The Art Museum and the Teaching of the History of Art

1968 ◽  
Vol 27 (2) ◽  
pp. 51
Author(s):  
David R. Coffin
Keyword(s):  
Art Museum ◽  
History Of Art ◽  
History Of

The Art Museum and the High School: The Advanced Placement Approach to the History of Art

Art Journal ◽  
1975 ◽  
Vol 35 (1) ◽  
pp. 33
Author(s):  
Celeste Adams ◽  
Jay Gates ◽  
Gabriel P. Weisberg
Keyword(s):  
High School ◽  
Advanced Placement ◽  
Art Museum ◽  
History Of Art ◽  
History Of

The Art Museum and the High School: The Advanced Placement Approach to the History of Art

Art Journal ◽  
1975 ◽  
Vol 35 (1) ◽  
pp. 33-36
Author(s):  
Celeste Adams ◽  
Jay Gates ◽  
Gabriel P. Weisberg
Keyword(s):  
High School ◽  
Advanced Placement ◽  
Art Museum ◽  
History Of Art ◽  
History Of

THE FIFTH PROLETARIAN MUSEUM. HISTORY OF CREATION AND ACTIVITIES OF THE MOSCOW ART MUSEUM IN THE 1920S

2020 ◽  
pp. 52-65
Author(s):  
Nataliya B. Bezrukova ◽  
Keyword(s):  
Economic Policy ◽  
Working Class ◽  
Art Museum ◽  
Art Museums ◽  
New Economic Policy ◽  
History Of Art ◽  
Archival Documents ◽  
History Of ◽  
Trained Staff ◽  
New Form

The article highlights the history of the so-called proletarian museums that opened in Moscow’s working-class suburbs in the 1920s. The study of their activities seems relevant, since it opens up the opportunity for a deeper study of the history of art museums in Moscow in the 1920s. Special attention is given to the Fifth Proletarian museum, which was a part of the State Tretyakov Gallery. More archival documents have survived on this museum than on any other of the proletarian museums. After studying some unpublished documents in Russia’s major archives, the author has discovered some important, previously unknown facts about these museums. This article takes a close look at how the paperwork was handled at the museum, how the items were registered, accounted for and taken care of and how the collections were accumulated and organized. Also thoroughly described in the article is the history of the museum’s closure as the author analyzes why it was eventually shut down. Moscow’s proletarian museums went down in history as an original new form of art institutions targeting “uncultured” visitors. Unfortunately, these museums were short-lived as they fell victim to the lack of funding and shortage of trained staff during the New Economic Policy era (1921–1928).

scholarly journals Johann Caspar Lavater in Estland. Über seinen Einfluss, einige Portraits und einige Gedanken über die Portraitkunst

2016 ◽  
Vol 12 ◽  
pp. 9
Author(s):  
Tiina-Mall Kreem
Keyword(s):  
Art Museum ◽  
History Museum ◽  
Baltic Countries ◽  
The Enlightenment ◽  
History Of Art ◽  
Art And Culture ◽  
History Of ◽  
The One ◽  
The Baltic ◽  
The Impact

The article focuses on Johann Caspar Lavater (1741–1801), the Enlightenment-era thinker, pastor and writer, art collector and physiognomist, whose work and activities affected thinking from Zurich to America and Russia, including the Baltic countries. Of Lavater’s Estonian acquaintances, Johann Burchard VII, the Tallinn Town Council pharmacist, is the one that primarily emerges from the article. The famous Swiss maintained a correspondence with the latter for over ten years, and in 1792, gifted him a miniature portrait of himself (now in the Estonian History Museum).In addition to the miniature portrait after Johann Heinrich Lips (?), there were two graphic portraits of Lavater in Estonia that were associated with Georg Friedrich Schmoll (Tallinn City Museum, University of Tartu Library) as well as a masterful oil portrait by August Friedrich Olenhainz (Art Museum of Estonia’s Kadriorg Art Museum). The article examines all of these against the background of Lavater’s successful book of the day “Physiognomische Fragmente zur Beförderung der Menschenkenntnis und Menschenliebe” (“Physiognomic Fragments for Furthering the Knowledge and Love of Man”, 1775–1778) and in regard to Lavater’s discussions about people and the art of portraiture.An attempt is made thereby to see Enlightenment-era portrait art through the eyes of Enlightenment-era people – Lavater and his audience. While the author of the article is convinced of the impact of Lavater’s physiognomic research on the portraiture of the day (on the artists, clients, viewers) and also more indirectly on the history of art, she emphasis that, for Lavater, portrait art was primarily a tool for his physiognomic research and even if Lavater’s teachings lost their popularity after his death and were relegated to the periphery of science, Lavater should not be excluded from the history of art and culture in the Baltic countries.

