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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
1

Heu: OSTRALE´014 / Katalog 1

January 2014 (has links)
No description available.
2

Futter: OSTRALE´014 / Katalog 2

January 2014 (has links)
No description available.
3

Ostrale'O15: Katalog

Hilger, Andrea, Leutemann, Claudia, Sailer, Mara 19 May 2016 (has links)
Diese Publikation erscheint anlässlich der 9. Internationalen Ausstellung zeitgenössischer Künste Dresden, 10. Juli – 27. September 2015.
4

Heu

21 October 2014 (has links) (PDF)
No description available.
5

Futter

21 October 2014 (has links) (PDF)
No description available.
6

The dispersal of the Hamilton Palace collection

Maxwell, Christopher Luke January 2014 (has links)
By the penultimate decade of the nineteenth century, the Dukes of Hamilton, premier peers of Scotland, had amassed a superb collection of fine and decorative art. This outstanding collection was dispersed in two series of sales in 1882 and 1919, and the family’s principal seat, Hamilton Palace, ten miles south of Glasgow, was demolished in the 1920s and ′30s. Many of the most significant items are now in the great museums, galleries and libraries of the world or in important private collections. This study will begin by identifying the causes of the 12th Duke of Hamilton’s financial difficulties and the chain of events leading to the dispersal of the collection, with a comparative analysis on the backgrounds of the earlier enforced sales of Fonthill Abbey (1822), Wanstead House (1822), Strawberry Hill (1842), and Stowe (1848). It will continue with a thorough investigation of selected principal beneficiaries, what they acquired and why. These will include Christopher Beckett Denison; various members of the Rothschild family; William Dodge James; the 5th Earl of Rosebery; Sir Michael Shaw-Stewart; and the 5th Earl of Carysfort. A survey of the records of certain national museums and galleries will establish the involvement of the museum sector in the dispersal of the collection, with a review of these institutions’ acquisitions. Finally, this study will consider the extent to which North American collectors benefited from the sales through the international art trade between 1880 and 1930, culminating in an account of the purchase of the Hamilton Palace interiors by the New York dealers, French & Co., and their subsequent acquisition by the newspaper magnate and collector William Randolph Hearst. This research will add a new perspective to the understanding of the break-up of this renowned collection, and of the loss to Scotland’s material culture and heritage. It will contribute to current scholarship on nineteenth-century house sales and increase current knowledge of the socio-economic causes and effects of such events. The question of who benefited from the Hamilton Palace sales will be a new and original area of research within History of Collecting studies, contributing to a fuller appreciation of British collecting between 1880 and 1930 and of the international art trade and market from 1880 to the present day.
7

L'Europe des arts : la participation des peintres étrangers au Salon, Paris 1852-1900 / Arts of Europe : foreign painters' participation at the Paris Salon, 1852-1900

Cazes, Laurent 28 November 2015 (has links)
Depuis l'apparition des expositions universelles jusqu'à la création des sécessions européennes, le Salon parisien a joué un rôle plus ou moins déterminant dans la carrière de centaines de peintres étrangers. Sans partis-pris esthétique, le corpus d'œuvres, d'artistes et de textes étudiés retrace la présence et la réception de la peinture étrangère au Salon de 1852 à 1900. L'histoire politique et administrative de l'institution révèle un statut de l'exposant étranger presque inexistant au début du Second Empire, qui devint une question majeure à la fin du siècle, liée à la création de la Société nationale des beaux-arts. Hasardeuse et compétitive, l'expérience du Salon constituait pour l'ensemble des artistes un enjeu considérable, tant symbolique que commercial. Les carrières parisiennes des peintres étrangers, depuis le séjour de formation jusqu'à l'impact de l'exposition au Salon, se prêtent moins que celles de leurs homologues français à une opposition entre sphère officielle et sphère indépendante; elles décrivent un système des beaux-arts largement ouvert sur le monde et sur l'ensemble du champ artistique. La réalité internationale des expositions parisiennes eut un profond impact sur l'évolution et la définition d'un art français qui en fit rapidement un motif d'hégémonie. Contrairement au cloisonnement nationaliste des expositions universelles, le brassage du Salon décrit l'unité et la diversité des forces créatrices européennes. L'expression nationale participe d'une communauté de démarches et de formes, et l'Europe des arts ne peut se réduire ni aux catégories d'écoles nationales, ni aux catégories de style de la tradition moderniste. / From the origin of World Fairs until the creation of the European secessions, the Paris Salon played a fairly significant role in the careers of hundreds of foreign painters. Avoiding aesthetic biases, the corpus of works, artists and texts studied traces the presence and the reception of foreign painting in the Paris Salon, from 1852 to 1900. The political and administrative history of the institution reveals the evolution of foreign painter status: from almost nonexistent at the beginning of the Second Empire, to a major issue at the end of the century, linked to the creation of the Société Nationale des beaux-arts. Risky and competitive, the Salon experience was a considerable challenge for all artists, both symbolic and commercial. Parisian careers of foreign painters, from their training studio to their exposition in the Salon, are less interpretable than for their French counterparts as an opposition between official and independent sphere; Fine Art system appears as wide open to the world and to the whole artistic field. The international dimension of Paris exhibitions had a profound impact on the evolution and the definition of French art who quickly built a hegemonic pattern on it. Unlike the nationalist partitioning of world fairs, the melting of the Salon is an image of the unity and diversity of European creative forces. The national expression is part of a community of approaches and expressions, and Arts of Europe cannot be categorized into national schools nor the style categories of the modernist tradition.

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