Log in

Relevant bibliographies by topics / The Royal Art Academy

Contents

Journal articles
Dissertations / Theses
Books
Book chapters
Conference papers
Reports

Academic literature on the topic 'The Royal Art Academy'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'The Royal Art Academy.'

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.

Journal articles on the topic "The Royal Art Academy"

1

Bonehill, J. "British Art History and the Royal Academy." Oxford Art Journal 31, no. 2 (May 30, 2008): 292–94. http://dx.doi.org/10.1093/oxartj/kcn017.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Stallabrass, Julian. "High Art Lite at the Royal Academy." Third Text 12, no. 42 (March 1998): 79–84. http://dx.doi.org/10.1080/09528829808576721.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Chartres, Richard. "A sermon for the Royal Academy of Art." Contact 128, no. 1 (January 1999): 29–30. http://dx.doi.org/10.1080/13520806.1999.11758854.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Tegel, S. "GERMAN ART IN THE TWENTIETH CENTURY AT THE ROYAL ACADEMY." German History 3, no. 1 (January 1, 1986): 38–39. http://dx.doi.org/10.1093/gh/3.1.38.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Tegel, S. "GERMAN ART IN THE TWENTIETH CENTURY AT THE ROYAL ACADEMY." German History 4, no. 3 (January 1, 1986): 38–39. http://dx.doi.org/10.1093/gerhis/4.3.38.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Turpin, John. "Researching Irish art in its educational context." Art Libraries Journal 43, no. 3 (June 18, 2018): 123–26. http://dx.doi.org/10.1017/alj.2018.16.

Full text

Abstract:

Documentary sources for Irish art are widely scattered and vulnerable. The art library of the Royal Hibernian Academy of Arts was destroyed by bombardment during the Rising of 1916 against British rule. The absence of degree courses in art history delayed the development of art libraries until the 1960s when art history degrees were established at University College Dublin, and Trinity College Dublin. In the 1970s the state founded the Regional Technical Colleges all over Ireland with their art and design courses. Modern approaches to art education had transformed the education of artists and designers with a new emphasis on concept rather than skill acquisition. This led to theoretical teaching and the growth of art sections in the college libraries. Well qualified graduates and staff led the way in the universities and colleges to a greater emphasis on research. Archive centres of documentation on Irish art opened at the National Gallery of Ireland, Trinity College and the Irish Architectural Archive. At NCAD the National Irish Visual Arts Archive (NIVAL) became the main depository for documentation on 20th century Irish art and design. Many other libraries exist with holdings of relevance to the history of Irish art, notably the National Library of Ireland, the Royal Irish Academy, the Royal Dublin Society, the Royal Society of Antiquaries of Ireland and the National Archives.

APA, Harvard, Vancouver, ISO, and other styles

7

Smeenk, Chris. "Art libraries of educational and research institutions." Art Libraries Journal 12, no. 1 (1987): 5–7. http://dx.doi.org/10.1017/s030747220000496x.

Full text

Abstract:

Art history in the Netherlands is supported by a number of art libraries in addition to museum libraries, among them the Royal Library at The Hague, the libraries of the Royal Academy of Fine Arts and the Central Research Laboratory for Objects of Art and Science, both at Amsterdam, university libraries, and libraries of Dutch establishments abroad. The combined art collections of these libraries are considerable; access, however, may be facilitated by the Project for Integrated Catalogue Automation (PICA) which aims to improve on the diversity of existing catalogues.

APA, Harvard, Vancouver, ISO, and other styles

8

Dodgson, Neil A. "Engineering Art and Telling Tales: Anish Kapoor at the Royal Academy." Interdisciplinary Science Reviews 41, no. 4 (October 2016): 281–96. http://dx.doi.org/10.1080/03080188.2016.1248672.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Pomeroy, Mark. "The Archives of the Royal Academy of Arts, London." Art Libraries Journal 30, no. 1 (2005): 5–9. http://dx.doi.org/10.1017/s030747220001378x.

