Technical Studies in the Field of the Fine Arts, 1932-1942, 10v.Fogg Art Museum

1976 ◽  
Vol 4 (3) ◽  
pp. 102-102
Author(s):  
Robin Kaplan
Keyword(s):  
Fine Arts ◽  
Art Museum ◽  
Technical Studies

The Art Museum and the Teaching of the Fine Arts

1918 ◽  
Vol 1 (4) ◽  
pp. 120
Author(s):  
Edward W. Forbes
Keyword(s):  
Fine Arts ◽  
Art Museum

scholarly journals Museo y Musa. Referencias y repercusión del proyecto de Molezún realizado en Roma | Museum and Muse. References and consequences of Molezún’s project in Rome

ZARCH ◽  
2016 ◽  
pp. 70
Author(s):  
Marta García Alonso
Keyword(s):  
Contemporary Art ◽  
Fine Arts ◽  
Art Museum ◽  
Hispanic American ◽  
National Architecture ◽  
Arte Contemporáneo ◽  
Contemporary Art Museum

En 1953 Ramón Vázquez Molezún recibió el Premio Nacional de Arquitectura con su proyecto Museo de Arte Contemporáneo. Fue su segundo galardón en poco más de dos años, después de haber recibido en 1951 el premio de la I Bienal Hispanoamericana con el proyecto Teatro al Aire Libre Homenaje a Gaudí. Paradójicamente, gracias a estos dos ejercicios de carácter académico realizados durante su estancia como pensionado en la Academia Española de Bellas Artes de Roma, Molezún se convirtió, sin haber construido una sola obra, en una referencia tanto para los arquitectos españoles como para los estudiantes de las escuelas de arquitectura de nuestro país. El propio Museo de Arte Contemporáneo fue en aquella época un proyecto clave en el devenir de su obra y uno de los más influyentes entre sus colegas. Este artículo estudia, en un primer lugar, el contexto de esa propuesta de museo, de esa idea que fue dibujada por Ramón Vázquez Molezún sin intención de ser construida, tratando de desvelar las claves proyectuales de su esencia: a este respecto las alusiones a Gaudí y Wright, pero también a sus viajes por Europa son citas obligadas. Después trata de analizar en qué medida este proyecto, un museo convertido en musa, pudo servir de inspiración para la generación de otros muchos proyectos sí construidos, propios y ajenos.In 1953, Ramón Vázquez Molezún received the National Architecture Prize for his Contemporary Art Museum project. It was his second award in little more than two years, after receiving the First Hispanic-American Biennial Prize for his Open-air theatre; tribute to Gaudi. Paradoxically, thanks to these academic works made during his stay as a pensioner at the Spanish Academy of Fine Arts in Rome, Molezún became, without having built any construction yet, a model for both architects and architecture students of our country. The Contemporary Art Museum was, at the time, a key project in the progression of Molezun’s career, and one of the most influential works among his colleagues. First of all, this article studies the context of this museum, of the concept drawn by Ramón Vázquez Molezún without any intention of building it, trying to uncover the keys of its essence. Gaudi and Wright allusions, as well as his travels around Europe, are mandatory stops. Secondly, the article tries to analyze in what measure this project, a museum made muse, could have been an inspiration for a great number of built projects, both Molezún’s and others.

scholarly journals Om strandvandringer og annen unyttig eksersis

1970 ◽  
pp. 69
Author(s):  
Birthe Marie Løveid
Keyword(s):  
Fine Arts ◽  
Art Museum ◽  
Works Of Art ◽  
Museum Objects ◽  
The Status ◽  
Mixed Feelings ◽  
Flow Of Time ◽  
Store Room

About shore-walks and other idle amusements The author, who is a sculptor and the leader of the Academy of Fine Arts in Bergen, Norway, looks at the art museum with mixed feelings. The works of art which have attained the status of museum objects have been salvaged from the relentless flow of time. But, alas, many of them are doomed to the store-room or cellar. 

scholarly journals Book graphics in the creation of the plastic artist Liudmyla Kozhokar

2021 ◽  
Author(s):  
Victoria Rocaciuc ◽  
Keyword(s):  
Fine Arts ◽  
Art Museum ◽  
Art Exhibitions ◽  
Full Member ◽  
Republic Of Moldova ◽  
Illustrated Books ◽  
The Arts ◽  
Publishing Houses ◽  
The Republic ◽  
Children's Stories

The fine arts artist Liudmyla Kozhokar had professional studies in Ukraine: the Arts Studio in Kherson (1975–1978) and the Ukrainian Polygraphic Institute „I. Fyodorov” in Lvov (1978–1983). Since 1984, Liudmyla Kozhokar participates in fine art exhibitions in Chisinau and abroad. Since then, the artist has collaborated with various Moldovan publishing houses, combining publishing with teaching in the field of fine arts. Since 1999 Liudmyla Kozhokar is a full member of the UAP of the Republic of Moldova, and since 2001 – a member of the A.I.A.P. UNESCO, Paris, France. Liudmyla Kozhokar’s works are in the collections of the National Art Museum of Moldova and in private ones in Romania, the Republic of Moldova, France, USA, Iraq, Italy, Germany, Japan, England, etc. The graphic designer illustrated books of different kinds: ABC books, textbooks, children’s stories, encyclopedic literature, etc. Liudmyla Kozhokar perceives each graphic book separately, finding new plastic formulas and stylistic methods, delving into the text and studying it to the last sentence.

