scholarly journals Se, tale, høre – oplevelsens kunst

1970 ◽  
pp. 31
Author(s):  
Bruno Ingemann
Keyword(s):  
Cultural History ◽  
Art History ◽  
Fine Arts ◽  
Video Camera ◽  
History Museum ◽  
Starting Point ◽  
Functional Context

See, talk, listen – the art of experience This article presents the manner in which two informants experience an exhibition of the works of a well known Danish painter, Ole Sporring. One of the informants, Jakob (27), wears a small video camera on his head which records his walk through the exhibition, looking at the paintings and talking with his companion, Gunnar (55). Ingemann states that he has used this method in video-walks previously in the context of a cultural history museum (Ingemann 1999). A painting can be seen as an object taken from one functional context – the painter’s studio – and contextualised in an exhibition with others of his paintings, drawings, photographs and objects (Braxendale 1991). Csikszentmihalyi & Robinson have found four factors that are important when one encounters an art-work: the perceptual, the emotional, the intellectual and the communication dimensions. In their project 57 informants educated in the field of fine arts themselves chose the artworks they related to as prototypical examples. In my project I focused on informants who had no formal art history training and I myself selected the exhibition they would visit. My theoretical starting point differs from that of Csikszentmihalyi & Robin- son in that they focus on the art whereas I focus on the informants and their experience (Dewey 1934). 

scholarly journals An attempt to evaluate Serbian music between the world wars (1919-1941)

New Sound ◽  
2014 ◽  
pp. 143-155
Author(s):  
Roksanda Pejović
Keyword(s):  
Cultural History ◽  
Folk Music ◽  
Fine Arts ◽  
Value Judgments ◽  
The Past ◽  
Starting Point ◽  
The World ◽  
Over Time

When evaluating Serbian music between the two world wars, we take as our starting point compositions that are valuable in their own right, whether their creators were oriented towards tradition and moderate stylistic trends, or were adherents of the latest tendencies in music. Only compositions that defined their creators' stylistic profiles are considered. We are aware that the value judgments pronounced by older generations of musicologists may differ from the attitude that their younger colleagues have towards the same works. We also understand that the attitude towards the past changes to a degree, so that certain compositions once well received fade over time, but the most powerful and original ones lose nothing of their impact. We draw attention to the Romantic foundations and the inspiration that renowned European composers found in folk music in order that we may confirm the existence of the same phenomena in the music life of Belgrade. We also observe how Serbian composers mastered novel tendencies and how these tendencies endured, noting that they generally trailed behind analogous phenomena in literature and the fine arts (as was generally the case in Serbian cultural history).

Monastery, Monument, Museum

2017 ◽  
Author(s):  
Maurizio Peleggi
Keyword(s):  
Cultural History ◽  
Art History ◽  
Social Life ◽  
Eleventh Century ◽  
Devotional Art ◽  
Cultural Legacy ◽  
Political Ideologies ◽  
Cultural Sites ◽  
History Of ◽  
Intellectual Knowledge

Monastery, Monument, Museum examines cultural sites, artifacts, and institutions of Thailand as both products and vehicles of cultural memory. From rock caves to reliquaries, from cultic images to temple murals, from museums and modern monuments to contemporary artworks, cultural sites and artifacts are considered in relation to the transmission of religious beliefs and political ideologies, as well as manual and intellectual knowledge, throughout thelongue durée of Thailand’s cultural history. Sequenced by and large chronologically along a period of time spanning the eleventh century through to the start of the twenty-first, the eight chapters in this book are grouped into three sections that surface distinct themes and analytical concerns: devotional art in Part I, museology and art history in Part II, and political art in Part III. The chapters can even be read as self-contained essays, each supplied with extensive bibliographic references.By examining the interplay between cultural sites and artifacts, their popular and scholarly appreciation, and the institutional configuration of a cultural legacy, Monastery, Monument, Museum makes a contribution to the literature on memory studies. A second area of scholarship this book engages is the art history of Thailand by shifting focus from the chronological and stylistic analysis of artifacts to their social life—and afterlife. Monastery, Monument, Museum brings together in one volume a millennium of art and cultural history of Thailand. Its novel analysis and thought-provoking re-interpretation of a variety of artifacts and source materials will be of interest to both the specialist and the general reader.