Full text

Abstract:

The Academy is one of Britain’s foremost cultural institutions. It is a unique survival of the age of enlightenment, continuing to fulfil the purposes for which it was founded. The Academy is run by artists for the benefit of artists, while providing an elegant venue for ‘the promotion of the arts of design’. The Library of the Royal Academy of Arts is well known, as it is the oldest fine art library in the United Kingdom. The Archives has always lain in comparative shadow, even though it is close to the heart of the institution. This article attempts to place the Archives in context, to describe how the institution has regarded it over time and how it is now being revealed to a wide public.

APA, Harvard, Vancouver, ISO, and other styles

10

Picton, John. "africa95 and the Royal Academy." African Arts 29, no. 3 (1996): 22. http://dx.doi.org/10.2307/3337340.

Full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Dissertations / Theses on the topic "The Royal Art Academy"

1

Soden, Joanna. "Tradition, evolution, opportunism the role of the Royal Scottish Academy in art education, 1826-1910 /." Thesis, Available from the University of Aberdeen Library and Historic Collections Digital Resources, 2006. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?application=DIGITOOL-3&owner=resourcediscovery&custom_att_2=simple_viewer&pid=59750.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Foot, Michelle Elizabeth. "Modern spiritualism and Scottish art between 1860 and 1940." Thesis, University of Aberdeen, 2016. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=230582.

Full text

Abstract:

This thesis is formed from original research into the cultural impact of Modern Spiritualism in Scotland during the late nineteenth and early twentieth century. Until the twenty first century academic scholarship has failed to recognise the historic importance of the Spiritualist movement's widespread popularity and the influence it had on art during this period. The findings of this research provide a new understanding and greater appreciation of art from this time. As academic investigation into Spiritualism's historic significance is largely absent, this study focuses on primary sources from an extensive range of Spiritualist literature, including Spiritualist magazines and newspapers. The number of cited artworks, which were discovered and analysed during this research, support the notion that investigation into Spiritualism's influence during this period is necessary. This thesis is divided into two parts: Part One focuses on artworks by Spiritualists intended for Spiritualist audiences. Chapter 1 outlines a history of the Spiritualist movement in Scotland for the first time in order to establish a context for discussion in the following chapters. Chapters 2, 3 and 4 highlight unknown artworks by Spiritualists, such as Jane Stewart Smith and David Duguid, and analyse how those artists responded to private and public Spiritualism in Scotland. Part Two reveals new interpretations of mainstream Scottish art but which art historians have not previously acknowledged as having Spiritualist associations. In Chapter 5, case studies of members of the Royal Scottish Academy demonstrate that Spiritualism did influence mainstream Scottish artists, such as Alfred Edward Borthwick and George Henry Paulin. Chapter 6 reconsiders the Celtic Revival in Scotland, specifically by re-evaluating current interpretations of John Duncan's work with reference to Duncan's Spiritualism. The final chapter examines war memorials in Scotland as a response to mass social bereavement and Spiritualism's increased popularity during and after the First World War.

APA, Harvard, Vancouver, ISO, and other styles

3

Trodd, Colin. "Formations of cultural identity : art criticism, the National Gallery and the Royal Academy, 1820-1863." Thesis, University of Sussex, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.358796.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Veasey, Melanie. "'Reforming academicians' : sculptors of the Royal Academy of Arts, c. 1948-1959." Thesis, Loughborough University, 2018. https://dspace.lboro.ac.uk/2134/34791.