Alfred H. Barr, MoMA, and the Entrance and Exit of Outsider Art (1936–1943)

2021 ◽  
Vol 10 (1) ◽  
pp. 2-25
Author(s):  
Dieter De Vlieghere
Keyword(s):  
New York ◽  
Modern Art ◽  
Fine Arts ◽  
Art Museum ◽  
Museum Of Modern Art ◽  
Art World ◽  
Outsider Art ◽  
Creative Agency ◽  
Changing Role

Fantastic Art, Dada, Surrealism (1936), curated by Alfred H. Barr at the Museum of Modern Art (MoMA), New York, was the first major exhibition of outsider art at the epicentre of the art world. The entrance of outsider art in the art museum coincided with the changing role of the curator: from a custodian of fine arts to an exhibition author with creative agency. The disconnection of outsider art from canonized art history and the peculiar appearance of the works and their makers inspired new curatorial narrations and settings. Barr’s inclusive vision of modern art and curation was, however, strongly criticized, and a few years later that vision was replaced by a hierarchical one demanding the exclusion of outsider art from the art museum. The developments at MoMA between 1936 and 1943 exemplify how outsider art served as a catalyst for the curatorial turn in which the division between the roles of curator and artist began to shift.

A.V. KHUDYASHEV (1885–1927): BIOGRAPHICAL FEATURES AND ANALYSIS OF THE ARTIST’S CREATIVE HERITAGE

2021 ◽  
pp. 253-261
Author(s):  
Elena I. Darius ◽  
◽  
Mikhail Yu. Shishin ◽  
Keyword(s):  
Fine Arts ◽  
Art Museum ◽  
The State ◽  
Early Years ◽  
State Archive ◽  
Design Activities ◽  
History Of ◽  
Organizational Work ◽  
Museum Of Fine Arts ◽  
First Time

Alexander Khudyashev is a sculptor, painter, teacher, organizer who played a prominent role in the artistic life of two Siberian cities - Tomsk and Barnaul in the 10–20s of the twentieth century. This article, based on the documents found, represents for the first time the main stages of his life and work, active participation in the All-Siberian Association of Artists «New Siberia». Until recently, very little was known about the life and work of this artist. The authors of the article, relying on archival materials, restored the biography of A. Khudyashev, in particular, more fully covered the Barnaul period of his life. On the basis of the documents found in the State Archive of the Altai Krai, the facts of the early years of the master's biography, the period of study at the Kazan Art School, and studies at private art studios in Moscow became known. The article describes his organizational work in Tomsk: on the board of the Tomsk Society of Art Lovers, participating in annual periodic art exhibitions, organizing a number of exhibitions («Exhibition of paintings and sculptures by local artists» and «Autumn exhibition of local and non-resident authors»). In Novonikolaevsk (now Novosibirsk), together with the assistant of the Leipzig Royal Academy of Arts, Czech artist F. Havelka, he participated in the preparation of the first in the history of the city art exhibition of Tomsk and Novikolaevsk professional artists and students of the Tomsk Real School and private studio F. Havelka. The pedagogical activity of the master is noted: in parallel with the creative and organizational work, Khudyashev taught sculpture in F. Havelka’s private drawing classes, drawing in the theological schooland first city women’s school, as well as in the Mariinsky female gymnasium. In 1918, the artist returned to Barnaul, where, according to A. Khudyashev's questionnaire recently discovered in the State Archive of the Altai Territory, he continued his teaching activities at the Barnaul Pedagogical Technical School and at the Workers' Faculty, and also worked in the Altai provincial department of public education. In addition, the artist was engaged in design activities. Becoming a member of the AllSiberian Society of Artists «New Siberia», he took part in the First All-Siberian exhibition of painting, sculpture, graphics and architecture, opened by members of the "New Siberia" in 1927 in Novosibirsk. The history of the Museum of Fine Arts in Barnaul, the first art museum in Altai, is connected with the name of A. Khudyashev. In difficult historical times, the change of the social and political system, the civil war, the introduction of the New Economic Policy A.V. Khudyashev sought to save a unique collection of the first art museum in Altai, understanding the importance and necessity of his work for future generations. The article introduces for the first time into the scientific parlance and analyzes three of his remaining paintings, now stored in the State Art Museum of the Altai Krai, tells about the composition and fate of the collection of the Museum of Fine Arts in Barnaul.

