This thesis looks at the evolution of art collection in the middle to late Roman Republic. Through the examination of military triumphs, manubial structures, and the sculpture collection of the Villa of the Papyri in Herculaneum, this paper investigates the social motivations for art collection. Art’s role in Roman society as both spolia and luxuria is discussed through use of ancient literary sources and archaeological evidence. The evolving role of collection is considered as an expression of national and social identity in a politically changing Rome.

No description available.

This thesis seeks to examine the nineteenth-century art collections and architectural style of the original buildings at the University of Sydney in order to demonstrate ways in which visual material may be employed to shape public perception of an institution. I shall argue that the architectural style of the original university buildings was specifically chosen with particular aims which extended beyond the mere establishment of a tertiary institution for the colony. I will also argue that the style shaped the character of the institution, contributed to the maintenance of law and order in the colony, linked the colony more firmly than hitherto to the mother country and provided social benefits for the founders of the institution. The instant history and character thus imposed upon the institution was reinforced by the assembly of a portrait collection in emulation of other collections of portraits at leading institutions of the colony and the mother country, including the Oxbridge universities. Once the building proclaimed that the institution was comparable with the great universities of the world, the subjects of the portraits at the university could be placed in the class of founders of a great historical institution, thus at the same time enhancing the reputation of the institution and the individuals. The construction of an indentity through visual images was extended by the benefactions of Sir Charles Nicholson, the principal donor of works of art to the university in the nineteenth century. I argue that his intentions in relation to his collections were didactic but were also concerned with the entrenchment of the imperial hegemony over the colony, and again with the enhancement of his personal repuatation. This analysis shows how, by a complex of personal ambition and aspiration for the colony, the style of the buildings and the art collections formed were used to establish the colony as civilized and the new university as a bastion of English tradition.

During the period of internship at the Art Gallery of New South Wales (March, 1982 - January 1983), I had the opportunity to work on paintings from the 20th, 19th, 10th, and 17th centuries. Some of the paintings were privately owned, and usually arrived at the Gallery in much worse condition than any of the Gallery's paintings, therefore I had the chance to carry out major treatments as well as the routine minor treatments associated with the maintenance of a collection. The atmosphere at the Gallery conservation facility is a healthy one. The laboratory supports five fulltime conservators (Alan Lloyd, Peter Gill, Gill McMillan, Susie Bioletti, and Ranson Davies). All the members of staff were willing participants in helping and advising me during my period of internship. The contact with so many points of view and attitudes was instrumental in maintaining a positive and constructive attitude toward the profession. Cathy Lillico (conservator for the Regional Galleries) and Anne Gaulton were also working in the laboratory during my period of internship. Both took an active interest in my work at the Gallery. The work emphasis at the Gallery was placed on practical experience with paintings conservation, and a wide range of techniques and attitudes were considered and implemented. The period was also an opportunity to become involved in other aspects of conservation work apart from treatments. The transport, display, lighting, packaging and handling of painttings are important responsibilities for conservation staff, and I participated in them whenever possible. The routine examination of the Gallery collection and monitoring the light and temperature fluctuations within the Gallery environment were also part of my duties. The exposure also gave me the opportunity to answer public telephone enquiries and participate in advising the public on conservation during the Thursday morning open house, when the public is allowed to bring their works into the Gallery for advice from curatorial and conservation staff. I consider it a valuable and worthwhile exposure to the workings of a major institution. The Gallery conservation facilities include a studio and darkroom that are well equipped for conservation photography. I chose to take advantage of those facilities to improve my standard of photography and increase my understanding of the application of photography to the examination of paintings. The Gallery was very generous to allow me the use of film materials during my period of internship. All the plates and slides in this presentation were photographed, developed, and printed by myself, with the exception of color processing, using the conservation department facilities. Internships are not a tradition within the Art Gallery Conservation Department. Because of this, there is not an established program or itinerary for interns to follow. I am grateful to the entire staff of the conservation department, especially Alan Lloyd, for their support and encouragement in shaping an interesting and rewarding internship. I hope the opportunity will be made available to others who wish to pursue the profession of conservation. Some of the material presented in this dissertation is included for my own reference. This includes the TABLES 1-4 and some of the basic information under the conservation photography section dealing with normal and raking light illumination techniques.

