scholarly journals Public and Private: the main categories of art collections in Finland

1970 ◽  
pp. 67
Author(s):  
Susanna Pettersson
Keyword(s):  
Public Art ◽  
Selection Process ◽  
Public And Private ◽  
Art Collections ◽  
The Public ◽  
Good Taste ◽  
Art Collection ◽  
Public Nature

The following article addresses a paradox that lies at the heart of every public art collection. The public nature of the institution leads one to assume that collections are compiled on what might be called «public principles.» Thus the selection process is supposed to be «objective», while also being guided by «good taste.» 

The rise and fall of the municipal art gallery movement? The public and private dimensions of local civic art

2018 ◽  
pp. 251-289
Author(s):  
James Moore
Keyword(s):  
Nineteenth Century ◽  
Public Art ◽  
Practical Purpose ◽  
Small Towns ◽  
Art World ◽  
Art Gallery ◽  
Public And Private ◽  
Art Collections ◽  
The Public

By 1914 most Lancashire towns, including many small towns, maintained an art gallery at municipal expense. The origins and practical purpose of these galleries were more diverse than one might imagine. Yet, by 1914, the Lancashire art world faced something of a crisis. The generation of great Lancastrian patrons seemed to be receding. Modern revisionist thinking viewed many of Lancashire’s Victorian public art collections as outdated. The grand galleries of the nineteenth century were expensive to maintain and often poorly attended. This final chapter examines the reasons for this crisis and the way some innovative thinkers attempted to respond.

scholarly journals The Interaction of the State Museum Fund and Museums of the Tatar ASSR in the 1920s

2018 ◽  
Vol 15 (6) ◽  
pp. 754-763 ◽  
Author(s):  
Natalia V. Gerasimova
Keyword(s):  
Fine Arts ◽  
The State ◽  
Public And Private ◽  
Art Collections ◽  
Art Collection ◽  
State Museum ◽  
Scientific Principles ◽  
History Of ◽  
Private Museums ◽  
First Time

The article is devoted to one of the Soviet State’s policy directions at the first stage of its existence, aimed at the preservation of cultural va­lues and the formation of museum art collections. The poorly studied question about the features of this policy implementation is revealed on the example of the TASSR (Kazan Province — before May 1920), where in the 1920s a whole network of museums was created; almost in each of them, an art department was organized. The appeal to this topic is relevant in connection with the opening of a large number of public and private museums, which face similar challenges, as well as the active scientific activities of museums to study their own collections, in the framework of creation of the State Catalogue of the Museum Fund of the Russian Federation. For the first time, the article introduces into scientific circulation a number of sources, on the basis of which the main directions of this activity, as well as the museums’ art collections themselves, are analyzed. In the TASSR, the interaction with the State Museum Fund (SMF) was carried out by the Department for Museums and Protection of Monuments of Art, Anti­quities and Nature, employees of which (P.M. Dulsky and P.E. Kornilov) were engaged not only in organization of the artworks’ transferring to museums, but also in their selection. The article states that, thanks to the SMF, the Central Museum of the TASSR had the most complete and valuable art collection, and an interesting collection was formed in the Kozmodemyansky District Museum, which was part of the Kazan Province until 1920. This study shows that the SMF was an important and effective mechanism for the implementation of state policy in the field of culture: its activities contributed to the creation of provincial museums’ collections, based on scientific principles and aimed at presenting the history of fine arts development.

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 From “Leader to Pariah”? On the Dutch Restitutions Committee and the inclusion of the public interest in assessing Nazi-spoliated art claims

2021 ◽  
pp. 1-31
Author(s):  
Tabitha I. Oost
Keyword(s):  
Public Interest ◽  
Public Art ◽  
Assessment Framework ◽  
Policy Rules ◽  
Legal Rules ◽  
The Public ◽  
Art Collection

Abstract This article considers the recent and vigorous critique of the Dutch restitution policy on Nazi-looted art in connection with the inclusion of what has been termed the “public interest” in the applicable substantive assessment framework. This assessment framework is entirely based on morally induced policy rules, and it allows the Dutch Restitutions Committee to advise on requests for restitution based on a weighing of interests, including the significance of the work to a museum or public art collection. Although one might question the appropriateness of such interests in a framework designed to remedy historic injustices, it remains to be seen whether this critique is entirely justified. Recent recommendations issued by the Dutch Restitutions Committee indicate that it takes a generous, rather than strict, approach when dealing with requests for restitution. All in all, it seems that both institutional and substantive vulnerability are inevitable if one embarks on a morally induced framework based on mere policy rules rather than legal rules.

scholarly journals Predator. The Looting Activity of Pieter Nicolaas Menten (1899–1987)

