scholarly journals Art Conservation for the Classical Masks at Sonobudoyo Museum, Yogyakarta

2021 ◽  
Vol 8 (1) ◽  
pp. 61-68
Author(s):  
I Wayan Dana

Sonobudoyo Museum Yogyakarta is the complete museum after the National Museum in Jakarta. There are many art collections in the museum, including bronze statues, gold statues, various ceramics, leather puppets, batik, bamboo works of art, furniture, and various Indonesian mask characters. The masks are treated and displayed in a particular place so that they can last hundreds of years and be seen until now. The research was aimed at how art conservation was carried out for these masks and at a particular strategy in maintaining, protecting, and caring for them. Therefore, it is interesting to study and understand the art of conservation for classical masks at the Sonobudoyo Museum, Yogyakarta. The research results showed that the knowledge of caring for, maintaining, protecting the masks as objects of art collections and cultural products with aesthetic, artistic, and historical values can still be known by the public and the generations. Moreover, the art conservation is also essential to know, not only by conservators but also by the broader community, to preserve and develop classical masks in the archipelago.

2017 ◽  
pp. 112-147
Author(s):  
Nawojka Cieślińska-Lobkowicz

The Nazi looting of works of art and cultural goods during 1933–1945 is usually divided into institutionalized and unauthorized, that is, wild one. The former was conducted by state and party special organizations and authorities, while the latter, widespread extensively in the east, was practiced by many Germans on their own account. The author suggests introducing a separate category of “specialized looting”, encompassing those who engaged in looting with full awareness – on their own account and/or on commission – and who were proficient in evaluation of the artistic goods and knew where and in whose possession they could be found. In the Reich and in occupied France and Holland there were many such expert robbers. In Poland their number remained small after the initial wave of official confiscations. The most notable exception was the Dutchman, Pieter Nicolaas Menten (1899–1987), who after the war became one of the wealthiest citizens of Holland and owner of a private art collection unavailable to the public. The scope, character, and methods of the looting conducted by Menten for his private use in Kraków and Lvov during the German occupation between early 1940 and the end of 1942 make him a very special case in the history of Nazi looting. These aspects are analyzed on the basis of extensive archival materials and evidence collected in Holland and Poland during the investigations and trials against Menten (the first one took place in the late 1940s and was followed by next ones in the late 1970s), who was accused of collaboration with the Germans and the massacre of Jewish inhabitants of the Galician villages of Urycz and Podhorodce in the summer of 1941. Menten was never sentenced for the looting of works of art in Kraków, where he was an appointed forced administrator of four Jewish artistic salons, or in Lvov, where he appropriated art collections and furnishings of several Lvov professors murdered on 4 July 1941. He was never found guilty even though when in January 1943 he left the General Government and went to Holland he took – with Himmler’s special permission – four railway carriages of valuable works of art, gold and silverware, antique furniture, and Oriental rugs. The post-war collection of works of art in Menten’s possession wasn’t liable to confiscation under Dutch law and has become dispersed.


Heritage ◽  
2019 ◽  
Vol 2 (1) ◽  
pp. 490-506 ◽  
Author(s):  
Yvonne Brenden Hansen ◽  
Dag Hensten ◽  
Gro Benedikte Pedersen ◽  
Magnus Bognerud

How can one best transform a paper-based publication into a living online resource? This is the theme of a project at The National Museum of Art, Architecture and Design in Norway, supported by the Arts Council Norway. The National Museum aims to create, publish and maintain an authority list of Norwegian artists, architects, designers and craftsmen. The objective is to ease the digitisation process for other museums, scholars and the public in general and contribute to better data quality in Norwegian online collections. The list will in part be based on the Norsk Kunstnerleksikon (Encyclopaedia of Norwegian Artists in English), published in 1982–1986 and subsequently digitised in 2013. With the help of other public collections in Norway, the purpose is to make the new resource as complete as possible and available in both human- and machine-readable formats. Although the original paper publication contains biographical texts as well as lists of exhibitions, education, travels, publications and more, the data in the new authority list will be constrained to a set of core biographical data. It will however carry references to online biographical resources such as Norsk Kunstnerleksikon (NKL), Wikidata, Union List of Artist Names (ULAN) and Virtual International Authority File (VIAF). This article discusses the process of defining the scope of and setting constraints for the list, how to enrich and reconcile existing data, as well as strategies to ensure that other institutions contribute both as content publishers and end users. It will also shed light on issues concerning keeping such a resource updated and maintained.


