The work is dedicated to the personality Jaromír Neumann as an expert of Venetian painting in our country, whose approach is documented on a number of paintings from several institutions, which autorship determinated. Specifically, the images of the Prague Castle Picture Gallery, National Gallery in Prague, Olomouc Picture Gallery and significant Titian painting of Kroměříž Picture Gallery, which concentrated his interest for a long time. These are the works of painter's family Bassano, Paolo Veronese, Jacopo and Domenico Tintoretto, Bonifazio Veronese, Rocco Marconi, Pordenone and Titian. More generally, the work deals with issues of connoisseurship and restoration, but is not the purpose of extensive analysis, the more necessary as outlined in the context of the theme of the work. The result should be the definition and specification process of Neumann's autorship determination and the pursuit of affect key points that form its determination.

The goal of this dissertation is to document and present exhibition concepts of new or re- established galleries and exhibition halls united in the Union of Czechoslovak Visual Artists in Prague in 1964-1969. A partial goal is to find and clarify principal legal, political and cultural events in the background of which such exhibition and artistic life unfolded. The thesis covers the period between two conventions of the Union of Czechoslovak Visual Artists, i.e. the period from December 1964 until the end of 1969 with certain intermissions. In terms of the selection, it deals with "smaller" galleries that influenced the most the level of presentation of visual arts at exhibitions in Prague in the period under consideration. For this reason, attention is paid to the Václav Špála Gallery, Nová síň Gallery, Galerie Na Karlově náměstí, and the Vincenc Kramář Gallery. The basic topics of the dissertation are concentrated in two spheres that pervade one another. The first sphere is dedicated to fundamental social and political prerequisites for the establishment of "smaller" galleries as well as, in brief, the history of the formation of the Union of Czechoslovak Visual Artists. In particular, it deals with the then applicable legislation concerning the given field of cultural life of society. It takes...

A research report submitted in partial fulfilment of the requirements of the degree of Master of Arts in History of Arts, University of Witwatersrand, Johannesburg / In this research report I look at how the Goodman Gallery has played a role in the construction of cultural capital around the contemporary South African photographer Mikhael Subotzky (1981). Unpacking Pierre Bourdieu’s concept of “cultural capital” (1986: 243), and applying it to the South African art industry, I explore the direct impact that commercial galleries have on the building of artists’ careers through acts that result in the construction of cultural capital, and in what capacity they do this. Little has been written in South African art history about local commercial art galleries, and my interest in the role that they play in the construction of art history stems from my own involvement in this sector, as a commercial art gallery curator. As businesses, these institutions have profitable ambitions, and by successfully promoting the artists they represent, they are affecting the course of South African art history. Due to the potentially vast nature of this subject I have chosen to focus on one contemporary artist, Mikhael Subotzky, and his relationship with the one South African gallery he has been affiliated to throughout his entire professional career, the Goodman Gallery. As much as every person’s life is different, every person’s career is different too, and in this way I cannot use Subotzky’s career trajectory to explain all other contemporary South African artists’ careers, but I do believe that the impact that commercial galleries can have on the cultural capital surrounding artists in South Africa is a topic that should be explored further. I argue that there are various ways of gauging the cultural capital surrounding an artist in the South African art industry, and that one can look at various aspects of an artist’s career and assess their cultural capital. I substantiate this claim in this paper, and indeed why it is important to understand what role the commercial gallery can play in this construction

Master of Architecture [Professional] at the University of the Witwatersrand, Johannesburg, South Africa, in the year 2014. / In the case of Johannesburg, unlike cities around the world that experienced inner city decline, its city centre was never entirely abandoned. It experienced rapid social change. As Johannesburg was beginning to change, the Johannesburg Art Gallery (JAG) was experiencing a declining number of visitors. Unable to engage with the changing social structure, a fence was built around it and JAG turned itself inwards. This thesis explores the intention to take advantage of the rich and dynamic informal industry of hair that has emerged around JAG. Hair is loaded with social, sexual and political undercurrents. In an African city that has been colonized and becoming increasingly globalised, hair’s relevance in terms of politics must be brought to the forefront. By acknowledging the thriving inner workings and its contributors and by engaging in a critical discussion that people can relate to, JAG will be embraced by the community again. An intervention of mediation through architecture is proposed. A Hair Museum perched on the opposite side of the railway that weaves JAG closer into its current context by opening and improving dialogue between the disjointed surroundings. A new museum as a mediator explores the idea of museum-asurban system. The question is asked whether a public institution is capable of assisting a society through a museum by looking at the concept of the Greek ideal of kalokagathia, which means the perfection of the body and city based on balance, justice and proportion. This thesis essentially explores Julian Carman’s idea of a museum1; that the key to JAG’s survival and upliftment lies only if it inspires public ownership. This thesis will explore the significance of celebrating hair in an African city with visible impacts of an imperialist past. By celebrating hair, thereby beginning the discourse of it’s connotations, will allow for a transgression into where society and its’ perception of itself stands in a globalizating world. Museum’s play a key role in society to not only preserve memories but also re-ordering them and making sense of them for later generations (Watson, 2007: 4). The proposed Hair Museum as mediator is not so much about saving a contested and feared city- as much as it is about embracing the new spirit of the city and encouraging the potential held within. 1 Julian Carman, Author of ‘Uplifting The Colonial Philistine: Florence Phillips And The Making Of The Johannesburg Art Gallery’. See References.

