What Do we See in Museums?

2016 ◽  
Vol 79 ◽  
pp. 217-240 ◽  
Author(s):  
Graham Oddie
Keyword(s):  
Art Museums ◽  
Museum Collection ◽  
Ontological Category ◽  
Works Of Art ◽  
Museum Objects ◽  
Different Types ◽  
Preservation And Restoration ◽  
Philosophical Questions

AbstractI address two related questions. First: what value is there in visiting a museum and becoming acquainted with the objects on display? For art museums the answer seems obvious: we go to experience valuable works of art, and experiencing valuable works of art is itself valuable. In this paper I focus on non-art museums, and while these may house aesthetically valuable objects, that is not their primary purpose, and at least some of the objects they house might not be particularly aesthetically valuable at all. Second: to what ontological type or category do museum objects belong? What type of item should be featured on an inventory of a museum collection? I distinguish between typical objects and special objects. While these are different types of object, both, I argue, are abstracta, not concreta. The answer to the second question, concerning the ontological category of special objects, throws new light on various philosophical questions about museums and their collections, including the question about the value of museum experiences. But it also throws light on important questions concerning the preservation and restoration of museum objects.

First Museum in Russia Devoted to N. Gogol Opened in Moscow

2009 ◽  
pp. 12-14
Author(s):  
Vera P. Vikulova
Keyword(s):  
Museum Collection ◽  
Works Of Art ◽  
Official Opening ◽  
Historical Objects ◽  
Rare Books

One of main events of the jubilee year was the opening of Gogol’s Museum, first in Russia. Museum holds authentic historical objects and works of art as well as things belonging to Gogol. Museum Collection counts over thousand and a half items and contains unique collections of art materials, rare books and documents, staff and photo materials. Official opening of the museum was held on March 27, 2009.

Russian Museum of Emperor Alexander III as a place of memory

2020 ◽  
Vol 2020 (11-1) ◽  
pp. 132-147
Author(s):  
Dmitry Rakovsky
Keyword(s):  
Comparative Analysis ◽  
Historical Consciousness ◽  
Russian Society ◽  
Museum Collection ◽  
Works Of Art ◽  
History Of ◽  
The Creation ◽  
Historical Representations

The main purpose of this article is to study the role of the Russian Museum in the formation of the historical consciousness of Russian society. In this context, the author examines the history of the creation of the Russian Museum of Emperor Alexander III and its pre-revolutionary collections that became the basis of this famous museum collection (in particular, the composition of the museum’s expositions for 1898 and 1915). Within the framework of the methodology proposed by the author, the works of art presented in the museum’s halls were selected and distributed according to the historical eras that they reflect, and a comparative analysis of changes in the composition of the expositions was also carried out. This approach made it possible to identify the most frequently encountered historical heroes, to consider the representation of their images in the museum’s expositions, and also to provide a systemic reconstruction of historical representations broadcast in its halls.

scholarly journals Collecting Pandemic Phenomena: Reflections on Rapid Response Collecting and the Art Museum

Collections ◽  
2021 ◽  
pp. 155019062098084
Author(s):  
Sandro Debono
Keyword(s):  
21St Century ◽  
Art Museum ◽  
Art Museums ◽  
Rapid Response ◽  
Early Years ◽  
Future Generations ◽  
Specific Context ◽  
Development Methodology ◽  
Works Of Art ◽  
Potential Use

Rapid Response Collecting has been a most apt methodology with which to document the COVID-19 pandemic for an increasing number of museums. As the phenomenon unfolded across the globe, museums searched for and head-hunted the truth-revealing objects that could tell the stories and histories of the present to current and future generations. Indeed, the COVID-19 pandemic took Rapid Response Collecting to a higher level. A methodology originally conceived for a sporadic phenomenon happening within a specific context during the early years of the 21st century gained much more traction almost overnight. This paper shall make a case for a better understanding of the potential use and application of Rapid Response Collecting by art museums. It shall look into the defining values of this collections development methodology and how these can be applied and adopted when acquiring works of art. In doing so, it shall seek to understand to what extent the mainstream version of Rapid Response Collecting can be adapted for the needs, purposes and requirements of the art museum.

