Exhibitions of Works of Art, Objects illustrative of General and Practical Science, Specimens of Natural History, and Productions of Manufaturing Skill

Author(s):  
James Hole
Author(s):  
Elena A. Fedorova ◽  
Diana V. Zaripova ◽  
Igor S. Demin

This work confirmed the hypotheses about the influence of the mood index on Twitter on the pricing of art objects and the difference between the experts' estimations and the final price of the auction. The hypotheses were tested with the use of a sample of 83 paintings selected on the basis of ratings of ARTNET's online resource about the most expensive works of art ever sold in the last 10–15 years. The sample consisted of 25 artists, for each of them was made an index of moods on Twitter. This index was created by a sentimental analysis of each tweet about the artist on the hashtag for a period of 2 to 4 months between the announcements of sales in the open sources and the direct sale of the work with the use of the two dictionaries AFINN and NRC.


Author(s):  
Joanna Stefańska ◽  
Paulina Kowalczyk ◽  
Agata Gawlak

The aim of this article is to make a multi-criteria analysis of various exhibition spaces of an originally non-exhibition character and to determine how these spaces affect the selection of works and the exhibition concept. The analysis is based on the exhibitions of art objects at collective exhibitions in unconventional architectural spaces: commercial, i.e. the modern office building of PBG Gallery Skalar Office Centre in Poznań, post-industrial i.e. in the former Zakłady Przemysłu Ziemniaczanego Lubanta S.A. and in the historic interior of the "U Jezuitów" Gallery of the Cultural Integration Centre in Poznań. The multi-criteria comparative analysis shows a variety of features of the studied spaces as well as the relationship between architecture and art and their mutual interaction. The participatory role of the non-exhibition space in the process of creating an exhibition and selecting works has been proven. It has also been confirmed that the presentation of works of art in originally non-exhibition spaces creates a new quality of the artwork. Unconventional architectural space, when used for the exhibition of works of art, expands and strengthens the area of ​​their influence through the interaction between the work and the architectural space. The specificity of the space adapted for exhibition needs, the presence and type of architectural details in the interior, the quantity and quality of light and its distribution in space, the volume and colour of the interior determine the exhibition space and influence the shape of the exhibitions organised and the reception of the artworks. The only condition for the change of the original function of an architectural space into that of an exhibition space is a coherent artistic vision of the creator. This should take into account the appropriate selection of the exhibited objects, where the process of searching for the relationship between architecture and art determines the features of the architectural space as integral components influencing the realisation of the exhibition .


2021 ◽  
pp. 43-46
Author(s):  
V. Nikol'skaya

The article discusses the structure and methodology of conducting a lesson with fourth-graders on the natural history topic “Poisonous animals. Poisonous Mushrooms “within the framework of mastering the content of the training course “The-World-Around-Us”. The teacher implements the set goals of the lesson on the basis of the use of problem situations, comparison of drawings with the corresponding texts, the widespread use of visual material and works of art. Simultaneously with the expansion of knowledge about poisonous animals and mushrooms, younger schoolchildren develop ideas about the


2021 ◽  
Vol 27 ◽  
pp. 131-167
Author(s):  
Antoni Romuald Chodyński

The work of M.B. Valentini “Museum museorum” and other museographical publications from the Gdańsk book collections and their significance in the formation of the natural history collections in the 17th and 18th centuries After 1700 we observe a clear increase in the number of conscious collectors gathering works of art, naturalia and various curiosities – mirabilia, typical of many Baroque “chambers” (Kammer) that were created by collectors during the previous, 17th century. Michael Bernhard Valentini (1657–1729), court physician at the court of the Landgrave of Hessen, published a compendium of encyclopaedic knowledge, a work for academic collectors of natural history specimens, entitled Museum museorum (Vol. I–II, Frankfurt am Main 1704–1714). Valentini provided information about various noteworthy things found in the Old and New World as well as in Asia (India), sometimes exceeding the limits of previous knowledge, both for researchers and collectors. Valentini’s work may be seen as evidence of a real collector’s fever, directed not only at all kinds of rare and curious things (curiosities) but also research objects collected for study purposes, especially in countries north of the Alps (e.g. natural amber and amber with insect inclusions). This German author recommended in his proposed programme for the creation of an ideal modern museum that objects should be arranged into groups, for example naturalia and artificialia and then divided into more detailed subgroups in order to make them more visible and their content more comprehensible, therefore enriching the knowledge of the surrounding world.