scholarly journals Latin American Popular Art in a Museum: How Things Become Art

2019 ◽  
pp. 63-89
Author(s):  
Olaya Sanfuentes
Keyword(s):  
World War Ii ◽  
Latin American ◽  
Social Life ◽  
Fine Arts ◽  
Art Museum ◽  
World War ◽  
Daily Lives ◽  
Popular Art ◽  
The People ◽  
Latin American Culture

In 1943 when Universidad de Chile celebrated its centennial all Latin American nations were invited to participate in the commemorative events. One of the most interesting was the Exhibition of American Popular Art at the Museo Nacional de Bellas Artes(National Museum of Fine Arts) which brought together the objects from participating countries. The Universidad de Chile´s invitation asked countries to send functional objects that were part of the people´s daily lives. The exhibition was very successful, critically acclaimed, and highly attended. But above all, it planted the seed for what was to become the Museo de Artes Populares Americanas(American Popular Art Museum) functioning to this day.In this essay I would like to highlight a series of contexts, actors and institutions behind the phenomena: specific incarnations of Pan Americanism during the Second World War; the Latin American perspective in general and in particular, the Chilean perspective of the university´s role in society; the new value of Latin American arts since the 20thcentury. These contexts and events are useful to shed light on the “social life” of the objects that were part of the exhibition and they also help us to understand a dynamic definition of art which emerged from the recognition of craft in use as worthy of exhibition in a National Fine Arts Museum and then to remain at the permanent collection of a popular art museum.The radical importance of this essay is that it constitutes an example of a thing which represents not just art but also other values. In a midst of the World War II, Latin American Popular Art represented peace. The objects of the exhibition were seen as incarnations of Latin American cultural identity and historiography has gone on to view Latin American culture as a specific contribution to peace effort.

scholarly journals “Madonna of Demidovs” and “Madonna of Stroganovs”: to the Question of the Sociocultural Space Forming

2019 ◽  
pp. 1216-1239
Author(s):  
Natalia V. Parfentieva ◽  
Nikolai P. Parfentiev ◽  
Semen D. Voroshin
Keyword(s):  
Fine Arts ◽  
Public Library ◽  
Art Museum ◽  
Giorgio Vasari ◽  
John The Baptist ◽  
Cultural Research ◽  
Art Works ◽  
Saint John ◽  
Saint John The Baptist ◽  
Agnolo Bronzino

This work demonstrates results of study of museum and exhibition activity, which forming modern sociоcultural space at the examples of Renaissance and Mannerism art works from the Stroganovs and the Demidovs collections. The members of these families of Ural and Siberian industrialists, patrons of arts and philanthropists possessed the richest collections of world-class art works. Authors pay attention on such work as “Madonna del Popolo”, also known as “The Holy Family”. Now this masterpiece is stored in the Nizhny Tagil Municipal Museum of Fine Arts. Academician Igor Grabar, who saved it from destroy, considered that this artwork belongs to the authorship of Raphael Santi. The second masterpiece “The Holy Family with Infant Saint John the Baptist” by Agnolo Bronzino now is in the Pushkin State Art Museum (Moscow). Each painter in its own way have revealed the images of the Holy Family, especially Madonna and Infant Christ. Raphael did it in the traditions of the High Renaissance and Bronzino followed the best achievements of Mannerism. These paintings are especially important and valuable because Italian painter, architect and writer Giorgio Vasari, known as the founder of art history as branch of science, have paid his attention on them. The researchers give characteristics to members of the Stroganovs and the Demidovs families on the context of the stated problem. The President of the Academy of Arts and the Director of the Imperial Public Library, the Count A. S. Stroganov bought for his collection the “Holy Family with Infant Saint John the Baptist” by Agnolo Bronzino. The owner of Nizhny Tagil factories N. N. Demidov, who also was a Russian envoy to the Duchy Tuscany (Florence), is connected with inclusion of “Madonna” by Raphael in his art collection. In the study the materials of Grabar’s monograph are analyzed, the results of author’s own scientific research and the detailed section on the Demidovs’ Madonna attribution are given. There are used cultural research and art criticism methods of analysis, for instance, with attraction of “Madonna Doni” by Michelangelo. The acquisition and transfer to Russia of this unique incarnations of the “Holy family” enriched the historical and cultural space not only of the owners and people close to the families, but also of the wider social circles, because these paintings were becoming an integral part of museum and exhibition activities. As a modern example authors analyze the exhibition “Madonna by Raphael from Nizhny Tagil”, where the samples from the collection of the Demidovs, Ural and Sibirian magnates, in the Hall of Arts of the South Ural State University were presented. It is established that, using them, the university academic exhibition has fulfilled the important task of the complex formation of cultural identity of students in the interaction of its regional, national and supranational (universal) aspects

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