinary history, which started with dining events organized by volunteer women’s committees since the 1940s. These culinary programs generated a culinary culture grounded in gourmet ideologies, which became the grounds for the first official eating spaces in the museum in the mid-1970s. Awareness of the museum’s c

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