Albert Derolez, The Making and Meaning of the Liber Floridus: A Study of the Original Manuscript, Ghent, University Library MS 92. (Studies in Medieval and Early Renaissance Art History, 76) London/Turnhout: Harvey Miller Publishers, an imprint of Turnhout, Belgium: Brepols, 2015, 355 pp., hardcover – ISBN: 978-1-909400-22-1.

Philology ◽  
2016 ◽  
Vol 2016 (2) ◽  
pp. 339-357
Author(s):  
Ephraim Nissan
Keyword(s):  
Art History ◽  
Renaissance Art ◽  
University Library ◽  
Original Manuscript

Moving Pictures and Renaissance Art History

2021 ◽  
Author(s):  
Patricia Emison
Keyword(s):  
Twentieth Century ◽  
Mass Media ◽  
Art History ◽  
Visual Art ◽  
Renaissance Art ◽  
Word And Image ◽  
Visual Composition ◽  
Moving Pictures ◽  
And Gender

Film, like the printed imagery inaugurated during the Renaissance, spread ideas---not least the idea of the power of visual art---across not only geographical and political divides but also strata of class and gender. Moving Pictures and Renaissance Art History examines the early flourishing of film, 1920s-mid-60s, as partly reprising the introduction of mass media in the Renaissance, allowing for innovation that reflected an art free of the control of a patron though required to attract a broad public. Rivalry between word and image, narrative and visual composition shifted in both cases toward acknowledging the compelling nature of the visual. The twentieth century also saw the development of the discipline of art history; transfusions between cinematic practice and art historical postulates and preoccupations are part of the story told here.

The Library of the Barber Institute of Fine Arts at the University of Birmingham

2010 ◽  
Vol 35 (4) ◽  
pp. 24-28 ◽  
Author(s):  
David Pulford
Keyword(s):  
Art History ◽  
Fine Arts ◽  
Art Gallery ◽  
Art Galleries ◽  
University Library ◽  
The University

The Barber Institute of Fine Arts is acknowledged as one of the finest small art galleries in Europe. It has a richly resourced library which functions both as a curatorial library for the Barber’s curators and as part of the University of Birmingham’s network of site libraries. Students of art history thus benefit from the combined resources of a specialist art gallery library and a major university library. The Barber also houses a visual resources library, music library and coin study room.

Assessing and comparing databases for art history

2011 ◽  
Vol 36 (2) ◽  
pp. 37-42
Author(s):  
Svein Engelstad
Keyword(s):  
Art History ◽  
Electronic Resources ◽  
University Library

Working in a large university library provides daily challenges in giving appropriate advice to students and researchers when they search for art history material. One of the biggest of these is how to choose the best databases to use, and the survey described below aimed to provide better information on which to base decisions about which the library should subscribe to. Many libraries face the same problems. What is really covered in the different databases? And how do they communicate with other library systems and electronic resources?

Art journals and monographs in Open Access – a collaborative effort

2015 ◽  
Vol 40 (4) ◽  
pp. 13-19
Author(s):  
Alexandra Büttner
Keyword(s):  
Open Access ◽  
Art History ◽  
Information Service ◽  
Historical Research ◽  
Collaborative Effort ◽  
Digital Repository ◽  
Management Platform ◽  
University Library ◽  
Organisational Support ◽  
Art Historians

Since 2006 Heidelberg University Library has been encouraging the idea of Open Access in the field of art history. Today, as part of the Specialized Information Service for Art it offers art historians from all over the world, through the platform arthistoricum.net, three different services for e-publishing in Open Access: (1) ARTDok – a digital repository for single publications and review articles, (2) ARTJournals – a publication management platform for e-journals and (3) ART-Books – a platform for monographs and edited volumes. Apart from providing scholars with software to help them publish professional peer-reviewed open access articles, the library also supports art historians in the transition from print to e-publications by offering them the technical infrastructure as well as organisational support. The service at Heidelberg University Library has shifted towards engaging more closely with academics and setting into practice their individual needs, leaving them to focus on research and contents. These newly developed processes based on a collaborative effort of art librarians and scholars place an important emphasis on the accessibility and provision of art historical research data in Open Access.

arthistoricum.net: a research environment for the history of art

2007 ◽  
Vol 32 (1) ◽  
pp. 38-43
Author(s):  
Rüdiger Hoyer
Keyword(s):  
Art History ◽  
Web Portal ◽  
Research Environment ◽  
Departure Point ◽  
University Library ◽  
History Of Art ◽  
Funding Programme ◽  
History Of ◽  
Subject Indexing ◽  
Virtual Subject

arthistoricum.net is a new web portal launched by the Zentralinstitut für Kunstgeschichte in Munich and Heidelberg University Library, in cooperation with the Institute for Art History at the Ludwig Maximilian University Munich. Other partners include the Saxon State and University Library in Dresden, and the project is part of the DFG funding programme for virtual subject libraries. The departure point for the portal is the bibliographic tracing and subject indexing of the digital achievements of international art history (websites and online publications). Building upon this core task, the portal’s fundamental purpose is to increase use of these resources and to develop digital working methods.

Junius's knowledge of the Old English poem Durham

2001 ◽  
Vol 30 ◽  
pp. 231-245
Author(s):  
Daniel Paul O'Donnell
Keyword(s):  
Early Modern ◽  
Old English ◽  
British Library ◽  
Stanford University ◽  
Anglo Saxon ◽  
Cambridge University ◽  
English Poem ◽  
University Library ◽  
Special Collections ◽  
Original Manuscript

Until recently, the late Old English poem Durham was known to have been copied in two manuscripts of the twelfth century: Cambridge, University Library, Ff. 1. 27 (C) and London, British Library, Cotton Vitellius D. xx (V). C has been transcribed frequently and serves as the basis for Elliott Van Kirk Dobbie's standard edition of the poem in the Anglo-Saxon Poetic Records. V was almost completely destroyed in the Cottonian fire of 1731. Its version is known to us solely from George Hickes's 1705 edition (H).In a recent article, however, Donald K. Fry announced the discovery of a third medieval text of the poem. Like V, the original manuscript of this ‘third’ version is now lost and can be reconstructed only from an early modern transcription - in this case a copy by Francis Junius no win the Stanford University Library (Stanford University Libraries, Department of Special Collections, Misc. 010 [J1]). Unlike V, however, Junius's copy is our only record of this manuscript's existence. No other transcripts are known from medieval or early modern manuscript catalogues.

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