scholarly journals Saint Joseph and Baby Jesus by Valentin Metzinger and Other Paintings from the Strahl Collection in the Museum of Arts and Crafts in Zagreb

2019 ◽  
pp. 141-152
Author(s):  
Renata Komič Marn
Keyword(s):  
Art Market ◽  
Arts And Crafts ◽  
Public And Private ◽  
Art Objects ◽  
Antique Dealer ◽  
Kingdom Of Yugoslavia ◽  
Private Collections

Karl Ritter von Strahl (1850−1929) was the last owner of the renowned collection of paintings and art objects kept in his castle of Stara Loka (Altenlack) near Škofja Loka in Carniola. In 1929, Strahl sold 32 paintings to Stanko Senečić, an antique dealer from Nova Ves in Zagreb. In the Museum of Arts and Crafts in Zagreb, there are five paintings of hitherto unknown provenance, which undoubtedly originate from the Strahl Collection. The paper discusses the circumstances of Senečić’ s purchase and the earlier provenance of the five paintings. Furthermore, different paths by which the paintings came to the museum in Zagreb are analyzed. As previous research of the interwar art market in the Kingdom of Serbs, Croats, and Slovenes (later Kingdom of Yugoslavia) has shown that Croatian private buyers and professional antique dealers visited regularly the sales of castle and manor furnishings in interwar Slovenia, we can assume that there are more art heritage items originating from Slovenia in present-day Croatian public and private collections, awaiting an analysis of their provenance.

Arbiters of Value: The Nationalization of Art and the Politics of Expertise in Early Socialist Romania

2019 ◽  
Vol 33 (3) ◽  
pp. 656-676
Author(s):  
Emanuela Grama
Keyword(s):  
Interwar Period ◽  
Public And Private ◽  
Art Collections ◽  
National Network ◽  
The Public ◽  
Art Objects ◽  
Spatial Dimensions ◽  
The Masses ◽  
Private Collections ◽  
Art Experts

In 1948, immediately after the Communist Party came to power in Romania, state officials commissioned a group of art experts to radically transform the existing public and private art collections into a national system of museums. These professionals became the new regime’s arbiters of value: the ultimate authority in assessing the cultural and financial value of artwork, and thus deciding their fate and final location. Newly available archival evidence reveals the specific strategies that they employed, and the particular political needs of the state they were able to capitalize on in order to survive and even thrive under a regime that, in principle, should have disavowed them. Even though many of them had professionally come of age during the interwar period, the art experts managed to make themselves indispensable to the new state. They functioned as a pivotal mediator between state officials and a broader public because they knew how to use the national network of museums to put the new state on display. Through the rearrangement of public and private collections across the country, and the centralization of art in museums, they produced a particular “order of things” meant not only to entice the public to view the socialist state as the pinnacle of progress and as a benefactor to the masses but also to validate their expertise and forge a new political trajectory for themselves. The strategic movement of art objects that they orchestrated reveals the material and spatial dimensions of state-making in early socialism.

scholarly journals To the Question of the Artistic Value of Author’s Copies by Naive Artists: Nina Varfolomeeva

2021 ◽  
pp. 288-303
Author(s):  
T.A. Sinelnikova ◽  
Keyword(s):  
Art Market ◽  
Direct Consequence ◽  
Folk Art ◽  
Common Phenomenon ◽  
Public And Private ◽  
Artistic Value ◽  
The World ◽  
Private Collections

Nina Varfolomeeva is one of the most famous Russian amateur artists, her name was included in the World Encyclopedia of Naive Art, her works are in public and private collections. Her work is limited to 20 repetitive subjects, and her example allows us to talk about a fairly common phenomenon in artistic primitive. The concept of “originality of a work” is of value for author’s creativity, however, in naive art, author’s self-repetition is not uncommon — there may be three or four copies of one work, which does not affect their value in the art market. Naive art has such a feature due to its borderline state between “high” and folk art, in which there are no concepts of “original” and “copy”. The artist’s painting style differs in the early and late periods, which also speaks of another feature of some naive artists — the transition from an amateur painting style to a popular print. It should be assumed that this is a direct consequence of the success of the artist’s works in the art market and the increase in the number of works created. The article proves that the simplification of the artistic language of Varfolomeeva’s later works is a transition to decorativeness, characteristic of folk art.