Full text

Abstract:

Post-war sculpture created by members of the Royal Academy of Arts was seemingly marginalised by Keynesian state patronage which privileged a new generation of avant-garde sculptors. This thesis considers whether selected Academicians (Siegfried Charoux, Frank Dobson, Maurice Lambert, Alfred Machin, John Skeaping and Charles Wheeler) variously engaged with pedagogy, community, exhibition practice and sculpture for the state, to access ascendant state patronage. Chapter One, The Post-war Expansion of State Patronage , investigates the existing and shifting parameters of patronage of the visual arts and specifically analyses how this was manifest through innovative temporary sculpture exhibitions. Chapter Two, The Royal Academy Sculpture School , examines the reasons why the Academicians maintained a conventional fine arts programme of study, in contrast to that of industrial design imposed by Government upon state art institutions for reasons of economic contribution. This chapter also analyses the role of the art-Master including the influence of émigré teachers, prospects for women sculpture students and the post-war scarcity of resources which inspired the use of new materials and techniques. Chapter Three, The Royal Academy as Community , traces the socialisation of London-based art societies whose memberships helped to identify sculptors for potential election to the Royal Academy; it then considers the gifting of elected Academicians Diploma Works. The empirical mapping of sponsorship for elected sculptors is investigated to determine how the organic profile of the Royal Academy s membership began to accommodate more modern sculptors and identifies a petition for change which may have influenced Munnings s speech (1949). Chapter Four, The Royal Academy Summer Exhibitions , explores the preparatory rituals of the Selection and Hanging Committees, processes for the selection of amateurs works, exhibit genres and critical reception. Moreover it contrasts the Summer Exhibitions with the Arts Council s Sculpture in the Home exhibition series to identify potential duplications. Chapter Five, Sculpture for the State , considers three diverse conduits facilitating the acquisition of sculpture for the state: The Chantrey Collection administered by the Royal Academy and exhibited at the Tate Gallery; the commissioning of Charles Wheeler s Earth and Water (1951 1953) for the new Ministry of Defence, London; and the selection of Siegfried Charoux s The Neighbours (1959) for London County Council s Patronage of the Arts Scheme . For these sculptures, complex expressions of Britishness are considered. In summary this thesis argues that unfettered by their allegiance to the Royal Academy of Arts its sculptors sought ways in which they might participate in the unprecedented opportunities that an expanded model of state patronage presented.

APA, Harvard, Vancouver, ISO, and other styles

5

Gillies, Donald Robert. "Perception of change in education, training and development in the NSW Royal Police Service, post the Wood Royal Commission /." Electronic version, 2005. http://adt.lib.uts.edu.au/public/adt-NTSM20060822.160739/index.html.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

James, Pamela J., University of Western Sydney, of Arts Education and Social Sciences College, and School of Humanities. "The lion in the frame : the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939." THESIS_CAESS_HUM_James_P.xml, 2003. http://handle.uws.edu.au:8081/1959.7/567.

Full text

Abstract:

This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections was determined by a social elite, which was, at its heart, British. Its collective taste was predicated on models established in Great Britain and on traditions and on connoisseurship. This visual instruction in the British ideal of culture, as seen through the Academy, was regarded as a worthy aspiration, one that was at once both highly nationalistic and also a tool of Empire unity. This ideal was nationalistic in the sense that it marked the desire of these Boards to claim for the nation membership of the world's civil society, whilst also acknowleging that the vehicle to do so was through an enhanced alliance with British art and culture. The ramifications of an Empire-first aesthetic model were tremendous. The model severely constrained taste in domestic art, limited the participation of indigenous peoples and shaped the reception of modernism.
Doctor of Philosophy (PhD)

APA, Harvard, Vancouver, ISO, and other styles

7

Lidman, Charlotte. "Konstes fria studie : En undersökning av förändringarna i avgångselevernas examensutställningar vid Kungliga Konsthögskolan 1962-2011." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-276865.

Full text

Abstract:

The aim of the essay is to examine how the student exhibitions of the Royal University college of Fine Arts in Stockholm has changed between 1962-2011, and what these changes can depend on. The questions are: What are the changes in the choice of examination work for the students of the Royal University college of Fine Arts, and what can they depend on? Is the school adjusting their education to the surrounding art world, and in what way is that noticeable? By studying the catalogs from the exhibitions, newspaper reviews and other literature, a shorter conclusion is given concerning the art world, the study situation and the student’s choices of examination works the affected years. The works has gone from being a submission of the study fields during the year, to becoming free projects where stories about important subjects are told. Pressures on the school from students and teachers to be able to keep up with the surrounding view of art in the society that is constantly changing, together with reforms and investigation has led to these changes.

