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Artículos de revistas sobre el tema "Museum of Early American Folk Arts"

Autor: Grafiati

Publicado: 28 de julio de 2024

Última modificación: 31 de julio de 2025

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1

Tsiotinou, Angeliki. "A Repository for Working-Class Memories and Hybrid Hellenisms: The Hellenic Cultural Museum in Salt Lake City, Utah." Journal of Modern Greek Studies 43, no. 1 (2025): 69–98. https://doi.org/10.1353/mgs.2025.a957855.

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Abstract: Representations of the Greek immigrant experience in the Hellenic Cultural Museum (HCM), a vernacular Greek American museum in Salt Lake City, Utah, commemorate the everyday life, labor struggles, and folk culture of early twentieth-century working-class Greek immigrants. As a repository of working-class memories, the museum challenges a set of dominant US immigration narratives around class and race, including the white ethnic bootstraps success model. At the same time, the museum's exhibition draws from popular narratives of Hellenism in the United States and Greece to distinguish

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2

Blackstone, Sarah. "The Theatre Museum of Repertoire Americana." Theatre Survey 41, no. 1 (2000): 89–93. http://dx.doi.org/10.1017/s0040557400004403.

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Sarah Blackstone is Chair of the Department of Theatre at Southern Illinois University and serves on the Advisory Board for the Theatre Museum of Repertoire Americana. Neil and Caroline Schaffner started collecting memorabilia from the repertoire theater movement during the 1950s. They dreamed of one day establishing a museum that would display their collection and other items connected with this wide-spread popular entertainment form. In 1973, with the help of the Midwest Old Settlers and Threshers Association, and endless hours of effort, their dream was realized in the small town of Mt. Ple

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3

Bailey, Ebony L. "(Re)Making the Folk: Black Representation and the Folk in Early American Folklore Studies." Journal of American Folklore 134, no. 534 (2021): 385–417. http://dx.doi.org/10.5406/jamerfolk.134.534.0385.

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Abstract This article details the origins of American folklore studies by examining how “the folk” were repeatedly equated to Black Americans and how folklore was used as a measure of African Americans’ post-emancipation “progress.” Attending to discussions of Black representation in the late nineteenth century, I explore how (1) African Americans were positioned as the folk and (2) how African Americans (re)positioned themselves in discourses of “Blackness” and “folkness.”

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4

Kirwin, Liza. "Plain Painters: Making Sense of American Folk Art. John Michael VlachThe Spirit of Folk Art: The Girard Collection at the Museum of International Folk Art. Henry Glassie." Archives of American Art Journal 31, no. 1 (1991): 31–34. http://dx.doi.org/10.1086/aaa.31.1.1557701.

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5

Semenova, Valentina I., and Nadezhda V. Bagapova. "Western European samples in the artistical cast-iron of Kusa." Vestnik of Saint Petersburg State University of Culture, no. 3 (60) (2024): 108–12. http://dx.doi.org/10.30725/2619-0303-2024-3-108-112.

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Attribution and establishment of authorship of artistical cast-iron is one of the important tasks in Russian museums that store valuable collections of this kind. The work carried out the attribution of six sculptures from the Yekaterinburg Museum of Fine Arts, the State Historical Museum of the Southern Urals, the State Historical Museum-Reserve «Gorki Leninskie», the Zlatoust City Museum of Local Lore, the All-Russian Museum of Decorative and Folk Arts and the private museum of V. Y. Orlova in Yaroslavl. The authors were able to establish the authorship and original name of the sculptural pr

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6

Suslova, Svetlana V. "Tatar costume in museum collections of Russia." Historical Ethnology 8, no. 2 (2023): 202–21. http://dx.doi.org/10.22378/he.2023-8-2.202-221.

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The article is an overview of the collections on the folk costume of the Tatars, stored in the funds of numerous museums in Russia and Tatarstan. It contains information about the traditional types of upper and lower clothing, shoes and jewelry of the Volga-Ural Tatars (Kazan, Kasimov, Mishars, and Kryashens), as well as similar information on the costume of Astrakhan and Siberian Tatars living on the territory of the Russian Federation. Particular attention is paid to women's costume which characterizes folk arts and crafts to the greatest extent. A significant part of the collections is well

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7

Rosa, John. "Small Numbers/Big City: Innovative Presentations of Pacific Islander Art and Culture in Phoenix, Arizona." AAPI Nexus Journal: Policy, Practice, and Community 5, no. 1 (2007): 59–78. http://dx.doi.org/10.36650/nexus5.1_59-78_rosa.