New Data on the Luster Tiles of ʿAbd al-Samad’s Shrine in Natanz, Iran

2021 ◽  
Vol 38 (1) ◽  
pp. 331-356
Author(s):  
Anaïs Leone
Keyword(s):  
Central Iran ◽  
Public And Private ◽  
Available Information ◽  
Private Collections

Abstract This essay offers new data for identifying and reconstructing the original luster tilework decoration of the tomb chamber of the ʿAbd al-Samad shrine in Natanz, central Iran. The decorated complex around the tomb was likely built during the Ilkhanid period. The removal of Ilkhanid-period luster tiles from their original location has left very few buildings with their original decoration. Moreover, the stripping of an important number of monuments led to the arrival of thousands of tiles of unidentified or incomplete provenance in public and private collections. By cross-referencing available information about preserved revetments (e.g., dimensions, inscriptions, provenance, designs) with verifiable data collected at surviving monuments, it is possible to bridge the gap and unite formerly isolated elements. This study formulates new proposals about the luster tilework in the shrine of ʿAbd al-Samad, especially with regard to the complex ensemble of the mihrab. By locating and detailing the different zones of its decorative scheme, the ensemble becomes more coherent as a whole despite its remaining gaps.

scholarly journals The photo in the Ffilm: public and private collections in video-portrait

2012 ◽  
Vol 9 (2) ◽  
pp. 344-360
Author(s):  
Clarice E. Peixoto
Keyword(s):  
Public And Private ◽  
Photographic Images ◽  
Ethnographic Films ◽  
Public Archives ◽  
Private Collections

This article discusses the inclusion of photographs in ethnographic films, particularly in the genre video portrait. In the reconstitution of an individual's history, photographic images play an important role in the evocation of past facts that often remain only as fragments of memory. When examining personal collections and public archives, we prospect for photographic and iconographic images that allow usto construct possible relationships between collective and individual memories.

“Literary Heritage” for 80 years: A Guide to Volumes 1–103, yrs. 1931–2011. — Book two: Index of Illustrations

2021 ◽  
Author(s):  
Keyword(s):  
Everyday Life ◽  
Public And Private ◽  
Current Location ◽  
Literary Heritage ◽  
Visual Projection ◽  
Printed Materials ◽  
Unpublished Manuscripts ◽  
First Time ◽  
Private Collections ◽  
Cross Reference

The Index of Illustrations is an integral part of the definitive guide “Literary Heritage For 80 Years. A Guide to Volumes 1–103 yrs. 1931–2011”. There are nearly 12,000 illustrations in 103 volumes of “Literary Heritage”. The search for content spanned small and large museums, archives, and libraries in Russia, with many illustrations published for the first time ever. Other materials were sourced from public and private collections within the country and from abroad. The resulting illustrative content in “Literary Heritage” forms a massive, powerful visual projection of Russian authors, aspects of their family and everyday life, the spectrum of cultural and political professions, and portraits of actors in life and as performers on the stages of domestic and foreign theaters. The authors emphasized reproducing autographs including unpublished manuscripts, letters, and dedications on photographs and in books. Of great importance is the replication of printed materials — illustrations from the works of Russian authors as representative examples of typography. Finally, we should highlight many illustrations that give the viewer an idea about the environment of the authors, including memorials and monuments. The Index of Illustrations serves as a key to this iconic collection of materials, cataloging cutlines in order of their appearance in the volumes and respective location within each book. Cutlines are expanded on the illustrations’ theme — the subjects of the portraits, the groups gathered for specific purposes, the authors of the manuscripts, etc. They indicate the artist or photographer of the original illustration and its current location (museum, archive, etc.). In addition, a cross-reference of over 7,000 names accompanies the Index.

