In the eighteenth and early nineteenth centuries the first modern, public museums of art—civic, state, or national—appeared throughout Europe, setting a standard for the nature of such institutions that has made its influence felt to the present day. Although the emergence of these museums was an international development, their shared history has not been systematically explored until now. Taking up that project, this volume includes chapters on fifteen of the earliest and still major examples, from the Capitoline Museum in Rome, opened in 1734, to the Alte Pinakothek in Munich, opened in 1836. These essays consider a number of issues, such as the nature, display, and growth of the museums’ collections and the role of the institutions in educating the public. The introductory chapters by art historian Carole Paul, the volume’s editor, lay out the relationship among the various museums and discuss their evolution from private noble and royal collections to public institutions. In concert, the accounts of the individual museums give a comprehensive overview, providing a basis for understanding how the collective emergence of public art museums is indicative of the cultural, social, and political shifts that mark the transformation from the early-modern to the modern world. The fourteen distinguished contributors to the book include Robert G. W. Anderson, former director of the British Museum in London; Paula Findlen, Ubaldo Pierotti Professor of Italian History at Stanford University; Thomas Gaehtgens, director of the Getty Research Institute; and Andrew McClellan, dean of academic affairs and professor of art history at Tufts University. Show more Show less
Author: Zita Pataki, Birgit Mnch
Publisher: Columbia University Press
16 essays by a group of internationally acclaimed authors help contribute to a clearer perception of the complex facets of Jacob Jordaens' oeuvre—and moreover to distinguish it from the works of Rubens, van Dyck, and his contemporaries. The title "Genius of Grand Scale" refers to the spectrum from history to genre as well as to Jordaens' preference for large formats. The greatness of the artist Jacob Jordaens needs to be emphasized, since even though he outlived Rubens for four whole decades, he was never able to escape from under his shadow. By reference to iconographic and iconological studies, single works are identified and presented in a broad review and the long, in many aspects fragmentary reception of his artistic work also forms a large part of the interpretations presented here. Furthermore, technical examinations of paintings assist in defining more precisely how they were generated.This overdue volume presents essential reading for anyone interested in Jacob Jordaens.
Author: Matthew Philpotts, Sabine Rolle
Publisher: Camden House
Fresh perspectives on the cultural history of the German Democratic Republic, exploring the nation's dialogue with the German past.
The Museum Is Open
Author: Andrea Meyer, Benedicte Savoy
Publisher: Walter de Gruyter
Museum science, museum analysis, museum history, and museum theory – all this expanding terminology underscores the growing scholarly interest in museums. A recurring assertion is that as an institution, the museum has largely functioned as a venue for the formation of specifically national identities. This volume, by contrast, highlights the museum as a product of transnational processes of exchange, focusing on the period from 1750 to 1940.
Tempel der Kunst
Author: Bénédicte Savoy
Publisher: Böhlau Verlag Köln Weimar
Wie entstanden Museen in Deutschland? In einer aktualisierten Neuausgabe legt Bénédicte Savoy eine umfassende Geschichte der frühen »Tempel der Kunst« im deutschen Sprachraum vor. Der reich bebilderte Band stellt die Fakten, Debatten und Innovationen in der Museumslandschaft des 18. Jahrhunderts dar und bettet sie in ihre Kontexte ein. Die Beiträge folgen alle einer einheitlichen Gliederung und berücksichtigen erstmals auch die öffentlichkeitsrelevanten Fakten wie Eintrittspreise, Besucherbücher, Besucherordnungen und Öffnungszeiten. Eine CD mit Auszügen aus Reisebeschreibungen des 18. Jahrhunderts sowie weiteren Abbildungen – darunter Grundrisse, Hängepläne, Innenansichten der Galerien und Titelseiten der Ausstellungskataloge – bietet als Anhang zum Band eine unersetzliche Materialsammlung für die Museumsforschung.