This thesis seeks to examine the nineteenth-century art collections and architectural style of the original buildings at the University of Sydney in order to demonstrate ways in which visual material may be employed to shape public perception of an institution. I shall argue that the architectural style of the original university buildings was specifically chosen with particular aims which extended beyond the mere establishment of a tertiary institution for the colony. I will also argue that the style shaped the character of the institution, contributed to the maintenance of law and order in the colony, linked the colony more firmly than hitherto to the mother country and provided social benefits for the founders of the institution. The instant history and character thus imposed upon the institution was reinforced by the assembly of a portrait collection in emulation of other collections of portraits at leading institutions of the colony and the mother country, including the Oxbridge universities. Once the building proclaimed that the institution was comparable with the great universities of the world, the subjects of the portraits at the university could be placed in the class of founders of a great historical institution, thus at the same time enhancing the reputation of the institution and the individuals. The construction of an indentity through visual images was extended by the benefactions of Sir Charles Nicholson, the principal donor of works of art to the university in the nineteenth century. I argue that his intentions in relation to his collections were didactic but were also concerned with the entrenchment of the imperial hegemony over the colony, and again with the enhancement of his personal repuatation. This analysis shows how, by a complex of personal ambition and aspiration for the colony, the style of the buildings and the art collections formed were used to establish the colony as civilized and the new university as a bastion of English tradition.

Thesis (M.A.) - University of KwaZulu-Natal, Pietermaritzburg, 2009. / Full text also available online. Scroll down for electronic link.

Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-01-29T13:05:35Z No. of bitstreams: 0 / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-03-21T19:27:19Z (GMT) No. of bitstreams: 0 / Made available in DSpace on 2018-03-21T19:27:19Z (GMT). No. of bitstreams: 0 Previous issue date: 2017-09-19 / O objetivo principal deste trabalho é analisar como se deu a relação entre Oswaldo Goeldi e Murilo Mendes, artistas cujo impacto na arte moderna brasileira ainda é pouco estudado. Murilo Mendes foi atuante como crítico de arte e poeta e sempre possuiu uma íntima ligação com as artes no geral. Através de contatos com amigos artistas, adquire uma coleção de arte que atualmente nos dá um panorama da arte moderna no Brasil e na Itália do período no qual o poeta viveu. Na coleção que atualmente se encontra no acervo do Museu de Arte Moderna Murilo Mendes (MAMM/UFJF) encontramos quatro pequenas xilogravuras de autoria de Oswaldo Goeldi: Mulheres no Mangue, Vilarejo, o Ladrão e Bôas Entradas. Como a coleção muriliana foi sendo estabelecida através de presentes de amigos como forma de agradecimento a críticas positivas ou mesmo presentes dados em datas especiais como aniversários, questiona-se a presença das obras de Goeldi na coleção, já que não havia nenhum relato claro de relação de amizade entre estes dois artistas. Portanto, este trabalho apresentará as trajetórias de ambos artistas no período do estabelecimento da arte moderna no Brasil, entre 1920 a 1961, procurando levantar provas que comprovem que estes se conheciam e nutriam uma relação de admiração e amizade que podem explicar a trajetória das obras de Goeldi até Mendes. / The main goal of this work is to analyze how the relation between Oswaldo Goeldi and Murilo Mendes begun, artists which impact in the Brazilian Modern Art is still little studied. Murilo Mendes acted as an art critic and poet and always had an intimate relationship with the arts in general. Through his contacts with friends who were artists he gathered an art collection which nowadays gives us a view of the modern art in Brazil and Italy while the poet was alive. In the collection that nowadays is found in the Museu de Arte Moderna Murilo Mendes (MAMM/JF), we can find four small engravings from Oswaldo Goeldi: Mulheres no Mangue, Vilarejo, O Ladrão and Bôas Entradas. As Murilo Mendes’ collection was established by gifts from friends as gratitude after positive critics or gifts given in special dates, such as birthdays, we questioned the presence of Goeldi’s pieces of art in it, as we did not have any clear report of a friendship relationship between these two artists. Therefore, the present work will show the trajectories of both artists in the moment of establishment of the modern art in Brazil, from 1920 to 1961, looking for evidences that can proof that these artists knew each other and nourished a relationship of admiration and friendship that can explain the trajectory of Goeldi’s works of art to Mendes’ collection.