J. A. Schmidt on the research departments of museum galleries

2020 ◽  
pp. 11-14
Author(s):  
V. G. Ananiev ◽  
Keyword(s):  
Art History ◽  
International Study ◽  
Art Museum ◽  
Research Projects ◽  
The Public ◽  
International Trends ◽  
History Of Art ◽  
History Of ◽  
Museum Practice ◽  
The Relationship

One of the most topical issues in the museum history is the question of the relationship between international and national principles in museum practice and museological thought. In this article, using the example of a report read by the curator of the Hermitage Picture Gallery, James Alfredovich Schmidt (1876–1933) at the Institute of Art History in 1926, the author shows the connection between international trends and early Soviet museological thought. Schmidt’s report is based on the idea of the need to divide the collection of an art museum (picture gallery) into two parts. One part should include the most significant works and be intended for the public. The second – the research department – should be oriented to the work of experts. We find the same ideas in the most significant international research projects in museology of the era – volumes of articles «Museums: An International Study on the Reform of Public Galleries» (1931) and «Museography: Architecture and Organization of Art Museums» (1935). The author establishes a connection between these ideas and the concept of the canon, which was forming in this period, in relation to the history of art.

The History of Art

1876 ◽  
Vol 2 (46supp) ◽  
pp. 733-734
Keyword(s):  
History Of Art ◽  
History Of

War of Perception, Perception of Time

2018 ◽  
Vol 12 (2) ◽  
pp. 252-267
Author(s):  
Kuniichi Uno
Keyword(s):  
Michel Tournier ◽  
Crucial Question ◽  
History Of Art ◽  
The World ◽  
History Of ◽  
Desert Island ◽  
Perception Of Time

For Gilles Deleuze's two essays ‘Causes and Reasons of Desert Islands’ and ‘Michel Tournier and the World Without Others’, the crucial question is what the perception is, what its fundamental conditions are. A desert island can be a place to experiment on this question. The types of perception are described in many critical works about the history of art and aesthetical reflections by artists. So I will try to retrace some types of perception especially linked to the ‘haptic’, the importance of which was rediscovered by Deleuze. The ‘haptic’ proposes a type of perception not linked to space, but to time in its aspects of genesis. And something incorporeal has to intervene in a very original stage of perception and of perception of time. Thus we will be able to capture some links between the fundamental aspects of perception and time in its ‘out of joint’ aspects (Aion).

Conditions of Visibility

2019 ◽  
Keyword(s):  
Art History ◽  
Visual Art ◽  
Fundamental Question ◽  
Ancient World ◽  
Work Of Art ◽  
History Of Art ◽  
Shared Objects ◽  
History Of ◽  
Modern Prejudice ◽  
Historical Past

We often assume that works of visual art are meant to be seen. Yet that assumption may be a modern prejudice. The ancient world - from China to Greece, Rome to Mexico - provides many examples of statues, paintings, and other images that were not intended to be visible. Instead of being displayed, they were hidden, buried, or otherwise obscured. In this third volume in the Visual Conversations in Art & Archaeology series, leading scholars working at the intersection of archaeology and the history of art address the fundamental question of art's visibility. What conditions must be met, what has to be in place, for a work of art to be seen at all? The answer is both historical and methodological; it concerns ancient societies and modern disciplines, and encompasses material circumstances, perceptual capacities, technologies of visualization, protocols of classification, and a great deal more. The emerging field of archaeological art history is uniquely suited to address such questions. Intrinsically comparative, this approach cuts across traditional ethnic, religious, and chronological categories to confront the academic present with the historical past. The goal is to produce a new art history that is at once cosmopolitan in method and global in scope, and in doing so establish new ways of seeing - new conditions of visibility - for shared objects of study.

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