The origins of the Hungarian sword style

Antiquity ◽  
1977 ◽  
Vol 51 (203) ◽  
pp. 211-220 ◽  
Author(s):  
Miklós Szabó
Keyword(s):  
Fine Arts ◽  
Hungarian Academy ◽  
Museum Of Fine Arts ◽  
Academy Of Sciences

Dr Szabó, who is on the staff of the Hungarian Museum of Fine Arts, is by training a classical archaeologist and art historian. In recent years he has been concerned with a re-evaluation of eastern Celtic art and is one of the editors of the great newCorpus of Celtic Material in Hungarybeing prepared under the auspices of the Hungarian Academy of Sciences. The text of Dr Szabó's paper was first delivered to the Vth International Celtic Congress held in Penzance in April 1975.

scholarly journals Ferenczy Károly kettős portréja Schönherr Antalról és Schönherr Gyuláról (1902)

2021 ◽  
Vol 69 (2) ◽  
pp. 327-333
Author(s):  
Mikó Árpád
Keyword(s):  
Fine Arts ◽  
Hungarian Academy ◽  
Historical Research ◽  
Police Chief ◽  
Baia Mare ◽  
The Family ◽  
Art Colony ◽  
Set Up ◽  
Academy Of Sciences ◽  
The Town

In the autumn of 1902 Károly Ferenczy (1862–1917) painted a double portrait of Gyula Schönherr (1864–1908) and his father Antal Schönherr (†1905) in Nagybánya (today Baia Mare, Romania). Antal Schönherr was the police chief of the town, but his son had long been living in Budapest and pursued a serious career as a historian. After the onset of his career in the Archives of the Hungarian National Museum, he edited the periodical Turul rallying heraldic research, the periodical of book historical research Magyar Könyvszemle, the volumes of the Millennial Hungarian History, and he became the secretary of the National Inspectorate of Museums and Libraries set up in 1897. In 1896, at the age of 32, he became corresponding member of the Hungarian Academy of Sciences. He supported the art colony of Nagybánya from its foundation. Károly Ferenczy was a friend of the Schönherr family in Nagybánya; he painted the double portrait as a present to Gyula Schönherr. Gyula Schönherr’s unpublished letters to his family reveal the process of portraiture (with references to the creative methods of the painter), the display and reception of the portrait in Budapest and its subsequent fate, the further contacts between Ferenczy and his painter friends and the Schönherr family. After Gyula Schönherr’s death the painting remained with the family, who donated it to the Museum of Fine Arts in 1926, since when it has been in public collections.

Checking library collection enables to analyze its composition as exemplified by the Pushkin State Museum of Fine Arts Research Library

2020 ◽  
Author(s):  
Olga Parkhomenko ◽  
Keyword(s):  
Fine Arts ◽  
Research Library ◽  
Museum Collection ◽  
Library Collection ◽  
State Museum ◽  
Book Collections ◽  
Museum Of Fine Arts

The Library of the Pushkin State Museum of Fine Arts is rich in rare and unique publications, and those of memorial value. The collection checking envisages visual revision and analysis of every book, and during this process the specialists revealed a number of valuable publications for further research. Also all registered publication went through the stage of initial collection specification (e.g., Rumyantsev museum collection, collection of the New Western Arts Museum, memorial libraries, etc). Currently, this information has been being entered into the e-catalog. This will enable to verify special arrays within the Research Library’s collection and simplify investigations into historical and memorial book collections and individual valuable publications.

Examination of Condition of Historical Transparent Structures of the Pushkin State Museum of Fine Arts

2020 ◽  
pp. 63-69 ◽  
Author(s):  
Alexander V. Spiridonov ◽  
Nina P. Umnyakova ◽  
Boris L. Valkin
Keyword(s):  
Cultural Heritage ◽  
Fine Arts ◽  
Comprehensive Examination ◽  
State Museum ◽  
Museum Of Fine Arts

The article describes the results of the second part of examination related to transparent structures of the Pushkin State Museum of Fine Arts: the lantern lights. The structures are cultural heritage of federal importance and are subject to state preservation. Based on the results of comprehensive examination, the conclusions were made that these structures are in unsatisfactory condition and materials were prepared for development of recommendations concerning their restoration.