A research report submitted to the Wits School of Arts in the Faculty of Humanities at the University of the Witwatersrand, in fulfilment of the requirements for the Masters Degree in Coursework and Research in Arts, Culture and Heritage studies. Johannesburg, 2015 / One of the principal purposes of the Johannesburg Art Gallery (JAG), one of Johannesburg’s public institutions, is to educate the public through the arts. The many changes, including political changes, in South Africa that caused the movement of people from one area to another have affected the audience participation at this museum. The Johannesburg Art Gallery is located in Joubert Park, the southern part of Hillbrow, which has been affected by the changes that have taken place from the time of the museum’s inception to the present day, when the area is inhabited by black people from all over Africa. The concern is therefore to understand the relationship between these two. I plan to interrogate the mission of JAG, to find out if it is relevant to the community that it is located in, and if the community is aware and supportive of JAG’s activities. The purpose of this investigation is to challenge the methods that are used by JAG to obtain and maintain visitors to the museum, and to expand the target market group by shifting focus from the people that used to live within this community to the present-day inhabitants. This is done by finding out from the Joubert Park community what is it that they wish to see in this museum. By observing their everyday life and interviewing them, I explore why or how much the people of Joubert Park are involved in the Johannesburg Art Gallery today. To reach the conclusion of this research, observing the area and interviewing the community will be followed by interviewing the co-ordinators of the Joubert Park Project (started in 2000) that was designed for the purpose of involving this community in the public spaces and institutions around them, and finally the employees of the Johannesburg Art Gallery. In addition, studying recent successful exhibitions would possibly reveal the explanation of what people want to see. In this world of ever-changing technology and culture of cyber space, can a museum attract new audiences by using methods that are contemporary and interactive?