APA, Harvard, Vancouver, ISO, and other styles

8

Darlington, Anne Carol. "The Royal Academy of Arts and its anatomical teachings : with an examination of art-anatomy practices during the eighteenth and early nineteenth centuries in Britain." Thesis, UCL Institute of Education (IOE), 1990. http://discovery.ucl.ac.uk/10006566/.

Full text

Abstract:

The thesis investigates the artistic and anatomical practices taking place between circa 1768 and 1810, primarily in the context of the Royal Academy of Arts. In focusing on the educational components of anatomical knowledge, the dissertation examines the style, methodology and the various types of private and public teaching available to artists and medical students during this period. In Chapter One, I examine the social, professional and demographic factors uniting artists and medical men. The social and professional divide that at one time kept such professions apart, was now being filled by informal gatherings. Neither artists nor anatomists however, were solely reliant on venues like the Royal Academy of Arts and private anatomy theatres. Such meetings often began in and around London's social milieu: the coffee-house culture. In Chapter Two, I go on to look at the curriculum used in the Royal Academy Schools. An artist pursuing studies in the human figure would attend life classes, anatomy lectures, dissections, and teachings on physiognomy. The Academy Schools were not immune to the medical and scientific influences of the eighteenth and early nineteenth centuries; the theories and practices of medical men infiltrated artistic training. Consequently, a number of private anatomy schools in the metropolis were open to both medical and art students. Other private drawing and dissecting classes had their own anatomical museums attached, providing art students with the opportunity of painting from pathological specimens. In Chapters Three and Four, I proceed to explore the part played by William Hunter, an obstetrician, anatomist and the first professor of anatomy at the Royal Academy of Arts. Hunter and Joshua Reynolds were in agreement concerning anatomical instruction for artists. It was an education consisting of a thorough knowledge of the human body, and the ability to translate such anatomical information on to a canvas. Discussed here also is Hunter's large obstetrical atlas, and the life-size painted panels of Gautier D'Agoty. I then proceed in Chapter Five, to examine the Plaister Academy. I examine its students, the curriculum and its teachers. While at the Royal Academy, William Hunter had access to the Plaister Academy and, as I suggest, it is here that he made his three-dimensional plaster of paris models of female anatomies. As a whole, it is the aim of this dissertation to have thoroughly explored the links between artists and anatomists in England between 1768 and 1810, and to have documented the rise and nature of art education in this period.

APA, Harvard, Vancouver, ISO, and other styles

9

Dupont, Erika. "Présence et réception des artistes anglais à Paris durant l'entre-deux-guerres." Thesis, Lille 3, 2019. http://www.theses.fr/2019LIL3H044.

Full text

Abstract:

Après la Première Guerre mondiale, des artistes affluent du monde entier vers la France, en particulier vers Paris, qui devient le principal foyer artistique européen durant l'entre-deux-guerres et qui voit se développer des courants mêlant tradition et avant-garde. C'est à cette période qu'immigrent de nombreux artistes originaires des pays du sud et de l'est de l'Europe (surtout pour des raisons sociales, religieuses et politiques, conséquences, notamment, des pogroms juifs et de la révolution russe). Paris, phare culturel du monde à l'époque, attire de plus en plus d'artistes qui rejoignent ceux déjà présents depuis le début du XXème siècle, tels Picasso, Braque ou Matisse. Entre temps, le centre artistique de la ville a migré du quartier de Montmartre vers celui de Montparnasse, qui compte parmi les artistes les plus représentatifs l'italien Modigliani, le suisse Giacometti, l'espagnol Dali, le russe Soutine, le biélorusse Chagall, ou encore le roumain Brancusi.Certains sont plus attirés par le Nouveau Monde et rejoignent Duchamp à New York, tandis que peu d'artistes américains émigrent vers Paris : ce sont plutôt des écrivains américains qui font le voyage inverse et s'installent dans la Ville Lumière (on pense à Ernest Hemingway ou Ezra Pound). Mais qu’en est-il des artistes anglais à Paris ? C’est le sujet de notre travail de recherche : qui sont, précisément, les artistes qui migrent ? Quelles sont leurs motivations ? Quel type d'œuvres ont-ils produit ? Quelles ont été leurs relations avec le milieu artistique et le public parisiens ? Quels échanges franco-anglais sont issus de cette présence anglaise en France ?
There were many English artists in France between 1919 and 1939. Yet this has been neglected. This project will do explore the English presence on the Parisian artistic scene and the reception of English artists by their French counterparts.After the First World War, artists came from the entire world to Paris. It became the main European artistic centre during the interwar period, where several artistic movements developed. Some of these artists came from Southern and Eastern Europe, often for social, religious and political issues.Paris attracted more and more artists who joined those who had been there since the beginning of the 20th Century – Pablo Picasso, Georges Braque or Henri Matisse, among others. At the same time, the artistic centre of Paris moved from Montmartre to Montparnasse, which gathered the Italian Amedeo Modigliani, the Swiss Alberto Giacometti, the Spanish Salvador Dali, the Russian Chaïm Soutine, the Belarusian Marc Chagall or even the Romanian Constantin Brancusi. Some artists preferred the appeal of the New World and joined Marcel Duchamp in New York, although relatively few American artists moved to Paris. French scholars have taken an interest in the period: the Franco-Russian artistic cooperation in Paris has been recently analysed by Tatiana Trankvillitskaia, while the Belgian presence is being studied by Céline De Potter.However, English artists in Paris have yet to be studied. Their contribution to artistic life or the impact of Paris on the English art at that time have been neglected by French historians.This current project traces the details of that English presence in France during the interwar years: who were the artists that came over? What was their subject matter? What kind of works did they produce? What were their relationships both with the artistic milieu and the Parisian public? What was the impact of French works on English art? The goal is to define the place of English artists within the “École de Paris.” Who were they and what were they attracted to?

APA, Harvard, Vancouver, ISO, and other styles

10

James, Pamela J. "The lion in the frame the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939 /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20040416.135231/index.html.

Full text

Abstract:

Thesis (Ph.D.) -- University of Western Sydney, 2003.
"A thesis presented to the University of Western Sydney in partial fulfilment of the requirements for the degree of Doctor of Philosophy" Includes bibliography.

APA, Harvard, Vancouver, ISO, and other styles

More sources

Books on the topic "The Royal Art Academy"

1

Anglesea, Martyn. Royal Ulster Academy of Arts diploma collection. Belfast: RUA Trust Ltd., 2000.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

2

Royal Academy of Arts (Great Britain). Royal Academy of Arts annual report, 2001. London: Royal Academy of Arts, 2001.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

3

Anglesea, Martyn. Royal Ulster Academy of Arts diploma collection. Belfast: RUA Trust Ltd., 2000.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

4

Art, Royal Cambrian Academy of. Royal Cambrian Academy of Art: 1882-2002 = Academi Frenhinol Gymreig: 1882-2002. Conwy: Royal Cambrian Academy of Art, 2002.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

5

Royal Academy of Arts (Great Britain), ed. Zoo Art Fair: Royal Academy of Arts, 6 Burlington Gardens, London. London: Zoo Art Enterprises, 2007.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

6

Arts, Royal Academy of. The two hundred and twenty first Royal Academy summer exhibition 19892. London: Royal Academy, 1989.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

7

Miller, Donald. The Royal West of England Academy, Bristol: An essay in patronage. Bristol: The Council for the Royal West of England Academy, 1995.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

8

Catherine, De Courcy, ed. Royal Hibernian Academy of Arts: Index of exhibitors and their works, 1826-1979. Dublin: Manton, 1985.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