Plausibility and Aesthetic Interpretation

1977 ◽  
Vol 7 (2) ◽  
pp. 327-340 ◽  
Author(s):  
Denis Dutton
Keyword(s):  
Scientific Inquiry ◽  
The Other ◽  
Inquiry Science ◽  
Works Of Art ◽  
Different Types ◽  
Logical Structures ◽  
The One

If a catalogue were made of terms commonly used to affirm the adequacy of critical interpretations of works of art, one word certain to be included would be “plausible.” Yet this term is one which has received precious little attention in the literature of aesthetics. This is odd, inasmuch as I find the notion of plausibility central to an understanding of the nature of criticism. “Plausible” is a perplexing term because it can have radically different meanings depending on the circumstances of its employment. ln the following discussion, I will make some observations about the logic of this concept in connection with its uses in two rather different contexts: the context of scientific inquiry on the one hand, and that of aesthetic interpretation on the other. In distinguishing separate senses of “plausible,” I shall provide reason to resist the temptation to imagine that because logical aspects of two different types of inquiry—science and criticism—happen to be designated by the same term, they may to that extent be considered to have similar logical structures.

scholarly journals Practice in fi eld of artistic culture

2017 ◽  
pp. 49-56
Author(s):  
N. N. Suvorov ◽  
Keyword(s):  
Art Market ◽  
Art Collecting ◽  
Works Of Art ◽  
Different Types ◽  
Relationship Of ◽  
The Relationship

Culture is considered as a set of practices whose purpose is the establishment of entity, product and percipient activities. In the artistic practices used versatile technology. They include Museum, gallery, curator, art collecting. Characteristics of different types of practices are private, but there are recurring characteristics. Discusses the relationship of artistic practices and the art market, which is one of the forms of circulation of works of art.

Acrylic Binder Used for the Consolidation of Gilded Surfaces

2015 ◽  
Vol 754-755 ◽  
pp. 624-628
Author(s):  
Ioana Huțanu ◽  
Liliana Nica ◽  
Ion Sandu ◽  
Viorica Vasilache ◽  
Andrei Victor Sandu
Keyword(s):  
Optical Microscope ◽  
Cultural Goods ◽  
Analysis Techniques ◽  
Different Types ◽  
New Type ◽  
Preservation And Restoration ◽  
Traditional Process ◽  
Painting Layer

The consolidation of the painting layer or plane and carved gildings which represent different types of detachments is an essential operation for the preservation and restoration of the cultural goods of polychrome wood. Our paper focuses on testing a new type of acrylic binder applied on cracks with blind detachments with an OMRON nebulizer with NE-C28P compressor which sprays microparticles of 3 μm under a hermetic film that covers the operated surfaces. The experiments have been performed on samples of old gilded wood. The results are compared to those obtained by using the traditional process of peliculization of the acrylic binder over the detached surfaces and with the process of spraying. The analysis techniques used are the optical microscope and SEM-EDX.

scholarly journals Sustainability in art conservation: a novel bio-based organogel for the cleaning of water sensitive works of art

2018 ◽  
Vol 90 (2) ◽  
pp. 239-251 ◽  
Author(s):  
Silvia Prati ◽  
Francesca Volpi ◽  
Raffaella Fontana ◽  
Paola Galletti ◽  
Loris Giorgini ◽  
...  
Keyword(s):  
Thin Layers ◽  
Biodegradable Materials ◽  
Art Conservation ◽  
Works Of Art ◽  
Synthetic Materials ◽  
Egg Tempera ◽  
Different Types ◽  
Historical Objects ◽  
Natural And Synthetic

Abstract Organo- and hydrogels have been proposed in the restoration field to treat different types of surfaces. The possibility to retain solvents and to have a controlled and superficial action allowed to use these materials for the removal of very thin layers applied on ancient historical objects, when the under paint layers are particularly delicate and water sensitive. In the last years, an increased attention has been devoted to the proposal of more healthy products to guarantee the safeguard of the operators. Few attention has been devoted to the development of green methods which foresee the use of renewable and biodegradable materials. The aim of this paper is to test a green organo-gel for the cleaning of water sensitive surfaces like varnished egg tempera paintings. The gel has been tested experimented on mock ups varnished with natural and synthetic materials and has been validated on a small portion of a Cimabue painting for the removal of two varnishes applied on two different test areas of the painting.