A necessidade de recuperação de áreas ciliares degradadas tem subsídio na legislação, porém, o uso de sistemas agroflorestais para esse fim não é permitido. O objetivo desse trabalho é comparar a capacidade de recuperação de dois sistemas agroflorestais e de um plantio florestal com espécies arbóreas nativas, também avaliando as diferenças de custos de implantação e manejo. A pesquisa foi realizada no Estado de São Paulo, município de Piracicaba, às margens do Rio Corumbataí, na propriedade da Usina Costa Pinto, onde o cultivo de cana-de-açúcar ocupa a maior parte do uso do solo. Os tratamentos foram: (1) testemunha; (2) sistema florestal, com 10 espécies arbóreas nativas; (3) sistema agroflorestal simples, com as mesmas arbóreas nativas, guandu e feijão-de-porco como adubo verde; (4) sistema agroflorestal complexo, com diversas espécies frutíferas, girassol e capim napier, além das mesmas arbóreas nativas e das duas leguminosas. Os fatores mensurados foram: altura e diâmetro à altura do colo das arbóreas nativas, custos, liberação de CO2 do solo, biomassa microbiana e fertilidade do solo. O SAF simples apresentou as maiores alturas médias, com um aumento de 36% em relação ao sistema florestal. O SAF complexo apresentou resultados intermediários, com altura média 10% superior à do sistema florestal. Separando as espécies em pioneiras e não pioneiras, as primeiras não apresentaram diferença entre os tratamentos, tendo as não pioneiras crescido cerca de 35% melhor no SAF simples. Supõe-se que as leguminosas tenham cumprido a função de pioneiras, melhorando o ambiente e propiciando o melhor crescimento das não pioneiras. A média do diâmetro de todas as espécies para cada tratamento apresentou diferença entre o SAF simples (51% maior) e o SAF complexo, sendo ambos semelhantes ao sistema florestal, que foi intermediário. Entre pioneiras e não pioneiras, as diferenças foram semelhantes, sendo o SAF simples 67% superior ao SAF complexo, entre as pioneiras, e 33% superior entre as não pioneiras. As análises de solo, tanto de biomassa microbiana, liberação de CO2 ou de fertilidade, não mostraram diferenças entre os tratamentos. Numa estimativa com base nas modificações sugeridas a partir dos dados do experimento, o SAF simples pode ter um custo 16% inferior ao do sistema florestal, principalmente devido à redução da necessidade de manutenção do sistema. O SAF complexo apresentou o maior custo dos três tratamentos, pois, além da grande demanda de mão-de-obra, o sistema encontra-se fora dos padrões legais para venda de sementes. O estudo da heterogeneidade do ambiente reforça a necessidade do uso de métodos de implantação e de manejos diferentes para cada situação encontrada e permitiu inter-relacionar os blocos quanto à degradação, com base nas médias dos blocos, para todos os parâmetros avaliados. Seguindo critérios semelhantes, as espécies arbóreas nativas também foram ordenadas segundo a sucessão, de acordo com a teoria de Götsch: Sangra d’água, Embaúba, Cordia, Mutambo, Pau Viola, Tamboril, Trema, Canafístula, Aroeira, Canelinha. Em condições de grande fragmentação da matriz florestal e forte domínio de gramíneas, o uso de sistemas agroflorestais na recuperação de matas ciliares pode trazer efeitos positivos ao crescimento das árvores nativas e redução no custo de implantação. / Riparian forest is the vegetation that borders rivers, ponds and lakes, and although it is protected by law, agricultural systems are widely used in these areas. Restoration of deforested riparian zones is requested by law, but agroforestry systems are not accepted for this purpose. The objective of this research was to compare the restoration success and the costs of three kinds of restoration management systems: two agroforestry systems and one forestry system, intending to give basis for changes in public policies. This research was carried out in São Paulo State, Piracicaba County, in the Corumbataí River watershed, in the farm of Usina Costa Pinto, where sugar cane fills most of the lanscape. The treatments were: (1) control; (2) forestry system, with 10 native tree species; (3) agroforestry system 1, where two herbaceous/shrub legume species were included in addition to trees; (4) agroforestry system 2, were 10 edible fruit species, sunflower and napier grass were added. Management was evaluated by measuring height and diameter of the native tree species, soil respiration, microbial biomass and soil fertility. Comparing the mean height of all species, agroforestry system 1 showed the best results, which was 36% better than the forestry system. Agroforestry system 2 showed intermediate results: mean height was 10% higher than the one achieved in forestry system. When the species were grouped according to ecological succession, pioneers didn’t present any difference between treatments, but not-pioneers grew 35% better in agroforestry system 1. Probably, legume plants played the role of pioneers, improving the environment and supporting a better development of the non-pioneers. The mean diameter at ground level of all the species showed differences between agroforestry system 1 (51% better) and agroforestry system 2, but both were not different from the forestry system, which had intermediate results. There were similar differences when the species were grouped in pioneers and non-pioneers. For pioneers, agroforestry system 1 was 67% better than agroforestry system 2 and, for non pioneers, this difference was of 33%. There were no differences among treatments in soil fertility, microbial biomass and soil respiration. Estimating the costs, on the basis of modifications suggested after data analysis, agroforestry systems 1 may cost 16% less than forestry system, due to less necessity of interventions for weeds control. Agroforestry system 2 had the highest cost because it demanded much more work than other treatments and this system, like agroforestry system 1, is out of legal standard for seed production. Studies on the environment heterogeneity allowed to rank blocks, based on the block means of all the measured parameters. Based on the same principles, the native tree species were also ranked according to Götsch succession theory: Croton urucurana, Cecropia pachystachya, Cordia superba, Guazuma ulmifolia, Cytharexyllum myrianthum, Enterolobium contortisiliquum, Trema micrantha, Peltophorum dubium, Schinus terebinthifolius, Nectandra megapotamica. In conditions of high fragmentation of natural forests and high density of weeds, agroforestry systems may cause positive effects in riparian forests restoration, favoring better growing of native trees and lower costs of restoration.