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This resource paper provides an overview of how the small but growing Pacific Islander and Asian American community in Phoenix has sustained, developed, and preserved its culture and art in the absence of a permanent AAPI art or cultural museum. This article gives examples of such alternative formats and includes details on dance, music, and other folk cultural practices. Metropolitan statistical areas with AAPI populations comparable to Phoenix include Minneapolis, Atlanta, and Dallas. Phoenix community groups use small, temporary displays at annual AAPI cultural festivals. One approach is a

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8

Marshall, Jennifer. "Common Goods: American Folk Crafts as Sculpture at the Museum of Modern Art, New York City, 1932—33." Prospects 27 (October 2002): 447–65. http://dx.doi.org/10.1017/s0361233300001289.

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During New York City's newly opened Museum of Modern Art's (MoMA's) fourth exhibition season of 1932–33, while director and intellectual leader Alfred H. Barr, Jr. was on sabbatical leave in Europe, interim director Holger Cahill mounted a show of 18th- and 19th-century American arts and crafts. Offered for sale in New England as antiques at the time of the show, the items on display in Cahill's American Folk Art: The Art of the Common Man in America 1750–1900 obscured the divisions between the avant-garde and the traditional, between high art and the everyday object. In an exhibit of items no

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9

Gyul, Elmira, and Tereza Hejzlarová. "Amulet as Jewel, Jewel as Amulet Uzbek, Tajik, and Karakalpak Amulet Cases Using the Example of Museum Collections." Annals of the Náprstek Museum 43, no. 1 (2022): 27–51. http://dx.doi.org/10.37520/anpm.2022.003.

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The study presents amulet cases of the Uzbeks, Tajiks, and Karakalpaks from the late 19th century until the early 20th century taking example from the collections of the State Museum of Arts of Uzbekistan, Samarkand State Museum-Reserve, State Museum of Applied Art and History of Crafting of the Republic of Uzbekistan and National Museum – Náprstek Museum of Asian, African and American Cultures, Czech Republic. In particular, the types and forms of amulet cases, material, processing technique, ornament, and the resulting ethnic and local specifics are analysed. The study aims to differentiate

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10

Cuddon, Benedict. "A Field Pioneered by Amateurs: The Collecting and Display of Islamic Art in Early Twentieth-Century Boston." Muqarnas Online 30, no. 1 (2014): 13–33. http://dx.doi.org/10.1163/22118993-0301p0003.

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This article examines the formation and display of collections of Islamic art in Boston-area museums over the first half of the twentieth century. It focuses on the holdings of three main institutions: the Museum of Fine Arts, the Fogg Art Museum, and the Isabella Stewart Gardner Museum. It explores some of the key personalities involved in the formation of collections, such as Denman Waldo Ross, Hervey Wetzel, Joseph McMullan, and Stuart Cary Welch. It also looks at early curators of the collections, in this era a largely amateur pursuit. Through these considerations it traces changing approa

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11

Watkins, Kari. "The Oklahoma City National Memorial & Museum: Looking Back & Thinking Forward." South Central Review 40, no. 2-3 (2023): 133–40. http://dx.doi.org/10.1353/scr.2023.a915862.

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Abstract: This essay offers a brief history of the Oklahoma City Terrorist attack on the Alfred P. Murrah Federal Building on 19 April 1995, when a truck bomb planted by a former American soldier, Timothy McVeigh, exploded near the building, killing 168 people, including 19 children. It then describes the early commemorative ceremonies taking place on the site, and the gradual transformation of these commemorative efforts into an initiative to create a permanent museum and memorial to honor the victims and to inform visitors to the museum about what occurred that terrible day. The museum and m

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12

Ayad, Lara. "Homegrown Heroes: Peasant Masculinity and Nation-Building in Modern Egyptian Art." ARTMargins 11, no. 3 (2022): 24–68. http://dx.doi.org/10.1162/artm_a_00324.

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Abstract On January 18, 1938 the Fuad I Agricultural Museum in Cairo opened its palatial doors to the local public and featured four untitled portraits (1934–1937) of peasant men sporting distinctive costumes and handicrafts. The artist behind these prominent paintings was an Egyptian named Aly Kamel al-Deeb (1909–1997), whose early career combined commissions at official museums and participation in anti-establishment artist groups in Egypt. What could explain al-Deeb's transition from creating art in opposition to national museums, to painting for such institutions? This essay analyzes al-De

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13

Mitsui, Tōru. "Published Collections as the Sources of Ballad Tunes Sung by an Enthusiast in Japan." Journal of American Folklore 135, no. 537 (2022): 338–44. http://dx.doi.org/10.5406/15351882.135.537.05.