scholarly journals Comparative chemical investigations of alum treated archaeological wood from various museum collections

2021 ◽  
Vol 9 (1) ◽  
Author(s):  
Jeannette Jacqueline Łucejko ◽  
Caitlin M. A. McQueen ◽  
Malin Sahlstedt ◽  
Francesca Modugno ◽  
Maria Perla Colombini ◽  
...  
Keyword(s):  
Cultural History ◽  
Inorganic Compounds ◽  
Treated Wood ◽  
Chemical Degradation ◽  
General Level ◽  
History Museum ◽  
X Ray ◽  
Archaeological Wood ◽  
Alum Treatment ◽  
Swedish History

AbstractFrom the mid-1800s to the late 1960s, conservation by alum salts (KAl(SO4)2·12H2O—potassium aluminium sulphate), using various recipes, was a common method to prevent shrinkage and to strengthen waterlogged archaeological wooden objects. This method was mainly used in Scandinavia. The alum method appears to have also been applied to highly degraded archaeological waterlogged wood in other countries, for example in the U.S and Germany. Today, many of the archaeological wooden objects treated with alum show extreme deterioration and very low pH, which are attributed to the effects of the alum-treatment. This study investigated the extent of the current levels of chemical degradation in wooden objects conserved with alum salts at different points in time (1880s, 1930s and 1905–13) in order to understand their current condition and whether extent of degradation was in any way related to time of treatment, in an attempt to understand the rate of degradation. It was also an opportunity to compare the chemical state of preservation of alum-treated wood from different collections, as only the Oseberg collection has been intensively studied in this way up until now. Samples from historical wooden objects from the following collections were investigated and compared: the Dejbjerg collection (National Museum of Denmark in Copenhagen); the Oseberg collection (Museum of Cultural History, Oslo, Norway); the Glimmingehus collection (Swedish History Museum, Sweden). Analyses of lignocellulosic polymers and of inorganic compounds were undertaken to evaluate the chemical preservation of the wooden objects. The investigations were performed using a multi-analytical approach which consisted of: pH measurements, analytical pyrolysis (Py-GC/MS), X-ray diffraction (XRD) and scanning electron microscopy with energy-dispersive X-ray spectroscopy (SEM–EDS). It was possible to link the extent of degradation with time, on a general level but we found a great variability in the state of preservation of the wood also within the same collection. It is clear, however that alum-treated wood is more degraded than archaeological wood not treated with alum.

The Royal Society Specimens from the Chelsea Physic Garden, 1722-1799

1993 ◽  
Vol 47 (2) ◽  
pp. 213-224 ◽  
Keyword(s):  
Natural History ◽  
Royal Society ◽  
Natural History Museum ◽  
History Museum ◽  
Important Link ◽  
Starting Point ◽  
Herbarium Collections ◽  
Important Evidence

The deed of conveyance of 1722, by which Sir Hans Sloane gave the Society of Apothecaries control of their ‘Physick Garden at Chelsey’ in perpetuity, forged an important link between the Apothecaries and the Royal Society, one that has lasted to the present day. For the next 75 years the Apothecaries paid an annual tribute of dried plant specimens to the Royal Society as proof that they were continuing to use the garden for its proper purpose. These specimens, which have survived the centuries with remarkably little damage, now provide important evidence of what was being grown in the garden at the time and may also be nomenclaturally important as representing plants given botanical names by Philip Miller in 1768. A careful search in the herbarium collections of the Department of Botany in the Natural History Museum at South Kensington, where the Royal Society specimens are now held, has resulted in the location of all but a small number of the 3750 specimens that were sent. Tracing them has not been easy for a number of reasons, not least because they are now dispersed among the several million specimens in the Museum’s collections. The names of the plants used by the Apothecaries in the lists that were the starting point for the search were those current at the time, hence of pre-Linnaean character, and had first to be linked to present-day names before the work could begin. Some lists of names were found to be inaccurate and some were entirely misleading.

scholarly journals A National Public Sphere? Analyzing the Language, Location, and Form of Newspapers in Finland, 1771–1917