1970 ◽  
pp. 17
Author(s):  
Jørgen Jensen

Christian fiirgensen Thomsen's Museum - a Vision of the Golden Age The foundation of the National Museum in Copenhagen in 1807 was a late result of the Danish cultural policy at the end of the Enlightenment period. The inspiration came from France, primarily from Alexandre Lenoir's Musee des Monuments Français established in 1793 and from the Musee Napoleon opened in 1804 in the Louvre, both of them didactically arranged art collections open to the public. 


2020 ◽  
Author(s):  
Michael Lang ◽  
Sébastien Lemieux ◽  
Josée Hébert ◽  
Guy Sauvageau ◽  
Ma'n H. Zawati

BACKGROUND Medical care and health research are jointly undergoing significant changes brought about by the Internet [1,2,3]. New online tools, apps, and programs are helping to facilitate unprecedented levels of data sharing and collaboration, potentially enabling more precisely targeted treatment and rapid research translation [4,5,6]. Patient portals have been a significant part of this emerging online health ecosystem, providing patients a mechanism for accessing electronic health records, managing appointments and prescriptions, even communicating directly with care providers [7]. Much has been written about the technical and ethical challenges associated with the development and integration of patient portals into the clinic [8,9]. But portal technology might also be used to connect health researchers to clinicians, patients, and the public. Online systems could be a useful platform for broadly and rapidly disseminating research results while also promoting patient empowerment. OBJECTIVE The aim of this study is to assess the potential use of online portals that facilitate the sharing of health research findings among researchers, clinicians, patients, and the public. It will also summarize the potential legal, ethical, and policy implications associated with such tools for public use and in the management of patient care for complex disease. METHODS We systematically consulted three databases, PubMed, Scopus, and WestLaw Next for sources describing online portals for sharing health research findings among clinicians, researchers, and patients and their associated legal, ethical, and policy challenges. raised by the integration of online tools into patient care for complex disease. Of 719 source citations, we retained 22 for review. RESULTS We found a varied and inconsistent treatment of online portals for sharing health research findings among clinicians, researchers, and patients. While the literature supports the view that portals of this kind are potentially highly promising, they remain novel and are not yet being widely adopted. We also found a wide-ranging discussion on the legal, ethical, and policy issues related to the use of online tools for sharing research data. We identified five important policy challenges: privacy & confidentiality, health literacy & patient empowerment, equity, training, and decision making. Each of these, we contend, have meaningful implications for the increased integration of online tools into clinical care. CONCLUSIONS As online tools become increasingly important mechanisms for sharing health research with clinicians, patients, and the public, it is vital that these developments are met with ethical and conceptual scrutiny. Therapeutic portals as they are presented in this paper may become a more widespread feature of precision and translational medicine. Our findings suggest that online portals are already being used to disseminate research results among clinicians, patients, and the public. But much of the ethical and conceptual debate is framed in terms of the patient portal, a concept that does not adequately reflect the potentially broader scope of therapeutic portals. It may be useful to clarify this distinction in future research and to underscore the unique ethical, legal, and policy challenges raised when online systems are used as a platform for disseminating research to as wide an audience as possible. CLINICALTRIAL n/a


Encyclopedia ◽  
2021 ◽  
Vol 1 (4) ◽  
pp. 1303-1311
Author(s):  
Paola Vitolo

Joanna I of Anjou (1325–1382), countess of Provence and the fourth sovereign of the Angevin dynasty in south Italy (since 1343), became the heir to the throne of the Kingdom of Sicily, succeeding her grandfather King Robert “the Wise” (1277–1343). The public and official images of the queen and the “symbolic” representations of her power, commissioned by her or by her entourage, contributed to create a new standard in the cultural references of the Angevin iconographic tradition aiming to assimilate models shared by the European ruling class. In particular, the following works of art and architecture will be analyzed: the queen’s portraits carved on the front slabs of royal sepulchers (namely those of her mother Mary of Valois and of Robert of Anjou) and on the liturgical furnishings in the church of Santa Chiara in Naples; the images painted in numerous illuminated manuscripts, in the chapter house of the friars in the Franciscan convent of Santa Chiara in Naples, in the lunette of the church in the Charterhouse of Capri. The church of the Incoronata in Naples does not show, at the present time, any portrait of the queen or explicit reference to Joanna as a patron. However, it is considered the highest symbolic image of her queenship.