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Abstract This article is in dialogue with a topic raised in the “Sound Reviews” section in the Winter 2009 issue of the Journal of American Folklore by Graham Blair. Blair points out that quite a few of the ballad tunes recorded on two CDs by Tōru Mitsui in 2006 were taken from American and British folk song anthologies that included written musical notation. This article traces the sources found in the early 1960s in Japan, and shows that for these ballads to travel great distances required an insatiable quest for their published sources combined with sufficient musical literacy.

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14

Tonini, Lucia. "Russia in Rome." Experiment 25, no. 1 (2019): 258–75. http://dx.doi.org/10.1163/2211730x-12341342.

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Abstract The presence of thirty-three Russian head-dresses, as well as other historical objects, in the collection of the American diplomat, George Wurts, and his wife, Henrietta Tower, is an uncommon example of collecting Russian folk objects abroad, and testifies to a universality of taste in international collecting during the late nineteenth century. The head-dress collection is part of a larger collection of around 4,000 pieces dating from antiquity to the early twentieth century, which was assembled at the Palazzo Antici Mattei and the Villa Sciarra in Rome between the end of the ninetee

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15

Kattelman, Beth A. "THE AMERICAN MUSEUM OF MAGIC/LUND MEMORIAL LIBRARY AND OTHER RESOURCES ON MAGIC AND CONJURING." Theatre Survey 49, no. 2 (2008): 285–93. http://dx.doi.org/10.1017/s0040557408000161.

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How did he do that? This question has been on the lips of audience members since magicians first began delighting and amazing viewers with skills of dexterity and legerdemain. The first-known recorded, secular magic performance dates back to 2500 b.c. when the conjuror Dedi presented a series of tricks for the Egyptian king Cheops at the royal palace. The event was recorded in the Westcar papyrus, a document that was composed around 1700 b.c. but is thought by Egyptologists to have been copied from earlier sources. Yes, magic and conjuring have long been an integral part of popular entertainme

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16

Tikhonov, Dmitrii, and Elena Tikhonova. "Lyre shaped motif and its origins." Siberian Research 2, no. 2 (2019): 74–84. http://dx.doi.org/10.33384/26587270.2019.02.009e.

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Lyre shaped ornament is a common motif of ornamental and folklore applied art. But, unfortunately, the origins of the lyre shaped motif are still not well investigated. In the paper we review the literature devoted to the study of the emergence and spread of a lyre shaped motif and analyze museum exhibits from catalogs and published sources. The aim of the study is to define the сenters of the lyre motif origin and the paths of its distribution. Material and methods. Article analyzes lyre shaped motifs in museum artifacts, folk arts and crafts using materials presented in published literature

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17

Tikhonov, D.G., and E.D. Tikhonova. "Lyre shaped motif and its origins." Siberian Research, no. 2 (October 13, 2020): 74–84. https://doi.org/10.33384/26587270.2019.02.009e.

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Annotation. Lyre shaped ornament is a common motif of ornamental and folklore applied art. But, unfortunately, the origins of the lyre shaped motif are still not well investigated. In the paper we review the literature devoted to the study of the emergence and spread of a lyre shaped motif and analyze museum exhibits from catalogs and published sources. The aim of the study is to define the сenters of the lyre motif origin and the paths of its distribution. Material and methods. Article analyzes lyre shaped motifs in museum artifacts, folk arts and crafts using materials presented in published

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18

Manhag, Andreas, and Hanna Wittrock. "In search of New Sweden: discovering the ‘American curiosities’ of Samuel Hesselius." Journal of the History of Collections 31, no. 2 (2018): 239–56. http://dx.doi.org/10.1093/jhc/fhy028.

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Abstract In 1736 Samuel Hesselius, former pastor for the Swedish parishes in Pennsylvania, donated a collection of ‘American curiosities’ to Lund University in Sweden. Within less than twenty years, however, the collection had apparently disappeared. In the course of the past three decades the lost ethnographic artefacts have received increasing attention, but for a variety of reasons the collection has remained undetected – despite its importance having been highlighted by scholars from several academic fields since 1871 and despite the fact that the majority of the ethnographic artefacts ult

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19

Suslova, Svetlana V. "Folk Costume traditions in the modern culture of the Volga-Ural Tatars." Historical Ethnology 6, no. 1 (2021): 96–105. http://dx.doi.org/10.22378/he.2021-6-1.96-105.