Remixing the Results and Looking Ahead

2020 ◽  
pp. 266-278
Author(s):  
Bennetta Jules-Rosette ◽  
J.R. Osborn
Keyword(s):  
Learning Strategies ◽  
Public And Private ◽  
Museum Learning ◽  
Diverse Communities ◽  
Museum Culture ◽  
Private Collections ◽  
Opening Up

Theories and ideologies of museum culture are collaboratively created by directors, curators, artists, and their audiences. This book examines these processes through the frameworks of five transformational nodes and dialogues with artists and curators. Based on these materials, nine guideposts emerge: creating transparency in curatorial networks; expanding south-north connections and exchanges; (3) reworking and blending artistic genre classifications; marketing and permeability of artworks; connecting museums with other multicultural institutions and frameworks; linking public and private collections; reconfiguring archives and databases; developing new museum learning strategies; and opening up new avenues of connectivity with diverse communities. By adopting and following these strategies, museums may display new works, showcase changing curatorial directions, and attract broader museum audiences.

Damrong Wong Uparaj (1936–2002)

2018 ◽  
Author(s):  
Charlotte Galloway
Keyword(s):  
Fine Arts ◽  
University Of Pennsylvania ◽  
Public And Private ◽  
Urban Scenes ◽  
British Council ◽  
Rural And Urban ◽  
Art Practices ◽  
The University ◽  
Private Collections

Born in Chiang Rai, Thailand, Wong Uparaj studied Fine Arts at Silpakorn University. On completion of his degree in 1964 he received a British Council grant to study at the Slade School, London in 1964, and was later awarded a Rockefeller scholarship for an MA in Fine Arts at the University of Pennsylvania, Philadelphia, which he completed in 1969. Always interested in international art practices, Wong Uparaj traveled in Europe, India, Japan, and Australia, though Thailand was always his primary inspiration. Wong Uparaj’s works were fundamentally underpinned by his Buddhist beliefs and studying Buddhism helped him find peace in life and work. Following early experimentations with abstraction and Impressionism, he settled into a distinct realist style, creating rural and urban scenes from his own imagination that focused on a simple, almost idealized view of what life could be. There is a consistent sense of serenity and stillness in his compositions. This is balanced cleverly with his use of color, such as the inclusion of large areas of yellow, green, or blue in a number of works that, while bold, skillfully enhances the aura of calm. Wong Upararaj was a highly respected artist, working across a variety of media including tempera, acrylic, woodcut, pastel, watercolor, oil, and drawing. His works are well represented in public and private collections internationally.

Guide to African Archives in Belgium

1996 ◽  
Vol 23 ◽  
pp. 401-409 ◽  
Author(s):  
Hugues Legros ◽  
Curtis A. Keim
Keyword(s):  
Central Africa ◽  
Public Institutions ◽  
Private Institutions ◽  
African Politics ◽  
Public And Private ◽  
The Past ◽  
Nineteenth And Twentieth Centuries ◽  
Private Collections ◽  
Gain Access ◽  
Foreign Researcher

In 1982 Carol Dickerman and David Northrup published a useful article on Africa-related archives in Belgium. Their work was limited, however, to two public institutions in Brussels which, in the past 12 years, have moved and grown. What is needed now is a more up-to-date and comprehensive list of Belgian public and private collections with historical or ethnological archives concerning Africa.In Belgium such archives are unfortunately not grouped in one place, but are spread over a dozen public and private institutions according to their nature—diplomatic, military, religious, ethnological—or origin. Thus the foreign researcher who attempts to find these archives must often undertake trying adventures, and once they have succeeded, they still must obtain numerous authorizations to use reading rooms and to consult and photocopy documents. Thus this paper aims to list the different Belgian institutions with major archives, to indicate what is available in their collections, and to describe how to gain access, in the hope that foreign researchers will be able to benefit fully from the archival riches of Belgium.The Africa-related documents in Belgian archives and libraries mostly concern Central Africa in the nineteenth and twentieth centuries. In addition, some collections are relevant to Belgian African politics in general and to Leopold II's expansionist aims in other parts of the continent.

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