The National Museum of Plastic Arts, Montevideo

Born in Kirkuk, Iraq, Atta Sabri was among the pioneer generation of Iraqi modern artists with careers peaking in the mid-20th century. He was an active exhibitor and participant in several burgeoning art groups. After being educated and employed as a teacher in Baghdad, Sabri joined many of his peers in studying art abroad, first in Rome at the Accademia di Belle Arti and then, after World War II, in London at Goldsmith College and the Slade School. During the years of the war, Sabri held a job at the Department of Antiquities in Baghdad. After completing his studies, the artists again took up teaching this time at the Baghdadi Institute of Fine Art. Over the course of his career, Sabri became a founding member of the Society of the Friends of Art and a member of the Society of Iraqi Plastic Arts. His exhibition record includes the seminal Industrial and Agricultural Fair in 1931 and the 1950 First Iraqi Art Show in London. Sabri also exhibited extensively at the National Museum of Modern Art in Baghdad and in 1979 the museum held a retrospective of the artist’s oeuvre.

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INTERIOR DESIGN IN THE RESTORATION OF THE NATIONAL MUSEUM OF PLASTIC ARTS OF MOLDOVA

Journal of Social Sciences ◽

10.52326/jss.utm.2021.4(4).05 ◽

2021 ◽

Vol IV (4) ◽

pp. 44-50

Author(s):

Liliana Platon ◽

Keyword(s):

Cultural Heritage ◽

Interior Design ◽

Historical Period ◽

National Museum ◽

Restoration Process ◽

Plastic Arts ◽

Scientific Analysis

This paper presents a scientific analysis of interior design in the restoration process of the National Museum of Arts of Moldova. The interior design segment is historically researched through the genre of architecture, from the historical compartment of the XIX-XX century. In the same context, several works of various architects who designed important constructions in Kishinev are analyzed. The study highlights the role and responsibility of interior design in the process of restoration and capitalization of the national cultural heritage. It also analyzes the correspondence or synchronization of new implementations in design with the stylistic concept achieved in the historical period.

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On the Extent and Aims of a National Museum of Natural History

10.1017/cbo9781139104135 ◽

2009 ◽

Author(s):

Richard Owen

Keyword(s):

Natural History ◽

National Museum

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JOHN R. KENYON, 1982. The Willoughby Gardner Library. A collection of early printed books on natural history. National Museum of Wales. ISBN 0 7200 0266 4. £4.50 (plus 30p post). Pp. 54.

Archives of Natural History ◽

10.3366/anh.1984.11.3.527 ◽

1984 ◽

Vol 11 (3) ◽

pp. 527-527

Keyword(s):

Natural History ◽

National Museum ◽

Printed Books

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Five Years and Count(er)ing: Memoir after Memoir

CounterText ◽

10.3366/count.2020.0180 ◽

2020 ◽

Vol 6 (1) ◽

pp. 26-32

Author(s):

Norbert Bugeja

Keyword(s):

Guest Editor ◽

Arab Countries ◽

National Museum ◽

Terror Attack ◽

Special Issue ◽

The Past ◽

Personal Perspectives ◽

The Moment ◽

Ongoing Project

In this retrospective piece, the Guest Editor of the first number of CounterText (a special issue titled Postcolonial Springs) looks back at the past five years from various scholarly and personal perspectives. He places particular focus on an event that took place mid-way between the 2011 uprisings across a number of Arab countries and the moment of writing: the March 2015 terror attack on the Bardo National Museum in Tunis, which killed twenty-two people and had a profound effect on Tunisian popular consciousness and that of the post-2011 Arab nations. In this context, the author argues for a renewed perspective on memoir as at once a memorial practice and a political gesture in writing, one that exceeds concerns of genre and form to encompass an ongoing project of political re-cognition following events that continue to remap the agenda for the region. The piece makes a brief final pitch for Europe's need to re-cognise, within those modes of ‘articulacy-in-difficulty’ active on its southern borders, specific answers to its own present quandaries.

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King William and the Brecc Bennach in 1211: reliquary or holy banner?

The Innes Review ◽

10.3366/inr.2015.0096 ◽

2015 ◽

Vol 66 (2) ◽

pp. 163-190 ◽

Cited By ~ 1

Author(s):

Richard Sharpe

Keyword(s):

Good Reason ◽

National Museum ◽

The Real ◽

Real Nature

In his Rhind Lectures of 1879 Joseph Anderson argued for identifying the Monymusk Reliquary, now in the National Museum of Scotland, with the Brecc Bennach, something whose custody was granted to Arbroath abbey by King William in 1211. In 2001 David H. Caldwell called this into question with good reason. Part of the argument relied on different interpretations of the word uexillum, ‘banner’, taken for a portable shrine by William Reeves and for a reliquary used as battle-standard by Anderson. It is argued here that none of this is relevant to the question. The Brecc Bennach is called a banner only as a guess at its long-forgotten nature in two late deeds. The word brecc, however, is used in the name of an extant reliquary, Brecc Máedóc, and Anderson was correct to think this provided a clue to the real nature of the Brecc Bennach. It was almost certainly a small portable reliquary, of unknown provenance but associated with St Columba. The king granted custody to the monks of Arbroath at a time when he was facing a rebellion in Ross, posing intriguing questions about his intentions towards this old Gaelic object of veneration.

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James Oliver Horton, 1943–2017

Kalfou A Journal of Comparative and Relational Ethnic Studies ◽

10.15367/kf.v5i1.208 ◽

2018 ◽

Vol 5 (1) ◽

Author(s):

Melani McAlister

Keyword(s):

African American ◽

Doctoral Students ◽

American History ◽

African American History ◽

National Museum ◽

Us History ◽

Local Branch ◽

Gathering Place

In October 2017, hundreds of faculty, friends, and former students gathered at the National Museum of African American History and Culture (NMAAHC) to remember James Oliver “Jim” Horton. It was a fitting gathering place. As the museum’s director, Lonnie Bunch, commented, Jim’s legacy is everywhere at the museum, from the fact that several of his former doctoral students are now curators to the foundational commitment of the museum itself: that African American history is not a local branch of US history but integral to its core. Jim always insisted in his lectures and classes and on his many TV appearances and public engagements that “American history is African American history.”

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