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The article is based on the materials of the Historical and Ethnografic Atlas of the Tatar People (volume “Folk Costume”) prepared at the Institute of History of the Tatarstan Academy of Sciences. In the pre-national period of the Tatar’s history there were many various local, ethno-confessional and other complexes of costume. Its formation was closely linked to the characteristic properties of the complex ethno-cultural history of the local groups of Tatars (the Kazan Tatars, the Mishar Tatars, and the Christian Tatars or Kryashens), as well as their religion (Islam, Christianity, Heathenism)

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20

Taylor, R. E., Louis A. Payen, and Peter J. Slota. "The Age of the Calaveras Skull: Dating the “Piltdown Man” of the New World." American Antiquity 57, no. 2 (1992): 269–75. http://dx.doi.org/10.2307/280732.

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The Calaveras skull, first reported in 1866, represents the earliest purported fossil human discovery in California and one of the earliest in the New World. The specimen is in the possession of the Peabody Museum, Harvard University. The validity of the original "Tertiary" age assignment was rejected by the first generation of professional American archaeologists early in the twentieth century. Radiocarbon analyses using both conventional decay counting and accelerator mass spectrometry indicate a late Holocene age for the Calaveras skull.

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21

Goodyear, Anne Collins. "From Technophilia to Technophobia: The Impact of the Vietnam War on the Reception of “Art and Technology”." Leonardo 41, no. 2 (2008): 169–73. http://dx.doi.org/10.1162/leon.2008.41.2.169.

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Using the Los Angeles County Museum of Art's 1971 exhibition “Art and Technology” as a case study, this essay examines a shift in attitude on the part of influential American artists and critics toward collaborations between art and technology from one of optimism in the mid-1960s to one of suspicion in the early 1970s. The Vietnam War dramatically undermined public confidence in the promise of new technology, linking it with corporate support of the war. Ultimately, the discrediting of industry-sponsored technology not only undermined the premises of the LACMA exhibition but also may have con

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22

Ulugbekovich, Bobojonov. "Ethnotourism In The Bukhara Oasis: Opportunities, Achievements and Problems." Buletin Antropologi Indonesia 2, no. 3 (2025): 9. https://doi.org/10.47134/bai.v2i3.4364.

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The Bukhara oasis’ geographic location, distinctive natural environment, rich historical and ethnographic legacy, and potential for modern tourism are all thoroughly examined in this article. This historic oasis, which is centred on the Zarafshan River, is notable for its multiethnic makeup, national cuisine, craftsmanship, and architectural traditions. Through the harmony of Bukhara’s ancient residential architecture, verandas, tandir kitchens, and guest rooms with art and nature, the author examines the aesthetic preferences and worldview of the local populace. Important details regarding th

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23

Rogers, Emily Buhrow. "Exhibiting Moments: Qualla Arts and Crafts Mutual at the Mathers Museum of World Cultures." Museum Anthropology Review 13, no. 1 (2019): 32–46. http://dx.doi.org/10.14434/mar.v13i1.26472.

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In 1973, Indiana University’s Mathers Museum of World Cultures purchased a selection of works from the Eastern Band of Cherokee Indians’ Qualla Arts and Crafts Mutual, one of the oldest Native American-owned art and craft cooperatives in the United States. In this paper, I discuss, from my perspective as co-curator, the development of the museum’s 2015 exhibition of that collection, Cherokee Craft, 1973. Through this project, the curatorial team sought to creatively evoke the Qualla cooperative at the dynamic historical moment these works represented, while also contending with significant res

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Prior, Nick. "Edinburgh, Romanticism and the National Gallery of Scotland." Urban History 22, no. 2 (1995): 205–15. http://dx.doi.org/10.1017/s096392680000047x.

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An explanation for the formation of the National Gallery of Scotland is proposed which affirms the priority of local conditions of cultural production. In the absence of a fecund tradition of art patronage in Scotland, the modernization of Edinburgh's art field in the early nineteenth century depended on the activities of civic elites. The Scottish model of art museum development resembled the later American model more than it did the earlier French one. What was particular to Edinburgh, though, was a strong form of Romanticism in the early nineteenth century. The romantic landscape trope inde

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25

Stanley-Price, Nicholas. "ILLICIT EXCAVATION: THE TRIAL OF ALESSANDRO PALMA DI CESNOLA IN CYPRUS IN 1878." Antiquaries Journal 98 (September 2018): 297–317. http://dx.doi.org/10.1017/s000358151800001x.

