Bibliotheken an Kunst- und Musikhochschulen führten über Jahrzehnte hinweg weitgehend ein Schattendasein. In der künstlerischen Ausbildung spielten Bibliotheksdienstleistungen nur eine Nebenrolle. Studierende betraten diese Einrichtungen, vielleicht um in einem Kunstband zu blättern oder einige Noten auszuleihen – nicht viel mehr und nicht viel weniger. In der Informationsgesellschaft haben sich auch die Ansprüche an Kunst- und Musikhochschulbibliotheken deutlich erhöht. Die rasanten Veränderungen im Bibliothekswesen sind an ihnen keineswegs spurlos vorbeigegangen. Vielmehr lässt sich deutschlandweit auch hier eine zunehmende Professionalisierung gekoppelt mit einer eigenen Entwicklungsdynamik beobachten.

This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections was determined by a social elite, which was, at its heart, British. Its collective taste was predicated on models established in Great Britain and on traditions and on connoisseurship. This visual instruction in the British ideal of culture, as seen through the Academy, was regarded as a worthy aspiration, one that was at once both highly nationalistic and also a tool of Empire unity. This ideal was nationalistic in the sense that it marked the desire of these Boards to claim for the nation membership of the world's civil society, whilst also acknowleging that the vehicle to do so was through an enhanced alliance with British art and culture. The ramifications of an Empire-first aesthetic model were tremendous. The model severely constrained taste in domestic art, limited the participation of indigenous peoples and shaped the reception of modernism. / Doctor of Philosophy (PhD)

Thesis (Ph.D.) -- University of Western Sydney, 2003. / "A thesis presented to the University of Western Sydney in partial fulfilment of the requirements for the degree of Doctor of Philosophy" Includes bibliography.

Cette étude des éléments égyptiens dans les arts et dans les sciences à Toulouse du XVIIe siècleau XXe siècle s’appuie sur un corpus d’archives et un corpus iconographique appartenant auxacadémies savantes et artistiques, et aux musées de la ville. Elle permet d’interroger la manièredont les académiciens toulousains créent, transmettent et modifient des représentations del’Égypte ancienne durant quatre siècles. Certains éléments sont privilégiés, comme la pyramide,l’obélisque, le sphinx et les dieux, tels Isis et Osiris. Leur sens et leur fonction, dans ladynamique des constructions identitaires et patrimoniales, permettent d’éclairer le rôle deséléments antiques dans les champs sociaux. Tout en conservant une symbolique forte et stableau fil du temps, ils sont sans cesse réinterprétés pour s’insérer dans des rhétoriques spécifiques.Le croisement des savoirs artistiques et savants sur l’Égypte ont permis de dégager troisdomaines privilégiés pour l’emploi de références égyptiennes : le rapport à la nature, le rapportau savoir et le rapport au pouvoir. Au sein de chacun d’entre eux, l’ancienne Égypte joue unrôle de liant, de médiateur entre les évènements du passé et la réinterprétation contemporainequi est traduit et mis en scène dans les différents musées de la ville. / This study of the Egyptian elements in the arts and sciences in Toulouse, from the seventeenthto the twentieth century is based on a corpus of archives and an iconographic corpus belongingto both scholarly and artistic academies and the city’s museums. It makes it possible to lookinto the way Toulouse scholars have created, trasmitted and modified representations of ancientEgypt over four centuries. Certain elements are favoured such as the pyramid, the obelisk, theSphinx as well as the gods Isis and Osiris. Their meaning and function in the dynamics of thefashioning of identities and heritage, shed light on the role played by antique elements in thesocial fields. While maintaining a strong and stable symbolic over time, they are constantlyreinterpreted to fit into a specific rhetoric. The crossing of the artistic and academic knowledgesof Egypt has yielded three choice fields to be used in Egyptian references: the relationship tonature, the relationship to knowledge and the relationship to power. Within each of them,ancient Egypt acts as a binder, a mediator between the events of the past and the contemporaryreinterpretation that is translated and staged in the city’s various museums.

Bibliotheken an Kunst- und Musikhochschulen führten über Jahrzehnte hinweg weitgehend ein Schattendasein. In der künstlerischen Ausbildung spielten Bibliotheksdienstleistungen nur eine Nebenrolle. Studierende betraten diese Einrichtungen, vielleicht um in einem Kunstband zu blättern oder einige Noten auszuleihen – nicht viel mehr und nicht viel weniger. In der Informationsgesellschaft haben sich auch die Ansprüche an Kunst- und Musikhochschulbibliotheken deutlich erhöht. Die rasanten Veränderungen im Bibliothekswesen sind an ihnen keineswegs spurlos vorbeigegangen. Vielmehr lässt sich deutschlandweit auch hier eine zunehmende Professionalisierung gekoppelt mit einer eigenen Entwicklungsdynamik beobachten.