9

Stewart, Ann. Royal Hibernian Academy of Arts: Index of exhibitors and their works 1826-1979. Dublin: Manton Pub., 1985.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

10

The 241st Royal Academy of Arts Summer Exhibition: List of works. London: Royal Academy of Arts, 2009.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Book chapters on the topic "The Royal Art Academy"

1

Dutton, Edward. "Royal Anthropological Institute or Royal Academy? Post-Modern Anthropology as Contemporary Art." In Antrocom: Journal of Anthropology, edited by Marco Menicocci and Moreno Tiziani, 35–44. Piscataway, NJ, USA: Gorgias Press, 2010. http://dx.doi.org/10.31826/9781463235413-005.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Gindin, James. "“Demi-Semi-Royal Progress”." In John Galsworthy’s Life and Art, 415–32. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-08530-9_16.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

"Commission of Inquiry into the Royal Academy: 1863." In The Essence of Art, edited by Craig Harrison, 52–58. Routledge, 2019. http://dx.doi.org/10.4324/9780429439834-5.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

"15. Printmakers and the Royal Academy Exhibitions, 1780–1836." In Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836. Paul Mellon Centre, 2001. http://dx.doi.org/10.37862/aaeportal.00023.021.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Jameson, Anna. "“The Exhibition of the Royal Academy. English Art and Artists’." In Victorian Painting, 224–32. Routledge, 2018. http://dx.doi.org/10.4324/9780429430275-20.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

"13. Watercolourists and Watercolours at the Royal Academy, 1780–1836." In Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836. Paul Mellon Centre, 2001. http://dx.doi.org/10.37862/aaeportal.00023.019.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

"8. The Spectacle of the Muse: Exhibiting the Actress at the Royal Academy." In Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836. Paul Mellon Centre, 2001. http://dx.doi.org/10.37862/aaeportal.00023.014.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

"16. Foreign Exhibitors and the British School at the Royal Academy, 1768–1823." In Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836. Paul Mellon Centre, 2001. http://dx.doi.org/10.37862/aaeportal.00023.022.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

"3. A Shilling Well Laid Out’: The Royal Academy’s Early Public." In Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836. Paul Mellon Centre, 2001. http://dx.doi.org/10.37862/aaeportal.00023.009.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

"4. ‘Stare Cases’: Engendering the Public’s Two Bodies at the Royal Academy of Arts." In Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836. Paul Mellon Centre, 2001. http://dx.doi.org/10.37862/aaeportal.00023.010.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "The Royal Art Academy"

1

Grunina, Yulia. "THE EMPLOYMENT OF THE ROYAL SPANISH ACADEMY REFERENCE POINTS IN TEACHING RUSSIAN STUDENTS." In 6th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sgemsocial2019v/2.1/s10.042.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Pullen, K. R., A. W. Court, and C. B. Besant. "The Advanced Turbogenerator Project — A Total Technology Education Experience for Engineering Undergraduate Students." In ASME 1998 International Gas Turbine and Aeroengine Congress and Exhibition. American Society of Mechanical Engineers, 1998. http://dx.doi.org/10.1115/98-gt-023.

Full text

Abstract:

The preparation of engineering students for industrial careers after graduating is a vital part of the education process at university. It is the responsibility of the university to teach sound foundations of engineering science but this on its own is not sufficient preparation. The subject of design has been identified as a valuable means by which engineering science can be applied at advanced levels but at the same time teach students skills which are necessary for successful careers in industry. Three years ago, five senior engineers from UK industry were appointed as Visiting Professors in Engineering Design with the support of the Royal Academy of Engineering. In was decided after discussions with academics at the college to undertake a project entitled the Advanced Turbogenerator project (ATG). The project was to be conducted by a large team of undergraduates with the aim of producing a design and finally an actual small gas turbine of 50 kW output. Applications for the small gas turbine include the highly topical hybrid vehicle propulsion powertrain and compact low emissions generator sets. The paper describes the progress made in the project in two years which has involved over 30 final year engineering students in the Mechanical, Electrical, Aeronautical and Materials Science Departments. The students have found the project very challenging but have experienced an unusually high level of motivation and commitment to the work. They have been provided with state of the art software and have demonstrated that realistic designs can be produced with the guidance of experienced gas turbine engineers. The project has been reviewed by the Royal Academy of Engineering and the Institution of Mechanical Engineers and both have expressed the highest support for the programme. It is intended to continue the project next year with the intention of turning the design into prototype hardware.