Conference Reports

2004 ◽  
Vol 54 (3) ◽  
pp. 377-386
Author(s):  
Anita Pelle ◽  
László Jankovics
Keyword(s):  
Hungarian Academy ◽  
Economic Research ◽  
Foreign Direct Investments ◽  
Central Eastern Europe ◽  
Continuity And Change ◽  
Economic Association ◽  
Regional Committee ◽  
The University ◽  
Academy Of Sciences ◽  
European University

(1) The Halle Insitute for Economic Research (Institut für Wirtschaftsforschung Halle, IWH) in cooperation with the European University Viadrina, Frankfurt an der Oder held a conference on 13-14 May 2004 in Halle (Saale), Germany on Continuity and Change of Foreign Direct Investments in Central Eastern Europe. (Reviewed by Anita Pelle); (2) The University of Debrecen, Faculty of Economics and Business Administration in cooperation with the Regional Committee of the Hungarian Academy of Sciences and the Hungarian Economic Association organised an international symposium on the issue of Globalisation: Challenge or Threat for Emerging Economies on 29 April 2004 in Debrecen, Hungary. (Reviewed by László Jankovics)

Role of pulse oximetric monitoring during gastrointestinal endoscopy. Prospective multicenter study of the Gastroenterological Working Group of the Veszprém Regional Committee of the Hungarian Academy of Sciences (VEAB)

2013 ◽  
Vol 154 (21) ◽  
pp. 825-833
Author(s):  
Zoltán Döbrönte ◽  
Mária Szenes ◽  
Beáta Gasztonyi ◽  
Lajos Csermely ◽  
Márta Kovács ◽  
...  
Keyword(s):  
Risk Factors ◽  
Multicenter Study ◽  
Hungarian Academy ◽  
Prospective Multicenter Study ◽  
Standard Requirement ◽  
Long Duration ◽  
Related Risk ◽  
American Society ◽  
Academy Of Sciences ◽  
Endoscopic Investigation

Introduction: Recent guidelines recommend routine pulse oximetric monitoring during endoscopy, however, this has not been the common practice yet in the majority of the local endoscopic units. Aims: To draw attention to the importance of the routine use of pulse oximetric recording during endoscopy. Method: A prospective multicenter study was performed with the participation of 11 gastrointestinal endoscopic units. Data of pulse oximetric monitoring of 1249 endoscopic investigations were evaluated, of which 1183 were carried out with and 66 without sedation. Results: Oxygen saturation less than 90% was observed in 239 cases corresponding to 19.1% of all cases. It occurred most often during endoscopic retrograde cholangiopancreatography (31.2%) and proximal enteroscopy (20%). Procedure-related risk factors proved to be the long duration of the investigation, premedication with pethidine (31.3%), and combined sedoanalgesia with pethidine and midazolam (34.38%). The age over 60 years, obesity, consumption of hypnotics or sedatives, severe cardiopulmonary state, and risk factor scores III and IV of the American Society of Anestwere found as patient-related risk factors. Conclusion: To increase the safety of patients undergoing endoscopic investigation, pulse oximeter and oxygen supplementation should be the standard requirement in all of the endoscopic investigation rooms. Pulse oximetric monitoring is advised routinely during endoscopy with special regard to the risk factors of hypoxemia. Orv. Hetil., 2013, 154, 825–833.

EXHIBITION AS A GENRE OF PLASTIC ART: "DIOR"

2020 ◽  
pp. 138-150
Author(s):  
Mariya T. Maistrovskaya ◽  
◽  
Keyword(s):  
Visual Art ◽  
Spatial Organization ◽  
Fine Arts ◽  
Environmental Design ◽  
Exhibition Design ◽  
Fine Art ◽  
Museum Of Fine Arts ◽  
Artistic Images ◽  
Fashion Designers

The article is the second part of the research that consider and analyze two exhibitions held in recent years at the A.S. Pushkin Museum of Fine Arts named, “Chanel: according to the laws of art” (2007) and “Dior: under the sign of art” (2011), dedicated to the largest fashion designers of our time. The original concepts and artistic solutions of the exhibition design of these exhibitions became events not only in the fashion world, but also in the art of the exhibitiaon. These exhibitions presented various exhibition solutions, vivid artistic images, expressive spatial organization, conceptual and scenographic arrangement of copyright collections in the context of high fine art. The most important conceptual component of the exhibitions was to present the art of fashion designers, juxtaposing, giving rise to associations and building analogies and contexts with visual art, against which unique collections were exhibited and in the circle. With this single conceptual view of their work, and the single space of the museum in which the exhibitions were held, the artistic and architectural strategy of the exhibitions was diametrically opposite, revealing the palette and variety of artistically expressive means and modern exhibition design. Both exhibitions were created by modern foreign curators and designers and represent talented and creative exposition projects, the analysis of which can be useful for domestic environmental design as vivid examples of the exposition as a genre of plastic art, which is considered the modern museum and exhibition exposition at its highest and creative forms.

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