Orientador: Milton Jose de Almeida / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-15T08:36:23Z (GMT). No. of bitstreams: 1 Cortelazzo_PatriciaRita_D.pdf: 50490691 bytes, checksum: a0bb7922737a31ff71780b7bdf10f394 (MD5) Previous issue date: 2009 / Resumo: Esta pesquisa mostra como seria um dia de aulas na Academia Imperial de Belas Artes do Rio de Janeiro, através de documentos e obras que eram usados nas aulas e, também, outros textos e imagens que surgiram na memória de maneira hipotética, mas, que poderiam ter feito parte daquele universo. / Abstract: This research shows how a day of classes would be at the Imperial Academy of Arts in Rio de Janeiro, through documents and articles which were used in the classroom, and also other texts and images that emerged in the memory in a hypothetical way; but they could have been part of that universe. / Doutorado / Educação, Conhecimento, Linguagem e Arte / Doutor em Educação

Ceramic Sculpture in Prague Interwar Architecture This thesis project from the field of art history is dedicated to the use of ceramic sculpture in the architecture of the first Czechoslovak Republic. It puts an emphasis on so called "national style", which is defined theoretically in the first place and then explained in the context of the artistic development in Czechoslovakia and, more generally, the international art deco current. Separate chapters describe the role of Czech art schools and the significant personality and work of Helena Johnová. The scope of the research is limited to the monuments located in Prague, but it also takes into account important commissions situated outside the city, as well. A catalogue of ceramic sculpture associated with the Prague architecture of the concerned period forms part of the study. Keywords National Style, Ceramic Sculpture, Czechoslovakia, First Czechoslovak Republic, Helena Johnová, Academy of Arts, Architecture and Design in Prague Počet znaků (včetně mezer): 128 268

No description available.

The main subject of the thesis are the beginnings of the studio founded by J. V. Myslbek at the Academy of Arts in Prague in 1896. Firstly, the personality of J. V. Myslbek and his evolution as an artist since the early sixties of the 19th century are being discussed. This part covers Myslbek's trip to Paris in 1878 and his friendship with Vojtech Hynais, which helped him gain a deeper understanding of the contemporary French sculpture and which was vital to the stylistic formation of his sculpture "Music" (created between 1891 and 1907, during Myslbek's presence at the Academy of Arts, Architecture and Design and at the Academy of Arts). Myslbek's first students at the Academy of Arts, Architecture and Design were influenced by his lyrical conception; the generation of Maratka's classmates have followed their teacher to the newly established Academy of Arts. Around 1900 sharp controversies between the teacher and his students have arised - these in retrograde seem to be essential for their future success. Graduates of the College of Stonemasonry and Sculpture in Horice were among the students of the sculpture studio at the Academy of Arts in Prague. Their previous training laid an ideal foundation for artistic growth under the tuition of Myslbek, who have stressed the importance of craft, which...

Post-war sculpture created by members of the Royal Academy of Arts was seemingly marginalised by Keynesian state patronage which privileged a new generation of avant-garde sculptors. This thesis considers whether selected Academicians (Siegfried Charoux, Frank Dobson, Maurice Lambert, Alfred Machin, John Skeaping and Charles Wheeler) variously engaged with pedagogy, community, exhibition practice and sculpture for the state, to access ascendant state patronage. Chapter One, The Post-war Expansion of State Patronage , investigates the existing and shifting parameters of patronage of the visual arts and specifically analyses how this was manifest through innovative temporary sculpture exhibitions. Chapter Two, The Royal Academy Sculpture School , examines the reasons why the Academicians maintained a conventional fine arts programme of study, in contrast to that of industrial design imposed by Government upon state art institutions for reasons of economic contribution. This chapter also analyses the role of the art-Master including the influence of émigré teachers, prospects for women sculpture students and the post-war scarcity of resources which inspired the use of new materials and techniques. Chapter Three, The Royal Academy as Community , traces the socialisation of London-based art societies whose memberships helped to identify sculptors for potential election to the Royal Academy; it then considers the gifting of elected Academicians Diploma Works. The empirical mapping of sponsorship for elected sculptors is investigated to determine how the organic profile of the Royal Academy s membership began to accommodate more modern sculptors and identifies a petition for change which may have influenced Munnings s speech (1949). Chapter Four, The Royal Academy Summer Exhibitions , explores the preparatory rituals of the Selection and Hanging Committees, processes for the selection of amateurs works, exhibit genres and critical reception. Moreover it contrasts the Summer Exhibitions with the Arts Council s Sculpture in the Home exhibition series to identify potential duplications. Chapter Five, Sculpture for the State , considers three diverse conduits facilitating the acquisition of sculpture for the state: The Chantrey Collection administered by the Royal Academy and exhibited at the Tate Gallery; the commissioning of Charles Wheeler s Earth and Water (1951 1953) for the new Ministry of Defence, London; and the selection of Siegfried Charoux s The Neighbours (1959) for London County Council s Patronage of the Arts Scheme . For these sculptures, complex expressions of Britishness are considered. In summary this thesis argues that unfettered by their allegiance to the Royal Academy of Arts its sculptors sought ways in which they might participate in the unprecedented opportunities that an expanded model of state patronage presented.