Nos últimos anos, diversos estudos têm sido realizados em matas ciliares pelo Brasil devido, principalmente, ao crescente desmatamento que aí ocorre associado à percepção da importância dessas matas para o equilíbrio do ambiente. Apesar disso, pode-se considerar que ainda são poucos os estudos sobre composição florística das matas ciliares do bioma cerrado. O presente trabalho consiste no levantamento florístico de espécies arbustivas e arbóreas da mata de galeria do Capão Azul, situada em meio a campos rupestres, no Parque Estadual do Rio Preto, município de São Gonçalo do Rio Preto, MG, região central da Cadeia do Espinhaço. Os espécimes botânicos foram coletados entre agosto de 2005 a março de 2007, em diferentes épocas do ano. As espécies foram identificadas e descritas, além de serem fornecidos comentários de distribuição geográfica e habitat e de ter sido elaborada uma chave de identificação para as espécies que ocorrem na mata. Foram identificadas 91 espécies pertencentes a 71 gêneros, distribuídos em 38 famílias, sendo 1 pteridófita, 1 gimnosperma e 89 angiospermas. As famílias mais representativas em número de espécies foram: Melastomataceae (11), Myrtaceae (10), Rubiaceae (9) e Fabaceae (7). Comparações realizadas com outras matas mostraram que a maioria das espécies são generalistas quanto ao habitat e apresentam distribuição que vai além da região Sudeste. Além disso, muitas delas são provenientes das matas decíduas e semidecíduas. / In the last years several researches have been done in gallery forests in Brazil. The mainly reason for that, is the growing deforestation ocurred in this environment, associated to the perception of the importance of them. Although, we can say that there are still few researches in the biome \"cerrado\". The present work consists on the floristic survey of shrubs and trees of the Capão Azul gallery forest, Parque Estadual do Rio Preto, São Gonçalo do Rio Preto, MG, central region of the Espinhaço mountain range. The species were collected from August 2005 to March 2007 in differents seasons. This work provides an identification species key, comments on geographic distribution and habitat. Ninety one species have been identified, belonging to 71 genera and distributed in 38 families, one of them pteridophyta, one gimnosperm and 89 angiosperms. The families with the greatest number of species are Melastomataceae (11), Myrtaceae (10), Rubiaceae (9) and Fabaceae (7). Comparisons with others forests showed that most of the species are generalists for habitats and have geographic distribution over there South-east region. Besides, a great deal of them belongs to the deciduous and semideciduous forests.

Esta dissertação visa entender as implicações do projeto arquitetônico no momento da execução de obras efêmeras, bem como busca elucidar os paradigmas essenciais a este projeto frente ao estágio avançado de depredação dos meios naturais em que o planeta se encontra. Entretanto, ainda que com a escassez de referências bibliográficas sobre o tema, na busca por esse pensamento analisaremos três pavilhões de verão da Galeria Serpentine executados por arquitetos de grande importância no cenário atual acreditamos que o conceito em arquitetura fica plasmado na obra. A leitura desses objetos, organizados não verbalmente, necessita de um referencial capaz de elucidar a sintaxe do pensamento que o orienta, revelando através de dados icônicos e indiciais o repertório de seu projetista. Neste momento mostra-se fecunda a teoria da semiótica de Charles Sanders Peirce, não apenas para revelar o repertório do arquiteto e os paradigmas de projeto que o orientam, mas também para pesquisar de que maneira estes profissionais materializam seus pensamentos através da linguagem não-verbal da arquitetura. Por outro lado, o que se vê à exaustão em eventos comerciais é a utilização de semelhantes sistemas construtivos industrializados, dos quais o OCTANORM é o mais conhecido, o que garante a continuidade do processo moderno e a elevação da capacidade de montagem e desmontagem como valor principal da obra. As hipóteses aqui levantadas tomam estes sistemas como uma manifestação da continuidade e apontam para outras arquiteturas, ainda efêmeras, mas alheias a essa dinâmica e com especificidades que caracterizam um campo particular de estudo. A base epistemológica deste trabalho veicula muito a semiótica peirciana e a bibliografia fundamental que dá orientação à pesquisa tem origem na filosofia da arquitetura e na psicologia da percepção com diversos teóricos. / This dissertation intends to understand the architectural project implications in the moment of the execution of ephemeral works, and tries to elucidate the essential paradigms to this project due to the advanced stage of depredation found within the planets natural resources. However, even facing a bibliographic shortage on the theme, searching this thought, we will analyze three summer pavilions inside Serpentine Gallery, executed by well-known architects we believe that the concept in architecture remains in this work. The reading of these objects, non-verbally organized, needs a reference capable of elucidating the thought syntax that guides it, revealing the designer repertory through iconic and inkling data. In this moment, Charles Sanders Peirces theory is shown to be abundant, not only to reveal the architectural repertory and the projects paradigms that guide it, but also to find the way that these professionals turn their thoughts into matter through non-verbal architectural language. On the other hand, what is exhaustively seen throughout commercial events is the use of similar industrialized constructive systems, from which OCTANORM is the most known, what guarantees the continuity of the modern process and the elevation of the mounting an dismounting capability as the main value of the work. The hypotheses raised in here consider these systems as a manifestation of continuity and point to other architectures, still ephemeral, but disconnected to this dynamic and owners of specificities that characterize a particular field of study. The basis of this work, regarding the use of epistemology, features peircians semiotics a lot and, the fundamental bibliography, that gives the research an orientation, has its origin in the architecture philosophy and in the psychology of perception defended by many theorists.

