A presente pesquisa tem por tema o estudo da trajetória de uma coleção privada, desde sua formação, por um casal da elite paulistana, até sua publicização, por meio da constituição de uma fundação e de exposições realizadas em instituições afins da cidade de São Paulo. Trata-se da coleção hoje pertencente à Fundação Crespi-Prado, instituição criada, em 1975, por iniciativa de Renata Crespi, viúva de Fábio da Silva Prado (Prefeito de São Paulo entre 1934 e 1938), para incentivar as artes e a cultura e salvaguardar a coleção constituída pelo casal. Ela, filha de um importante industrial italiano imigrado para o Brasil, e ele, membro de uma das mais tradicionais e ricas famílias do Estado de São Paulo, materializaram a união entre novas e velhas elites, dimensão perceptível também em sua coleção. Reunida ao longo da primeira metade do século XX, tal coleção é representativa de uma prática social de colecionismo que se difundia entre os membros da elite da cidade de São Paulo, podendo ser considerada um de seus exemplos mais extensos. Percorrer a formação desta coleção, sua institucionalização e sua posterior musealização é o objetivo principal desta pesquisa, tendo em vista o relevo do casal de colecionadores para a elite paulistana da época e de sua iniciativa de criar uma das poucas fundações da cidade a proteger um legado artístico privado em uma instituição de caráter museológico. / This research studies a private collection, from its gathering, by a couple of the elite of the city of São Paulo, to its publicization, by the constitution of a foundation and the development of exhibitions in similar institutions in the city. The collection in question belongs to the Crespi-Prado Foundation, an institution created in 1975, by the initiative of Renata Crespi, widow of Fábio da Silva Prado (mayor of São Paulo between 1934 and 1938), to promote the Arts and Culture and to safeguard the collection built by the couple. Renata Crespi, daughter of an important Italian industrialist immigrated to Brazil, and her husband, member of one of the oldest and wealthiest families of the State of São Paulo, materialized the union of the new and old elites, a dimension that is perceived in their collection. Assembled during the first half of the 20th century, such collection is representative of a social practice of collecting that was spreading amongst the elite of the city, and can be considered one of its most extensive examples. To study the gathering of this collection, its institutionalization and its further musealization is the main object of this research, considering the role of the collecting couple to the city elite of their time and the importance of their initiative of creating one of the few foundations of the city to preserve a private artistic legacy through an institution of museological character.

A presente pesquisa tem por tema o estudo da trajetória de uma coleção privada, desde sua formação, por um casal da elite paulistana, até sua publicização, por meio da constituição de uma fundação e de exposições realizadas em instituições afins da cidade de São Paulo. Trata-se da coleção hoje pertencente à Fundação Crespi-Prado, instituição criada, em 1975, por iniciativa de Renata Crespi, viúva de Fábio da Silva Prado (Prefeito de São Paulo entre 1934 e 1938), para incentivar as artes e a cultura e salvaguardar a coleção constituída pelo casal. Ela, filha de um importante industrial italiano imigrado para o Brasil, e ele, membro de uma das mais tradicionais e ricas famílias do Estado de São Paulo, materializaram a união entre novas e velhas elites, dimensão perceptível também em sua coleção. Reunida ao longo da primeira metade do século XX, tal coleção é representativa de uma prática social de colecionismo que se difundia entre os membros da elite da cidade de São Paulo, podendo ser considerada um de seus exemplos mais extensos. Percorrer a formação desta coleção, sua institucionalização e sua posterior musealização é o objetivo principal desta pesquisa, tendo em vista o relevo do casal de colecionadores para a elite paulistana da época e de sua iniciativa de criar uma das poucas fundações da cidade a proteger um legado artístico privado em uma instituição de caráter museológico. / This research studies a private collection, from its gathering, by a couple of the elite of the city of São Paulo, to its publicization, by the constitution of a foundation and the development of exhibitions in similar institutions in the city. The collection in question belongs to the Crespi-Prado Foundation, an institution created in 1975, by the initiative of Renata Crespi, widow of Fábio da Silva Prado (mayor of São Paulo between 1934 and 1938), to promote the Arts and Culture and to safeguard the collection built by the couple. Renata Crespi, daughter of an important Italian industrialist immigrated to Brazil, and her husband, member of one of the oldest and wealthiest families of the State of São Paulo, materialized the union of the new and old elites, a dimension that is perceived in their collection. Assembled during the first half of the 20th century, such collection is representative of a social practice of collecting that was spreading amongst the elite of the city, and can be considered one of its most extensive examples. To study the gathering of this collection, its institutionalization and its further musealization is the main object of this research, considering the role of the collecting couple to the city elite of their time and the importance of their initiative of creating one of the few foundations of the city to preserve a private artistic legacy through an institution of museological character.