Literator ◽  
2014 ◽  
Vol 35 (1) ◽  
Author(s):  
Laurence Wright

It has not before been noticed that in describing works of art painted by his fictional anti-hero,Charles Strickland, in the novel The moon and sixpence, which is loosely based on the life of Paul Gauguin, Somerset Maugham drew on actual works by Gauguin in his verbal descriptions. Sometimes the references are to specific paintings, at others to phases in his work. For readers familiar with Gauguin’s artistic output, his writings on art and his biography, the effect of this insistent visual ‘quotation’ is to create a disturbing sense of aesthetic dissonance, in that it becomes difficult to accept the inarticulate, surly, impassioned but utterly grim and joyless figure of the fictional Charles Strickland as the source of these vivifying paintings, which possess their own real history and provenance. There is nothing in Strickland of Gauguin’s child-like zest for life, his exuberance, his fantasies, his extrovert willingness to explain his art to friends and the public through fascinating if deeply unreliable writings. The reader must either attempt to blot all knowledge of Gauguin and his art from consciousness, there by denying that Maugham is ‘quoting’ Gauguin’s oeuvre, or else submit to an intolerable level of fictional incredulity and disbelief.


2014 ◽  
Vol 2 (1) ◽  
pp. 2-12 ◽  
Author(s):  
Sabina Misoch

This paper deals with the phenomenon of so-called (note) card stories on YouTube. Card stories can be described as self-disclosing videos or confessions, using a new frame for telling one’s own story audio-visually to the public by combining ‘old’ (hand-written messages) and ‘new’ media (video, computer mediated communication). In 2012/13, a qualitative and exploratory study with a sample of 25 card story videos on YouTube was conducted. The content and visual analysis revealed (1) that these videos are bound to a very specific frame of presentation, (2) that they deal with specific topics, and (3) that the presenter does not remain (visually) anonymous. These findings question previous research results that stressed a strong correlation between online self-disclosure and (visual) anonymity; further, the findings show that this special frame of textual confessions via video supports deep self-disclosures.


1970 ◽  
pp. 43
Author(s):  
Lene Otto ◽  
Lykke L. Pedersen
Keyword(s):  

The narrative exhibition There is an essential distinction in cultural-historic museums concerning the orientation of exhibitions toward objects or toward concepts. The former emanare from things, a good collection, put on display for the public. The latter proceed from an idea or a story that is told to the public. This article deals with the narrative conceptual orientation, illustated by the exhibition «Livshistorie» [Lifestory/ Lifehistory) presented by the National Museum of Denmark. 


2016 ◽  
Vol 11 (2) ◽  
pp. 171 ◽  
Author(s):  
Alicja Jagielska-Burduk

LEGAL STATUS OF CULTURAL PROPERTY AND WORKS OF ART IN THE PRL Summary The article deals with the legal status of works of art and cultural property in the Polish legislation during communism period. Classifying those objects as private property was considered as a very difficult task, because of their material value and the public interest in saving them for future generations. The strict limitations of individuals property were perceived as unusual and as a result a new sort of property – the private cultural property was distinguished. Moreover, the concepts of the common heritage and res extra commercium could be observed in the light of the PRL ideas. It should be emphasized that the above mentioned theories for improving cultural heritage regulations are the most popular in the nowadays’ international discussion.


2018 ◽  
Vol 1 (1) ◽  
pp. 32-49
Author(s):  
Zulfi Diane Zaini

In order to avoid financial abuse, the customer made a special rule that prohibits banks to provide recorded information to anyone related to finance customers, deposits and its depositors except in certain cases mentioned explicitly in in the Banking Act. Based on such matters, the issues to be studied in this research is how the bank's efforts in maintaining the security of bank secrecy. Based on the research results revealed that public confidence on banking institutions to grow and thrive because in the presence of an element of the institution in the form of bank secrecy. Bank secrecy is everything related to finances and other things from the customer's bank in the ordinary course of banking should not be publicly disclosed to the public. The Banking Act Number 10 of Year 1998 has required the application of bank secrecy for the sake of maintaining public confidence in the banking institutions. But in practice it is still difficult to implement because there is no uniformity in the determination of categories including bank secrecy


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