APA, Harvard, Vancouver, ISO, and other styles

3

Rozhdestvenskaya, Milena. "On the functionality of apocryphal stories in medieval Russian bookishness." In Tenth Rome Cyril-Methodian Readings. Indrik, 2020. http://dx.doi.org/10.31168/91674-576-4.27.

Full text

Abstract:

The functions of the biblical Slavic-Russian apocrypha in manuscript collections depend on their perception by the ancient Russian scribes and the literary context of the manuscript. Cognitive, interpretative, magical, historical functions are associated with different genre forms, both book and folk. Particularly considered is the «apocryphal riddle» of two brothers from the manuscript of the XVIth century Stockholm Royal Library and manuscripts of the XVIIIth century collections of the Library of the Russian Academy of Sciences (St. Petersburg).

APA, Harvard, Vancouver, ISO, and other styles

4

Flumerfelt, Shannon, Franz-Josef Kahlen, Anabela Alves, Javier Calvo-Amodio, and Chris Hoyle. "Systems Competency for Engineering Practice." In ASME 2014 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/imece2014-40142.

Full text

Abstract:

Affecting holistic development of the early engineer practitioner is a topic of concern emanating from the Academy, the workplace and engineering organizations alike. For example, concerns over gaps in ethics competency, communication abilities, and team management have been documented. The gap between the rapidly growing body of knowledge in the engineering profession and the effectiveness of early engineering practice does exist. This means that while early career engineers generally know enough about engineering sciences, they are lacking in the ability to connect that information to effective engineering practice in the workplace. The shortfall in the holistic development of the early career engineer, therefore, is based in the problematic technical-behavioral relationship expressed in differences in engineering knowledge versus workplace practice. This problem has been recognized by many organizations such as the American Society of Mechanical Engineers (V2030), the National Academy of Engineering (Grand Challenges for Engineering; Engineer of 2020; Educating the Engineer of 2020; and Changing the Conversation), the Royal Academy of Engineers, and the National Science Foundation/University of Michigan (5XME Project).

APA, Harvard, Vancouver, ISO, and other styles

5

Welling, Helen G. "Aspects of Preservation of Architecture of the Early Modern Movement." In 1995 ACSA International Conference. ACSA Press, 1995. http://dx.doi.org/10.35483/acsa.intl.1995.72.

Full text

Abstract:

The following paper contains some of the main points of discussion in a research project about the preservation of architecture of the Modem Movement in preparation at the Royal Academy of Fine Arts, School of Architecture, Copenhagen. It discusses the relativity of historical values within the early Modem Movement. Various aspects on the case of preservation of architecture of the Modem Movement are explained. Different examples of restoration, reconstruction and new interventions are analysed and ordered in a series of methods. The conclusion is that the architecture of this epoch needs a new attitude especially towards the question of authenticity.

APA, Harvard, Vancouver, ISO, and other styles

6

Dare, Eleanor, and Libby Heaney. "Royal College of Art." In Electronic Visualisation and the Arts. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/eva2018.77.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Nilsen, Jay. "Atlantis “Royal towers preview”." In ACM SIGGRAPH 98 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/281388.281806.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Teikmane, Linda. "An Art Academy of Latvia adapting to Art Marketing Techniques." In The 4th Virtual Multidisciplinary Conference. Publishing Society, 2016. http://dx.doi.org/10.18638/quaesti.2016.4.1.284.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Murray, Rod. "Holography at The Royal College of Art, London." In LkForest 91, edited by Tung H. Jeong. SPIE, 1992. http://dx.doi.org/10.1117/12.57803.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Fiori, F., and Zhiwei Zhou. "Assessment Study of RELAP5/SCDAP Capability to Reproduce Liquid Metal Fluid Thermal Hydraulic Behaviour." In 2014 22nd International Conference on Nuclear Engineering. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/icone22-30612.