2011 ◽  
Vol 3 (3) ◽  
pp. 124-130 ◽  
Author(s):  
Indrė Gudelytė

The building of “Lietkoopsąjunga” (The Union Of Cooperatives of Lithuania) is an example of modernist architecture in Lithuania. It is valuable by it‘s architecture as well as it‘s works of art, made by famous artists of those days. Lively comments of J. Šeibokas and A. Kmieliauskas endue the genuine value to the paper. The paper reveales correlation between the art objects, the surrounding architectural ambience and the potential “observer”. The works of art are analyzed by their location in the interior space, compositional structure, symbolical meaning, etc. The author identifies wether the art objects integrate or contrast to the architecture. The role of light as an important agent is also emphasized. Conclusively, the graphical scheme of analysis is introduced.


Author(s):  
Sarah Anne Carter

Chapter 3 considers different variations of object lessons, particularly object lessons on pictures and lessons that address the relationships between objects and pictures in the classroom. Picture lessons raise epistemological questions about the kind of information objects and images may transmit and suggest strategies that were employed to teach children how to interpret images. The methods were applied to hybrid object pictures, teaching aids that combined images with material things, and images designed for classroom instruction, covering topics like the trades and natural history. Works of art not necessarily created to be the subject of object lessons, like genre scenes and trompe l’oeil paintings, could also be used, offering new ways to think about the art historical possibilities of these categories more broadly. The first three chapters provide an overview of the ways object lessons and object teaching more generally were implemented in US schools.


Author(s):  
Boris Vasilievich Kabylinskii

The object of this research is a totem symbol in decorative tradition of the peoples of pre-Columbian America. The subject of this research is the images of jaguar in the art of the Aztecs of Mesoamerica. The images of a human and jaguar are captured on the metal, stone and clay artifacts of pre-Columbian civilizations that are available to the public in Mexico City National Museum of Anthropology, Peruvian Museum of the Nation in Lima, Metropolitan Museum of Art in New York, and Smithsonian National Museum of Natural History in Washington, D. C. The research methodology is based on compilation of the results of fundamental research of the leading scholars of North American School of Anthropology. The article conduct a general systematization and brief analytics of scientific records on the specificity of Mesoamerican decorative tradition of totem symbols throughout an extensive period of time: 1500 BC – 400 AD (Olmec Civilization), III century BC – VII century AD (Teotihuacan Civilization), 900 BC – 200 AD (Chavín Civilization), 750 BC – 100 AD (Paracas Civilization), 2300 – 1200 BC (Kotosh Civilization), 1250 – 1470 AD (Chimú Civilization). The presented materials substantiate the thesis that jaguar as a totem symbol carried out the functions of unification and identification of ethnoses of Mesoamerica, reflecting relevant sociocultural trends at various stages of anthropogenesis. The novelty of this work consists in scientific systematization of the facts that the nuances of fusion of the images of human and jaguar in art objects of Aztec culture reflect a harmonious or turbulent frame of mind in pre-Columbian era.


2003 ◽  
Vol 4 (3) ◽  
pp. 300-313 ◽  
Author(s):  
Andri Savva

Art educators have asserted that, in order to develop curricula that use adult works of art, it is necessary to understand how children perceive and respond to art objects. Although ‘art’ is not included in the early years national curriculum of Cyprus, curriculum resource books encourage the introduction of adult artworks in nursery schools. This exploratory study was designed to gather information regarding young children's (aged 4–5 years) responses to adult paintings. An open-ended interview procedure was used. Three reproductions of paintings of different artistic styles were selected: a realistic, a semi-realistic and an abstract. The sample included 25 children selected randomly from 12 public nursery schools of Cyprus. The findings suggest that artworks are an important part of children's educational experiences, if approaches and methods that are compatible with their perceptual abilities are used. The study identified some relevant factors underlying young children's responses to artworks and provides recommendations to enhance children's learning in art.


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