Recent Restoration and Preservation of the Monuments of the Knights in Rhodes

1952 ◽  
Vol 47 ◽  
pp. 213-216
Author(s):  
I. D. Kondis
Keyword(s):  
The State ◽  
Ministry Of Education ◽  
Works Of Art ◽  
British School ◽  
Military Administration ◽  
Preservation And Restoration ◽  
Ancient Monuments ◽  
British Committee

Even before Greece took over the administration of the Dodecanese, the Ministry of Education in Athens had sent the Director of the Monuments Restoration Service, Professor A. Orlandos of Athens University, to examine the state of the antiquities of the islands. It was thus possible for the local Archaeological Service, soon after the Greek Military Administration was installed in 1947, to start at once repairing the grave damage caused to the ancient monuments of Rhodes during the war. The main damage has been described in the official English publication Works of Art in Greece, the Greek Islands and the Dodecanese (London 1946), issued by the British Committee on the Preservation and Restoration of Works of Art, Archives and other Material in Enemy Hands, as also in the supplement to the above Report by T. W. French in the Annual of the British School at Athens XLIII (1948), 193 ff.

scholarly journals Against a “Life Hack” Approach to Art Education

2016 ◽  
Vol 43 (1) ◽  
pp. 199
Author(s):  
Claudia W. Ruitenberg
Keyword(s):  
The Netherlands ◽  
Art Education ◽  
Aesthetic Experience ◽  
Museum Education ◽  
Art Museums ◽  
Pedagogical Intervention ◽  
Works Of Art ◽  
Making Art

Abstract: This paper critiques de Botton and Armstrong’s Art as Therapy project (2013-2015), a collaboration with art museums in Canada, the Netherlands, and Australia, in which labels in the gallery, as well a catalogue and website, explain how viewers might use works of art to serve therapeutic purposes in their lives. The paper argues that, instead of making art more accessible to those who, allegedly, do not find access to art on their own, the Art as Therapy project undermines the force and richness of art by first declaring it useless and inaccessible and then repurposing it as therapeutic life hack.KEYWORDS: Museum education; aesthetic experience; pedagogical intervention; interpretive freedom.Résumé: Cet article se veut une critique du projet Art as Therapy (2013-2015) de Botton et Armstrong, mené en collaboration avec des musées des beaux-arts canadiens, néerlandais et australiens, dans le cadre duquel les affichettes des musées, ainsi que catalogues et sites Web, expliquent aux visiteurs comment utiliser les œuvres d’art à des fins thérapeutiques dans leur quotidien. Dans cet article, je prétends que, plutôt que rendre l’art davantage accessible à ceux qui ne peuvent supposément y accéder de leur propre chef, le projet Art as Therapy sape la force et la richesse de l’art en le déclarant à prime abord inutile et inaccessible pour le transformer par la suite en « astuces de vie » thérapeutiquesMOTS CLES: Éducation muséale; d’expérience esthétique; intervention pédagogique; la liberté interprétative

scholarly journals GENERAL CHARACTERISTIC OF THE FINDINGS OF STOVE TILES OF KYIV-PECHERSK LAVRA

2017 ◽  
pp. 140-160
Author(s):  
Dariya Finadorina
Keyword(s):  
General Characteristic ◽  
Museum Collection ◽  
Complete Representation ◽  
Wide Range ◽  
Different Types ◽  
History Of ◽  
Xix Century ◽  
Archaeological Objects

The article is devoted to the collection of stove tiles, originated from archaeological objects on the territory of Kyiv-Pechersk Lavra National Preserve.The collection includes stove units of XV–XIX centuries, which illustrate important aspects of history Kyiv-Pechersk Monastery and partly a history of Ukrainian tiles’ industry. The material is structured according to the chronological periodization of tiles’ evolution. The earliest findings are pot-like tiles (XV–XVI centuries) and tiles with a half-sphere external bend in the centre of the base.Chronologically next group is the series of findings of early tablet tiles ХVІ–XVII centuries. They are decorated with the sacral or myth stories, anthropomorphic or teratological figures, and element of Ancient Rus’ symbols.The biggest group is tiles of XVIІ–XVIII centuries includes a wide range of products of different types and styles. The tile of the specified period is characterized by the most complete representation both in terms of typological varieties and in terms of stylistic variants of decoration of products. The ending of Ukrainian tiles industry is illustrated by XIX century tiles. In this article, we worked on the brightest examples of stove tiles from the territory of Kyiv-Pechersk monastery. We also compared them with the synchronic examples from Pechersk. This data deserves further examining and may include different aspects.One of them is to try to make more clearly chronological differentiation of the collection, linking them to the particular periods of monastery’s history or to the particular household objects of monastery structure.It should be mentioned, that the findings need conservation and restoration. As far as it will be done, the findings could be full museum collection.

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