Full text

Abstract:

The paper presents the assessment of RELAP5/SCDAP code capabilities to simulate the thermal-hydraulic behavior of liquid metal coolants. The preliminary part of the study dealt with a bibliographic review of the heat transfer correlations available for liquid metals, in particular for lead-bismuth eutectic. The most appropriate correlation, according to the thermal-hydraulic condition of the Chinese ADS design has been implemented and tested in the code. The experiment facilities used for the assessment study are the South Korean HELIOS facility, the KYLIN-II facility and the TALL facility. The first one is a T-H loop which is down scaled by a factor of 5000 of the reference PEACER-300 concept reactor, and has been recently used for an international benchmark organized by the OECD/NEA. As the first phase of the benchmark is concluded, the data is available in the open literature. The second facility is constructed and operated in the Institute of Nuclear Safety Energy of the Chinese Academy of Science in Hefei (CAS). The third facility has been constructed and operated at KTH Royal Institute of Technology of Stockholm. The full height facility was designed and operated to investigate the heat transfer performance of different heat exchangers and the thermal-hydraulic characteristics of natural and forced circulation flow under steady and transient conditions. A consistent and systematic approach for the nodalization development and assessment procedures that respond to the IAEA guidelines is discussed and thoroughly applied. The present paper discusses the results of the assessment study of the RELAP5/SCDAP capability when working with liquid metal fluid. The procedures and the database developed constitute the base in our institute for further study in case more experimental data will be available.

APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "The Royal Art Academy"

1

Rysjedal, Fredrik. Frozen Moments in Motion. Universitetet i Bergen KMD, January 2019. http://dx.doi.org/10.22501/kmd-ar.31524.

Full text

Abstract:

What are the concepts of motion in digital comics? What types of motion can be used in comics and how does motion affect the presentation, the story and even the reader/viewer? This project is a part of the Norwegian Programme for Artistic Research, and it's executed at the Bergen Academy of Art and Design, today called Faculty of Fine Art, Music and Design at the University of Bergen.

APA, Harvard, Vancouver, ISO, and other styles

2

Health hazard evaluation report: HETA-82-059-1752, Art Academy of Cincinnati, Cincinnati, Ohio. U.S. Department of Health and Human Services, Public Health Service, Centers for Disease Control, National Institute for Occupational Safety and Health, December 1986. http://dx.doi.org/10.26616/nioshheta820591752.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

The Initiative Project on the Guideline of the Understanding Framework on the Veterinary Profession in ASEAN (GUFVA 2014). O.I.E (World Organisation for Animal Health), June 2014. http://dx.doi.org/10.20506/standz.2791.

Full text

Abstract:

To facilitate an initial discussion regarding the ASEAN Mutual Recognition Agreement (MRA) for the Veterinary Profession, Faculty of Veterinary Science and the ASEAN Studies Center, Chulalongkorn University, Veterinary Council of Thailand and Department of Livestock Development, Ministry of Agriculture and Cooperative, Royal Thai Government, in collaboration with World Organisation for Animal Health (OIE) Sub-Regional Representation for South-East Asia, and the Federation of Asian Veterinary Associations (FAVA), organised the GUFVA 2014 in Bangkok, Thailand on 25-27 June 2014. The meeting was attended by the ASEAN Secretariat, representatives from the Veterinary Educational Establishments (VEEs) and Veterinary Statutory Bodies (VSBs) of the ASEAN Member States, as well as the organising institutions and organizations (OIE SRR SEA, FAVA, SEAVSA, and Veterinary Associations). The meeting was supported by the Innovative Thai-ASEAN Academic Co-operation at Chulalongkorn University: ITAAC@CU).

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!