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The prosecution in Cyprus of an Italian citizen for illicit excavation in 1878 is a very early case in modern cultural heritage law. In taking over from the Ottoman empire the administration of Cyprus in June 1878, Britain inherited the Ottoman legal system, including its 1874 law on antiquities. Four months later, the British arrested Alessandro Palma di Cesnola for flouting a newly announced ban on excavation. The evidence of official, confidential records reveals the steps leading to the Italian’s arrest, trial and conviction in court. His trial followed Ottoman legal procedures, but the ve

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Joselit, Jenna Weissman. "Leap of Faith: Review of the American Folk Art Museum Exhibition, “Gilded Lions and Jeweled Horses: The Synagogue to the Carousel—Jewish Carving Traditions,” curated by Murray Zimiles and Stacy C. Hollander." IMAGES 2, no. 1 (2008): 219–20. http://dx.doi.org/10.1163/187180008x408690.

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27

Sophia Li, Chi-fang. "Thomas Dekker Revealed in the Henslowe–Alleyn Papers." New Theatre Quarterly 34, no. 1 (2018): 16–34. http://dx.doi.org/10.1017/s0266464x17000653.

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In current scholarship the obscurity of the early years of Thomas Dekker is akin to his opacity in Philip Henslowe's Diary, which awaits full analytical interpretation. While the Diary usefully tells us about Henslowe's theatre business, it also imparts interwoven stories about many playwrights whose works are being rigorously tested in today's theatres. In this essay Chi-fang Sophia Li offers a theatre-based critique of the early life of Dekker, when, she argues, he quickly became a ‘fully paid-up member’ of the theatrical community. Thus his theatrical strengths, productive potential, writin

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Синельникова, Татьяна Анатольевна. "The world of images and artistic language of Vasily Romanenkov: On the problem of his sources." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 2 (November 11, 2019): 32–48. http://dx.doi.org/10.26158/tk.2019.20.3.003.

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Произведения художника Василия Романенкова входят в ведущие коллекции наивного искусства. Его имя включено во Всемирную энциклопедию наивного искусства (Белград, 1984). Между тем немногие исследователи посвящали свои труды этому художнику, а их оценки зачастую носили односторонний характер и не имели глубокой материаловедческой основы. В статье рассматривается вопрос об источниках образов и сюжетов Романенкова, специфика и корни его художественного языка в контексте личной биографии. Материалом статьи являются произведения из собрания ГРДНТ им. В. Д. Поленова, Музея русского лубка и наивного и

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Cruz, César A. "Henry Klumb: Puerto Rico’s critical modernist." Architectural Research Quarterly 23, no. 1 (2019): 33–46. http://dx.doi.org/10.1017/s1359135519000095.

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In February 1944 a thirty-nine-year-old itinerant architect named Heinrich ‘Henry’ Klumb [1] (1905–1984), moved to the Caribbean island of Puerto Rico for what was supposed to be a short-term, public works job with the island’s provincial government, that is, a territorial government that had been established and was largely supervised by the American federal government. At the time of his arrival on the island, Klumb was a one-time German immigrant, a former protégé of Frank Lloyd Wright, Louis Kahn’s occasional design and business partner during the mid-to-late 1930s, and a moderately succes

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Roark, Elisabeth L. "Paint for the Many? Rereading William Sidney Mount's The Painter's Triumph." Prospects 28 (October 2004): 155–84. http://dx.doi.org/10.1017/s0361233300001460.

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The Painter's Triumph, created by William Sidney Mount in 1838, has long been interpreted as an icon of the democratization of American art (Figure 1). Nearly every scholarly analysis of the painting frames it in the context of Mount's well-known charge to himself, “Paint pictures that will take with the public, in other words, never paint for the few, but for the many.” The farmer's enthusiastic involvement in the artist's work is viewed as emblematic of Mount's commitment to promoting the visual arts among ordinary folk. The painter's “triumph,” most assert, is his ability to reach the commo

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Senelick, Laurence. "Offenbach, Wagner, Nietzsche: the Polemics of Opera." New Theatre Quarterly 32, no. 1 (2016): 3–18. http://dx.doi.org/10.1017/s0266464x15000822.