2017 ◽  
pp. 112-147
Author(s):  
Nawojka Cieślińska-Lobkowicz
Keyword(s):  
Cultural Goods ◽  
Art Collections ◽  
German Occupation ◽  
The Public ◽  
Works Of Art ◽  
Art Collection ◽  
General Government ◽  
History Of ◽  
Post War ◽  
Special Case

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.

scholarly journals From the public nature of art to the nature of public art: Considerations on the changing spaces and modes of exhibiting

2017 ◽  
Vol 9 (2) ◽  
pp. 191-200
Author(s):  
Zoltán Somhegyi
Keyword(s):  
Public Art ◽  
State Of The Art ◽  
The Public ◽  
Current State ◽  
Works Of Art ◽  
Public Nature ◽  
Innovative Approaches

In this paper I am offering some reflections on the intertwined relationship between works of art and their audience by looking at the changing spaces and ways of exhibiting. While art pieces had often been and still are "public", their status and definition have changed throughout the centuries. After historical considerations I quote some contemporary examples of innovative approaches to the interpretation of the publicness of art. These show new modes of acquiring audience, of re-interpreting the connection between artwork and its public and of reviewing the current state of the art infrastructure and its institutions.

CONSUMO DE ALIMENTOS PROCESSADOS E ULTRAPROCESSADOS POR ESCOLARES DE ARROIO DO TIGRE, RS

2018 ◽  
Vol 7 (1) ◽  
pp. 157-164
Author(s):  
Rubiane Inara Wagner ◽  
Patrícia Molz ◽  
Camila Schreiner Pereira
Keyword(s):  
Public School ◽  
Nutritional Status ◽  
Private School ◽  
Food Habits ◽  
Cross Sectional Study ◽  
School Students ◽  
Cross Sectional ◽  
Public And Private ◽  
The Public ◽  
Cereal Bars

O objetivo deste estudo foi comparar a frequência do consumo de alimentos processados e ultraprocessados e verificar a associação entre estado nutricional por adolescentes do ensino público e privado do município de Arroio do Tigre, RS. Trata-se de um estudo transversal realizado com adolescentes, com idade entre 10 e 15 anos, de uma escola pública e uma privada de Arroio do Tigre, RS. O estado nutricional foi avaliado pelo índice de massa corporal. Aplicou-se um questionário de frequência alimentar contendo alimentos processados e ultraprocessados. A amostra foi composta por 64 adolescentes com idade média de 12,03±1,15 anos, sendo 53,1% da escola pública. A maioria dos adolescentes encontravam-se eutróficos (p=0,343), e quando comparado com o consumo de alimentos processados e ultraprocessados, a maioria dos escolares eutróficos relataram maior frequência no consumo de balas e chicletes (50,0%) e barra de cereais (51,0%), de 1 a 3 vezes por semana (p=0,004; p=0,029, respectivamente). Houve também uma maior frequência de consumo de alimentos processados e ultraprocessados como pizza (73,5%; p0,001), refrigerante (58,8%; p=0,036) e biscoito recheado (58,8%; p=0,008) entre 1 a 3 vezes por semana na escola pública em comparação a escola privada. O consumo de suco de pacote (p=0,013) foi relatado não ser consumido pela maioria dos alunos da escola particular em comparação a escola pública. Os dados encontrados evidenciam um consumo expressivo de alimentos processados e ultraprocessados pelos adolescentes de ambas as escolas, destacando alimentos com alto teor de açúcar e sódio.Palavras-chave: Hábitos alimentares. Adolescentes. Alimentos industrializados. ABSTRACT: The objective of this study was to compare the frequency of consumption of processed and ultraprocessed foods and to verify the association between nutritional status by adolescents from public and private schools in the municipality of Arroio do Tigre, RS. This was a cross-sectional study conducted with adolescents, aged 10 to 15 years, from a public school and a private school in Arroio do Tigre, RS. Nutritional status was assessed by body mass index. A food frequency questionnaire containing processed and ultraprocessed foods was applied. The sample consisted of 64 adolescents with a mean age of 12.03±1.15 years, 53.1% of the public school. Most of the adolescents were eutrophic (p=0.343), and when compared to the consumption of processed and ultraprocessed foods, most eutrophic schoolchildren reported a higher frequency of bullets and chewing gum (50.0%) and cereal bars (51.0%), 1 to 3 times per week (p=0.004, p=0.029, respectively). There was also a higher frequency of consumption of processed and ultraprocessed foods such as pizza (73.5%, p0.001), refrigerant (58.8%, p=0.036) and stuffed biscuit (58.8%, p=0.008) between 1 to 3 times a week in public school compared to private school. Consumption of packet juice (p=0.013) was reported not to be consumed by the majority of private school students compared to public school. Conclusion: The data found evidenced an expressive consumption of processed and ultraprocessed foods by the adolescents of both schools, highlighting foods with high sugar and sodium content.Keywords: Food Habits. Adolescents. Industrialized Foods.

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