2019 ◽  
Vol 4 (1) ◽  
pp. 54-77
Author(s):  
Jani Marjanen ◽  
Ville Vaara ◽  
Antti Kanner ◽  
Hege Roivainen ◽  
Eetu Mäkelä ◽  
...  
Keyword(s):  
Public Sphere ◽  
Cultural History ◽  
Public Discourse ◽  
Mass Medium ◽  
Historical Knowledge ◽  
The Public ◽  
Starting Point ◽  
The Press ◽  
The Public Sphere ◽  
Newspaper History

This article uses metadata from serial publications as a means of modelling the historical development of the public sphere. Given that a great deal of historical knowledge is generated through narratives relying on anecdotal evidence, any attempt to rely on newspapers for modeling the past challenges customary approaches in political and cultural history. The focus in this article is on Finland, but our approach is also scalable to other regions. During the period 1771–1917 newspapers developed as a mass medium in the Grand Duchy of Finland within two imperial configurations (Sweden until 1809 and Russia in 1809–1917), and in the two main languages – Swedish and Finnish. Finland is an ideal starting point for conducting comparative studies in that its bilingual profile already includes two linguistically separated public spheres that nonetheless were heavily connected. Our particular interest here is in newspaper metadata, which we use to trace the expansion of public discourse in Finland by statistical means. We coordinate information on publication places, language, number of issues, number of words, newspaper size, and publishers, which we compare with existing scholarship on newspaper history and censorship, and thereby offer a more robust statistical analysis of newspaper publishing in Finland than has previously been possible. We specifically examine the interplay between the Swedish- and Finnish-language newspapers and show that, whereas the public discussions were inherently bilingual, the technological and journalistic developments advanced at different pace in the two language forums. This analysis challenges the perception of a uniform public sphere in the country. In addition, we assess the development of the press in comparison with the production of books and periodicals, which points toward the specialization of newspapers as a medium in the period after 1860. This confirms some earlier findings about Finnish print production. We then show how this specialization came about through the establishment of forums for local debates that other less localized print media such as magazines and books could not provide.

scholarly journals Alexandra Ekster’s Contribution to Ukrainian and World Art Culture

2021 ◽  
pp. 219-228
Author(s):  
Lesia TURCHAK
Keyword(s):  
Art Education ◽  
Research Methodology ◽  
Art History ◽  
Historical Data ◽  
Methodological Approach ◽  
Fine Arts ◽  
Creative Activity ◽  
Teaching Activity ◽  
Avant Garde ◽  
The Subject

The work of Ukrainian artists who have contributed to Ukrainian and international art, is not sufficiently disclosed. Their creative search impresses with versatility, interesting decision, continues to impress and inspire contemporaries. Purpose of the article — to find out the contribution of the Ukrainian avant-garde artist, set designer, teacher Oleksandra Ekster, to the Ukrainian and international fine arts. Oleksandra Ekster’s work has been the subject of research for decades. Scientists are interested in the painter’s art search, her contribution to Ukrainian avant-garde, scenography reforms, and teaching activity. Some sources may state that Ekster is a representative of Russian avant-garde. However, the artist grew up in Kyiv, obtained art education and promoted with her work not only Ukrainian but world avant-garde as well. The research of modern scientists (H. Kovalenko, D. Horbachova, T. Filevska, N. Stoliarchuk, M. Yur and others) makes it possible to review the artist’s life and artistic journey as well as her contribution to art history. The research methodology consists of a range of methods: historical, biographical, theoretical. The abovementioned methodological approach allows studying the question of historical data relating to the events in Ukraine that led to the emigration waves, finding out certain biographical facts and analyzing the artist’s creative activity.