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By the early 1870s, the term ‘filth’ had become Wagner’s shorthand for Offenbach. He attacked his fellow composer both publicly and privately and sought to establish a polarity between the two, confining Offenbach to the realm of frivolous and materialistic popular folk culture while casting his own work as exemplary of the new German spirit. Laurence Senelick’s close analysis of Wagner’s writings, including his notorious 1869 essay ‘Jewishness in Music’, shows this critique to be fuelled by jealousy, cultural imperialism, and his growing anti-Semitism. Nietzsche is included here as a counterp

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Максимлюк, І. В. "ВНЕСОК ІВАНО-ФРАНКІВСЬКИХ ГРАФІКІВ У МІСЦЕВЕ КРАЄЗНАВСТВО ХХ — ПОЧАТКУ ХХІ СТОЛІТТЯ". Традиції та новації у вищій архітектурно-художній освіті, № 4 (30 листопада 2018): 60–67. https://doi.org/10.5281/zenodo.1758143.

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In the 20<sup>th</sup> century the graphic artists of the Ivano-Frankivsk region devoted themselves not only to creative but also to scientific and cultural activities, popularized Ukrainian, Pre-Carpathian historical and cultural heritage in particular. The popularization of the region was provided not only due to the reproduction of its originality in graphic works, but also through research, educational mission, active social and cultural activities, the collection of works of art, museum work, preservation of architectural monuments. It is important to find out the value of the cultural ac

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Tykot, Robert H. "Aspects of Early North American Metallurgy. M. L. Wayman, J. C. H. King, and P. T. Craddock. British Museum Occasional Paper No. 79. British Museum Press, London, 1992. 144 pp., figures, tables, references. ’17.50 (paper)." American Antiquity 59, no. 3 (1994): 584–85. http://dx.doi.org/10.2307/282492.

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34

WHARTON, ANNABEL. "Doll's House/Dollhouse: Models and Agency." Journal of American Studies 53, no. 1 (2017): 28–56. http://dx.doi.org/10.1017/s0021875817000895.

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Models – economic, mathematical, toys, manikins – are ubiquitous. This article probes one model, the Stettheimer doll's house, in order to understand all models better. The Stettheimers, three wealthy unmarried sisters living in New York in the early the twentieth century, attracted a remarkable melange of Camp artists and writers, identified by Arthur Danto as “the American Bloomsbury.” The Stettheimers were involved in many of New York's happenings, including the Harlem Renaissance and the innovative stage productions of Gertrude Stein. Androgyny, excess, racial mixing and theatricality flou

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35

Chvyr, L. A. "The Visitor and the East West Jazz." Journal of the Institute of Oriental Studies RAS, no. 1 (11) (2020): 61–75. http://dx.doi.org/10.31696/2618-7302-2020-1-61-75.

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The article is based on the author’s impressions of the East West Jazz exhibition in the Pushkin Museum of Fine Arts in Moscow in the fall of 2019. The exhibition was quite notable, and especially attractive due to the fashionable way of exhibiting the works of art, deliberately erasing the established boundaries between genres, styles and trends. The originality of the exposition was manifested in a paradoxical comparison of two artistic traditions, standing far from each other in all respects — chronologically, territorially, ethnically, religiously, and culturally. But the main and interest

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Ferber Bogdan, Jasenka, and Sanja Žaja Vrbica. "Slikar Ivan Benković i hrvatska iseljenička zajednica u Sjedinjenim Američkim Državama od 1912. do 1918. godine." Radovi Instituta za povijest umjetnosti, no. 47 (March 2024): 145–58. http://dx.doi.org/10.31664/ripu.2023.47.11.

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In the period from the 1880s to the end of World War I, several Croatian artists resided in the USA. In the 1880s, these included the Dubrovnik painters Vlaho Bukovac and Niko Zec, and in the early twentieth century, painters Bela Csikos Sesia, Robert Auer, and Oton Iveković, and sculptors Rudolf Valdec and Dujam Penić, as well as the lesser-known sculptors Pavao Kelečić Kufrin and Ivan Bulimbašić. With the exception of Oton Iveković, who painted the parish church of St John the Baptist in Kansas City in 1910, they did not significantly contribute to the cultural space of the Croatian diaspora

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Bilous, Liudmyla. "Traditions and Innovations in the Works of Oleh Mashkevych." Materìali do ukraïnsʹkoï etnologìï, no. 20 (23) (December 20, 2021): 191–95. http://dx.doi.org/10.15407/mue2021.20.191.