Wilhelm von Bode and the International Art Market: the Unpublished Correspondence with Rudolphe Kann and Joseph Duveen This dissertation explores changing trends in the European and American art market in the late 19th and beginning of the 20th Centuries, in particular their influences, presented from the perspective of Wilhelm von Bode, renowned connoisseur and, at the time, director general of the Berlin Museums and explored predominantly through his relationship with the private collector Rudolphe Kann and art dealer Joseph Duveen. At the time, the collection of Rudolphe Kann was considered to be one of the most refined among the European private collections, yet it hasn't received much attention by contemporary scholars. This dissertation therefore offers the most systematic review of Kann's collection since 1907, the year when Bode compiled the revised catalogue. Wilhelm Bode was actively involved in building the Kann collection, as shown by the extensive numbers of private, previously unpublished, correspondence, which provided the foundation of this research. After the dealer Joseph Duveen bought the entire art collection of this prominent Parisian collector in the summer 1907 and subsequently sold almost all of the artworks to American collectors, the competitiveness of European private...

Art collection of Flemish and Dutch paintings collected by Vlastislav Zátka Dr. Vlastislav Zátka, a lawyer and businessman, was important in bringing together and organising a diverse art collection. This thesis discusses his approach to art, his perception of the artwork as well as the overlap with the Flemish and Dutch paintings in the collections of the Aleš South Bohemian Gallery in Hluboka , the National Gallery in Prague and private collectors of this circuit , but it also deals with the efforts of Vladislav Zátka to verify purchased art and to, then, include the expert's opinions. The focal point is the carefully charted correspondence of Vlastislav Zátka in the archives of the Aleš South Bohemian Gallery in Hluboka and its analysis. Keywords: Dutch and Flemish paintings Collecting Vlastislav Zatka Landscape painting Still life painting Maritime painting Maecenas / Benefactor Correspondence Art expert authentification Gallery / Art museum

Wilhelm von Bode and the International Art Market: the Unpublished Correspondence with Rudolphe Kann and Joseph Duveen This dissertation explores changing trends in the European and American art market in the late 19th and beginning of the 20th Centuries, in particular their influences, presented from the perspective of Wilhelm von Bode, renowned connoisseur and, at the time, director general of the Berlin Museums and explored predominantly through his relationship with the private collector Rudolphe Kann and art dealer Joseph Duveen. At the time, the collection of Rudolphe Kann was considered to be one of the most refined among the European private collections, yet it hasn't received much attention by contemporary scholars. This dissertation therefore offers the most systematic review of Kann's collection since 1907, the year when Bode compiled the revised catalogue. Wilhelm Bode was actively involved in building the Kann collection, as shown by the extensive numbers of private, previously unpublished, correspondence, which provided the foundation of this research. After the dealer Joseph Duveen bought the entire art collection of this prominent Parisian collector in the summer 1907 and subsequently sold almost all of the artworks to American collectors, the competitiveness of European private...

Le patrimoine culturel chinois se compose d’une multitude de biens matériels et immatériels. Il incarne la vitalité et la créativité de la nation chinoise. Il participe aussi au devenir de la civilisation chinoise. La question du patrimoine culturel constitue une préoccupation majeure dans la société chinoise contemporaine. Selon l’évolution politique du pays, des mesures juridiques ont été adoptées. Enjeu actuel pour le Gouvernement et les autorités locales, des règlementations spécifiques ont été mises en place pour assurer la protection du patrimoine culturel. Elles ne cessent d’être complétées et améliorées dans un contexte de patrimonialisation mondialisée dans le cadre de la Convention concernant la protection du patrimoine mondial, culturel et naturel de 1972 et de la Convention pour la sauvegarde du patrimoine culturel immatériel. L’application de la loi sur la protection du bien culturel et de la loi pour la sauvegarde du patrimoine culturel immatériel et l’intervention du juge permettent d’apprécier leur portée effective / Chinese cultural heritage consists of a multitude of tangible and intangible assets. It embodies the vitality and creativity of the Chinese Nation, and also participates in the pursuit of Chinese civilization Cultural heritage is the main problem of contemporary Chinese society. According to political developments, legal measures have been adopted. Because of current challenges for the Government and local authorities, specific regulations have been put in place to ensure the protection of cultural heritage. They are constantly being added to and improved in with the Global Heritage phenomenon, under the Convention Concerning the Protection of World Cultural and Natural Heritage and the Convention for the safeguarding of Intangible Cultural Heritage. The application of the law for the protection of Cultural Relics and the law for the safeguarding of Intangible Cultural Heritage and the intervention of jug allow appreciating its effective range