É perceptível a tendência contemporânea da multifuncionalidade do objeto e do espaço. Este último desdobra-se e desconstrói-se em ambientes inter ou não-relacionados, agregando funções num mesmo lugar. Se o espaço mais óbvio para se encontrar arte e história é em uma galeria ou em um museu, é de se estranhar que estabelecimentos comerciais possam atuar nesta função artístico-cultural. Neste caso, é quase imediato pensar que esta ação poderia ser exercida deficientemente ou que alguma forma de lucro estaria fortemente envolvida. Mas há exceções; são locais onde não só o objeto deve ser tocado, sentido, experienciado como nas instalações artísticas contemporâneas como o ingresso a eles é sempre livre. Como em galerias e museus, a exposição do objeto é primordial, podendo fazer parte de um cenário original e preservado, reconstituído ou quase teatral, onde esta recepção estética apoia-se também em um conjunto de informações e interações com seu espectador. Quando a arquitetura do lugar também destaca-se, especialmente se tombada pelo patrimônio histórico e artístico (ou com possibilidades de ser), torna-se quase impossível somente se ater a uma única atividade exercida no local e não ao conjunto em si. As relações e fusões entre estabelecimentos comerciais com alguns artifícios e técnicas museológicas, através de desdobramentos tais como loja-museu, loja de museu e loja-galeria são objetos desta pesquisa, onde procura-se não só refletir sobre a abrangência dos lugares culturais, como sobre a identidade de uma cidade através do comércio local. A opção por modos de pesquisa diversos textuais, iconográficos e de campo foi fundamental para a constatação do comércio como uma forma de cultura, sendo que os três estudos de caso, todos localizados na Cidade de São Paulo, possibilitam também verificar a necessidade de seleção para a explicação desta ocorrência, assim como a abrangência cultural através da descrição de práticas tanto em comum quanto bem diferentes entre si. Assim, o comércio associa-se à arte, ao design, à moda, à história, ao lugar e à identidade, constituindo-se também como uma demonstração a visões que negam ou excluem esta atividade como também sendo legitimamente cultural. / It is noticeable the contemporary tendency of the multifunctionality of an object and the space. The latter unfolds and deconstructs into inter or not related environments, aggregating functions in the same place. If the most obvious place to find art and history is in a gallery or in a museum, it is quite strange that commercial establishments are able to act in this artistic-cultural activity. In this case, it is almost immediate thinking about this action as one that could be defectively performed or that some kind of profit could be strongly involved. However, there are exceptions; they are places where not only the object must be touched, be felt, be experienced as in the contemporary installations art but also the ticket for them is always free. Like in galleries and museums, the exhibition of the object is primordial, being able to take part in a original and well preserved scenery, reconstructed or almost theatrical, where the aesthetic reception is also based upon a combination of information and interactions with the spectator. When the architecture of the place is remarkable too, especially if it is under governmental trust as a historic or artistic heritage (or it has great possibilities), considering only one performed activity in this spot is almost impossible when there is a combination of them. The relations and fusions among commercial establishments with some museological resources and techniques - by the expansions such as shop-museum, museum shop, shop-gallery, are objects of this research, which attempts not only reflecting about the scope of cultural places but also about the identity of a city, observing the local trade. The option for different ways of research textual, iconographic and of field was fundamental for the confirmation of the commerce as a form of culture, observing that the three case studies, all localized in the City of São Paulo, also enable to verify the necessity of selection for the explanation about this occurrence, as well as the description about the cultural scope of practices both in common and unlike each other. Thus, there are associations between commerce and art, design, fashion, history, place and identity, constituting oneself also as a demonstration to visions which deny or exclude this activity as a legitimately cultural one too.

The master thesis, "Marketing planning of regional gallery for fine arts," consists of two major segments; theoretical and practical. The first includes theoretical bases concerning marketing plans and most importantly, Arts marketing. The regional gallery of fine arts in Zlin can be given a practical definition with special focus on; characteristics, buildings, visitors, competi-tion, current marketing activities etc. The main attribute of this thesis and the initial goal con-sists of proposed communication solutions linked to the plan of exhibitions for the year 2012. Recommended communication regards the nature of exhibitions and using the suitable com-munication channel that finds the target group. The original proposal concerning the lower financial inputs while using targeted communication was proved. The effectiveness of rec-ommended solutions expressed by a higher number of visitors could be proved only after full application of proposed solutions.