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The article is dedicated to the analysis of the works of the Honored Artist of Ukraine Oleh Mashkevych exemplified by the collection of the National Museum of Ukrainian Folk Decorative Art. The collection consists of 37 carpet products, 2 sketches for carpets and 9 embroidered pillow-cases, made according to the artist’s sketches by the craftswomen of the Kharkiv Region Embroiderer crew. The time range of the works is from 1951 to 1992. The development of artistic and stylistic changes in the artist’s works has been traced, the influence of traditional carpet ornamentation and the search for i

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Ward, Gerald W. R. "Frances Gruber Safford,American Furniture in The Metropolitan Museum of Art: 1. Early Colonial Period: The Seventeenth-Century and William and Mary Styles. New Haven and London: Yale University Press for The Metropolitan Museum of Art, New York, 2007. 451 pp., 159 color pls., 162 b/w ills., 45 line drgs., bibliog., index. $90." Studies in the Decorative Arts 16, no. 2 (2009): 165–67. http://dx.doi.org/10.1086/652509.

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Snow, Cordelia Thomas. "At the Crossroads: The Arts of Spanish American & Early Global Trade, 1492-1850. Papers from the 2010 Mayer Center Symposium at the Denver Art Museum. DonnaPierce and RonalOtsuka, eds. denver: denver art museum; norman: university of oklahoma press, 2012." Museum Anthropology 38, no. 2 (2015): 167–69. http://dx.doi.org/10.1111/muan.12096.

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György, Horváth. "Adalékok Kondor Béla sors-történetéhez." Művészettörténeti Értesítő 69, no. 2 (2021): 171–256. http://dx.doi.org/10.1556/080.2020.00011.

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In the course of my research in archives – in search of documents about the history of the Art Foundation of the People’s Republic (from 1968 Art Fund) – while leafing through the sea of files in the National Archives of Hungary (MNL OL) year after year, I came across so-far unknown documents on the life and fate of Béla Kondor which had been overlooked by the special literature so far.Some reflected the character of the period from summer of 1956 to spring 1957, more precisely to the opening of the Spring Exhibition. In that spring, after relieving Rákosi of his office, the HWP (Hungarian Wor

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Bowett, Adam. "Book ReviewsFrances Gruber Safford. American Furniture in the Metropolitan Museum of Art. Vol. 1, Early Colonial Period: The Seventeenth‐Century and William and Mary Styles. New Haven, CT: Yale University Press, 2007. 464 pp.; 159 color + 162 black‐and‐white illustrations, 3 appendixes, bibliography, index. $90.00." Winterthur Portfolio 42, no. 2/3 (2008): 183–84. http://dx.doi.org/10.1086/589598.

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Crabtree, Pam J. "An Early Neolithic Village in the Jordan Valley. Part II: The Fauna of Netiv Hagdud. Eitan Tchernov American School of Prehistoric Research Bulletin 44. Peabody Museum of Archaeology and Ethnology, Harvard University, Cambridge, 1994. vii + 105 pp., figures, tables, bibliography. $20.00 (paper)." American Antiquity 61, no. 1 (1996): 163. http://dx.doi.org/10.2307/282315.

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Boronoeva, T. A. "Картина мира в графике бурятского художника Ц.-Н. Очирова". Iskusstvo Evrazii [The Art of Eurasia], № 1(20) (31 березня 2021): 12–23. http://dx.doi.org/10.46748/arteuras.2021.01.001.

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The article deals with the artistic heritage of the outstanding Buryat artist Tsyren-Namzhil Ochirov (1920–1987), whose artistic phenomenon is based on the specific combination of the life philosophy, “naive” simplicity of depiction and the poetic love to his motherland called the Tonto Nyutag by the Buryat people. The public interest to his art was raised during the artist’s lifetime. In the early 1970s, several articles dedicated to his art were released in local newspapers. His unique artistic manner was studied by a group of young amateur artists who were members of the Republican Center o

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Bondarenko, Halyna. "Stand with Ukraine: Ukrainians of Carolina." Materìali do ukraïnsʹkoï etnologìï, no. 22 (December 30, 2023): 43–50. http://dx.doi.org/10.15407/mue2023.22.043.