European Tapestries

2021 ◽  
Keyword(s):  
New York ◽  
Cultural History ◽  
20Th Century ◽  
Art History ◽  
Large Scale ◽  
Early Modern Period ◽  
Metropolitan Museum ◽  
Late 20Th Century ◽  
Art Form ◽  
New Research

Tapestry, the most costly and coveted art form in Renaissance and Baroque Europe, has long fascinated scholars. In the 19th and early 20th centuries, researchers delved into archival sources and studied extant tapestries to produce sweeping introductions to the medium. The study of tapestry, however, fell outside mainstream art history, with tapestry too often seen as a less important “decorative art” rather than a “fine art.” , Also, tapestry did not fit easily into an art history that prioritized one master, as the making of a set of large-scale tapestries required a team of collaborators, including the designer, cartoon painters, and weavers, as well as a producer/entrepreneur and, often, a patron. Scholarship on European tapestries in the Early Modern period, nevertheless, flourished. By the late 20th century art historians turned attention to the “decorative arts” and tapestry specialists produced exciting new research illuminating aspects of design, production, and patronage, as well as tapestry’s crucial role in the larger narrative of art and cultural history. In 2002, the Metropolitan Museum of Art’s landmark exhibition and catalogue, Tapestry in the Renaissance: Art and Magnificence, spotlighted the art form, introduced it to a broad audience, and brought new understanding of tapestry as art. A sequel, the Met’s 2007 exhibition and catalogue, Tapestry in the Baroque: Threads of Splendor, followed. Other major museums presented ambitious exhibitions, accompanied by catalogues with substantial new research. In addition, from the late 20th century, institutions have produced complete catalogues of their extraordinary European tapestry holdings, among them: the Metropolitan Museum of Art in New York; the Patrimonio Nacional in Spain; the Rijksmuseum in Amsterdam; the Art Institute of Chicago; and the Burrell Collection in Glasgow. At the same time, articles and books exploring specific designs, designers, producers, and patrons appeared, with some monographs published in the dedicated series, Studies in Western Tapestry, edited by leading scholars Guy Delmarcel and Koenraad Brosens, and produced by Brepols. Tapestry research has often focused on the works of well-known designers and their exceptionally innovative work, such as the artists Raphael (b. 1483–d. 1520) or Peter Paul Rubens (b. 1577–d. 1640). High-quality production at major centers, including Brussels or at the Gobelins Manufactory in France, has also captured scholars’ attention, as have important patrons, among them Henry VIII of England (b. 1491–d. 1547) or Louis XIV of France (b. 1638–d. 1715). Newer directions for research include the contributions of women as weavers and entrepreneurs, the practice of reweaving designs, and the international reach and appeal of Renaissance and Baroque tapestry beyond Europe.

Dual Master’s degree in art librarianship, Indiana University, USA

1994 ◽  
Vol 19 (2) ◽  
pp. 9-11
Author(s):  
Betty Jo Irvine
Keyword(s):  
Art History ◽  
Information Science ◽  
Master's Degree ◽  
Fine Arts ◽  
The United States ◽  
Library And Information Science ◽  
Indiana University ◽  
Reference Services ◽  
Fieldwork Experience ◽  
Master’S Degree

In 1985 the dual master’s degree program in art librarianship was developed at Indiana University by the head of the Fine Arts Library, working with faculty members in the School of Fine Arts/Art History and the School of Library and Information Science. This program is designed to prepare students in the United States for professional library and information specialist positions in fine arts libraries and information centers. The student is offered a coordinated approach to achieving two masters degrees — one in art history and the other in library and information science — and must be admitted to both schools. For this program the course ‘Seminar in Art Librarianship’ was devised, covering topics such as administration, collection development, reference services, and visual resources management. Further requirements include a research bibliography course in art history and fieldwork experience in the Fine Arts and Slide libraries. This program seeks to meet the need for a marketable combination of subject–specific and library/information science education for art library and visual resources professionals.

The South African Cultural History Museum Library

1995 ◽  
Vol 20 (4) ◽  
pp. 25-26
Author(s):  
Annemarie Greyling
Keyword(s):  
Cultural History ◽  
South African ◽  
The South ◽  
History Museum ◽  
The Public ◽  
Museum Staff ◽  
Independent Existence

The South African Museum (cultural history) opened in 1966 as part of the South African Museum; in 1969 it began an independent existence as the South African Cultural History Museum, with a mission to enable the ‘entire community… to enjoy and to learn about our Cape and international heritage’. The library dates back to the opening of the museum, and now comprises some 12,000 books, 900 pamphlets, and 190 current journals on art related topics. Although the library exists primarily to serve the museum staff, it is open to the public and is well used by students.

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