Venedig - Dresden
Author: Barbara Marx, Andreas Henning
Den im 18. Jahrhundert florierenden Kulturtransfer zwischen der Elbe- und der Lagunenstadt einem breiten Publikum nahezubringen, ist das Anliegen der Kulturhistorikerin Barbara Marx. Charakteristisch für die intensive Beziehung der beiden Städte waren das wechselseitige Engagement von Musikern und Sängern, der Import von Elementen des venezianischen Karnevals sowie für Venedig typische Malweisen nach Dresden. In dieser Zeit kaufte man auch gezielt venezianische Kunstwerke für den sächsischen Hof an. Der Band stellt diese Meisterwerke vor.
Revolutionary Paris and the Market for Netherlandish Art restores attention to the aesthetic, intellectual, and economic link between two key periods in the history of art: the “Golden Age” of Dutch and Flemish painting and that of the French Revolution.
Vienna Circa 1780
Author: Wolfram Koeppe
Publisher: Metropolitan Museum of Art
"Translation of a foundational text for the disciplines of art history and archaeology. Offers a systematic history of art in ancient Egypt, Persia, Etruria, Rome, and, above all, Greece that synthesizes the visual and written evidence then available"--Provided by publisher.
Author: Wolfram Koeppe
Publisher: Metropolitan Museum of Art
Catalogue published in conjunction with the exhibition "Extravagant Inventions: the Princely Furniture of the Roentgens" on view at The Metropolitan Museum of Art, New York, from October 30, 2102, through January 27, 2013.
Dealing Art on Both Sides of the Atlantic, 1860-1940 aims to bring the marketplace dynamic into sharper focus by examining the functionaries who participate in the art market–agents, scouts, intermediaries, restorers, fakers, decorators, advisers and experts.
Collecting is an obsession that goes back to the mists of history. While spare time and spare cash seem an absolute necessity for this kind of activity, every collector has his or her own approach to the formation of a collection. The way in which one's treasures are displayed is another important instance in which one collector differs from another. Glass cases, niches, trays, cupboards, or drawers have been adopted; sometimes cards offer information on the subject, its age and provenance; an overall theme may have prompted the choice of the actual objects displayed together; security reasons suggest one room over another. While some collectors keep their treasures as close as possible in their bedroom, throughout their living quarters, or in a locked up closet nearby others may find that they want to be able to show off their collection without being disturbed by visitors in the rooms in which they actually spend most of their time. Certainly, our notions of private and public have changed considerably over the centuries and this has had an impact on questions of display and on the separation of particular parts of the house from other less accessible ones, in particular in great houses that allow for the establishment of a museum. The museum, in such cases, is quite separate from the living quarters, for example situated on the ground floor off the main hall. Not all displays were so defined; there were many forms of exhibition just as there were many forms of collections. The aims and ambitions of the collector are often discussed in terms of the display of their collections; in part because we believe that analysing how a collection was shown and how it was received are key contributors to our understanding the role and purpose of the collection. In lieu of any other documentation, inventories, sales catalogues and wills remain essential tools for the historian of collecting, both in terms of what was owned and where it was housed. This volume, the second in a series of four, presents ten articles that explore the connection between collections and their display in, near, or separate from the princely apartment within a time frame that runs from the sixteenth century to the early nineteenth and within a geographical area that includes courts on the Italian peninsula, in England, France, The Netherlands and Germany.
Author: J. R. Mulryne
Publisher: Ashgate Publishing, Ltd.
A landmark in the study of early modern Europe, this two-volume collection makes available for the first time a selection of the most important texts from court and civic festival books. Festival entertainments were presented to mark such occasions as royal and ducal entries to capital cities, dynastic marriages, the birth and christening of heirs, religious feasts and royal and ducal funerals. Europa Triumphans represents the chronological and trans-European range of the court and civic festival.These festivals are represented not simply as texts, but as events, and are introduced by groups of scholars, each with a specialist knowledge of the political, social and cultural significance of the festival and of the iconography, spectacle, music, dance, voice and gesture in which they were expressed.