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The activities of Ukrainians from South and North Carolinas, connected with the preservation of Ukrainian cultural heritage and support of Ukraine during the war time are described in the study. Ukrainian community of both states makes up for more than 10 thousand people and consists mainly of immigrants, moving to the USA since the early 2000s. This number has increased significantly after Russia’s full-scale invasion. Community organizations work in many cities. They unite and encourage the cultural activities of the Ukrainian population of the region. The Ukrainian Association of North Caro

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Collis, John. "Rural Economy in the Early Iron Age: Excavations at Hascherkeller 1978–1981. By Peter S. Wells. 27 × 19·5 cm. Pp. xvi + 169, 19 tables, 90 figs. Cambridge, Mass.: American School of Prehistoric Research, Peabody Museum of Archaeology and Ethnology, Harvard University (Bulletin, 36), 1983. ISBN 0-8736-539-7. £17·00." Antiquaries Journal 65, no. 1 (1985): 168. http://dx.doi.org/10.1017/s0003581500024963.

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Chan, Chin-niang. "STUDY ON THE SENSITIVITY OF THE DEVELOPMENT OF FUJIAN OPERA AND TAIWAN OPERA AND THE CHANGES OF WORKING EMOTION AND BEHAVIOR OF THE TROUPE." International Journal of Neuropsychopharmacology 25, Supplement_1 (2022): A18—A19. http://dx.doi.org/10.1093/ijnp/pyac032.025.

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Abstract Background Yangqin was introduced into China in the late Ming Dynasty and early Qing Dynasty. With the flow of musicians, it spread all over the world. It is not only used for folk God welcoming games, birthday celebrations, literati self entertainment or music clubs, but also the most eye-catching musical instrument in private collections, government and business and children's Museum music clubs. From the leisure and entertainment stage of “song” popular in the Qing Dynasty to the commercial rap of “selling medicine” and “sweeping the floor”, it absorbs the nutrition of performance

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Senelick, Laurence. "On the Edge of Your Seat: Popular Theater and Film in Early Twentieth-Century American Art. By Patricia McDonnell with contributions by Robert C. Allen, C. Lance Brockman, Leo Charney, Walter Murch, David Nasaw, Robert Silberman, Laural Weintraub, Sylvia Yount and Rebecca Zurier. New Haven and London: Yale University Press in association with the Frederick R. Weisman Art Museum, University of Minnesota, 2002. Pp. xii + 219 + illus. $45/£35 Hb." Theatre Research International 28, no. 1 (2003): 96–121. http://dx.doi.org/10.1017/s0307883303410171.

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Kristanto, Wisnu. "Javanese Traditional Songs for Early Childhood Character Education." JPUD - Jurnal Pendidikan Usia Dini 14, no. 1 (2020): 169–84. http://dx.doi.org/10.21009/141.12.

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   Character education in early childhood is not new, and character education is also not just a transfer of knowledge, but something that needs to be built early on through various stimula- tions. This study aims to develop the character of early childhood through audio-visual media with traditional Javanese songs. Using educational design-based research to develop audio-visual media from traditional songs, this media was tested in the field with an experimental design with a control group. Respondents involved 71 kindergarten students from one experimental class in one cont

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Bankoff, H. Arthur. "Rural Economy in the Early Iron Age: Excavations at Hascherkeller, 1978–1981. Peter S. Wells. With contributions by Helmut Becker, C. Caroline Quillian, Brenda R. Benefit, John D. Stubbs, Mary L. Hancock, and Michael Geselowitz. American School of Prehistoric Research, Bulletin 36, Peabody Museum of Archaeology and Ethnology, Harvard University, Cambridge, 1984. xvi + 169 pp., figures, tables, references. $20.00 (paper)." American Antiquity 50, no. 1 (1985): 211–12. http://dx.doi.org/10.2307/280663.

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Litvyshchenko, O. V. "Directions of concertmaster activity of Oleksandr Nazarenko." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (2020): 246–59. http://dx.doi.org/10.34064/khnum1-57.15.

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Formulation of the problem. At the current stage, concertmaster activity as a kind of performing art requires a comprehensive study to justificatе the artistic effectiveness of the artist. Thereby, there was a need for research of the concertmaster activity of Oleksandr Nazarenko (Professor of the Department of Ukrainian Folk Instruments in I. P. Kotlyarevsky Kharkiv National University of Arts), in order to characterize his performing skills. This article is about the instrumental work of a accordionist, which is an organic component of the activities of art institutions in a variety of forms

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