This thesis project examines the history, provenance, and contemporary treatment of a rare Imperial Edition of Frederick Sander’s print collection Reichenbachia, Orchids Illustrated and Described, a high-quality orchid compendium dating to the late-nineteenth century. A local philanthropist loaned the Imperial Edition Reichenbachia, number 86 of 100 to Lewis Ginter Botanical Garden in 2011 on a long-term basis as a promised donation. Research into the origins of this collection involves several disparate historical topics, including the Victorian period of “orchid mania,” imperialist business practices, and chromolithographic printmaking. Discussion of the transition of this collection into a museum art collection covers its consequent registration, conservation, and exhibition. Finally, this thesis project considers the advantages and disadvantages of managing an art collection at a botanical garden.

Syftet med uppsatsen är att ta reda på hur företags konstsatsningar har initierats och vad syftet är med konstsamlingarna. Det här ansåg vi intressant att undersöka då näringslivets involvering i konst har blivit allt större runt om i världen. För att uppfylla syftet valde vi att göra en flerfallsstudie av företagen Cederquist, Folksam, IBM och SEB, där vi utförde kvalitativa intervjuer med respondenter som arbetade med konsten inom respektive företag. Resultatet visar på att initieringen av konstsamlingarna i samtliga företag genomförts då de bytt kontor, initiativen har kommit från högt uppsatta personer inom det aktuella företaget med ett konstintresse. Det främsta syftet med konsten var som en personalfrämjande åtgärd, där konsten ska bidra med kreativitet och inspiration till de anställda, ytterligare kom vi fram till att konsten används i syfte att förbättra företagets varumärke. / What caught our attention when initiating this study is the fact that business interest in art has increased globally. This study examines how corporations are starting to prioritize investing in art and the purpose and value of art collections in established organisations. To conduct this study we decided to do a case study of the companies’ Cederquist, Folksam, IBM and SEB. The method used in this study is qualitative interviews with participants that have experience in procuring at least one art collection within each company. The results are clear, that art collections are mainly obtained due to senior executive’s individual passion for art, as well as when companies relocate offices. We found that the main purpose of art is to create a nice work atmosphere, where art can inspire and contribute to creativity amongst the staff. Conclusively, art within companies can also strengthen their own brand-image.

A presente investigação aborda temas relacionados ao grupo Fluxus no acervo do MAC-USP. Fluxus foi um coletivo artístico que atuou nos limites da arte durante as décadas de 1960 e 1970, questionando valores instituídos pelos sistemas oficiais de produção, circulação e exibição de objetos artísticos. Tendo como referência as poéticas Fluxus, as importantes realizações que constituem a sua história, dados e fatos que situam as atividades de seus integrantes na história do surgimento das novas linguagens artísticas da segunda metade do séc. XX, realizamos um amplo levantamento sucedido de documentação e análise crítica de algumas dentre as 116 obras selecionadas no acervo do MAC-USP de autoria de artistas Fluxus. / The present study deals with themes related to the Fluxus group in the MAC-USP collection. Fluxus was an artistic group that worked in the boundaries of art during the Sixties and Seventies, having questioned the values established by the official systems of art production, circulation and exhibition. Regarding Fluxus poetics, the important accomplishments that form its history, data and facts which place the activities of its artists in the history of new languages outbreak during the second part of XX century, we carry out a wide survey followed by registry and critical analyze in some of the 116 works of Fluxus artists which were selected from the MAC-USP collection.