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The art and architecture of English Benedictine monasteries, 1300 - 1540 : a patronage history /Luxford, Julian M. January 2005 (has links)
Univ., Diss.--Cambridge. / Literaturverz. S. [224] - 258.
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Tourists, art and airports : the Vancouver international airport as a site of cultural negotiationLeddy, Shannon C. 05 1900 (has links)
This work deals with the notion of hybridity; an ideal moment
of cultural negotiation which results, in the words of Homi
Bhabha, in the creation of a 'third space.' This theoretical
plateau is formed by two parties whose agendas, while
ostensibly conflicting, overlap enough so that each informs
the space but neither dominates it . In this case I examine a
specific site of hybridity, the "Arrivals Passengers Only"
area of the Vancouver International Airport. Here, the space
is informed by the presence of works, created by the Coast
Salish Musqueam people, in the Airport Terminal, created by
the Vancouver International Airport Authority.
While this sort of negotiation can be described using
positive and progressive terms, and the creation of a third
space represents a compelling ideal, I argue that the moment
of hybridity within the airport is ultimately undermined by
other areas of the building in which no negotiation has taken
place. The airport's role as a business necessitates
marketing strategies aimed mainly at tourists and other
business interests. Since virtually the entire building is
devoted to that market, the negotiated hybrid space becomes
hidden so that its potential impact is lost. Although
participating in the creation of a working model of culture
with the Musqueam people, the Airport ends up destabilising
that model and the space, the ‘third space,’ which contains it.
This particular example points to a site specific aspect
of contemporary North American culture by drawing on the local
community as a source for investigating that discourse. The
thesis, then, has two points of entry; the ephemeral discourse
of cultural negotiation and the locally grounded freeze-frame
view of one site in contemporary Vancouver. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate
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Acknowledging the "Lady of the house" : memory, authority and self-representation in the patronage of Margaret of AustriaMacDonald, Deanna. January 2001 (has links)
Margaret of Austria (1480--1530) ruled the Burgundian Netherlands for over twenty years and was an integral member of the joint Houses of Burgundy and Habsburg. She was also one of the most prolific patrons and collectors of her time. This dissertation examines Margaret's patronage in relation to her contemporary environment with the aim of extending and deepening our understanding of her commissions within the dynamics and discourses of the culture of the early sixteenth century. / Margaret of Austria was a highly conscientious patron and the art and architecture she commissioned intimately reflected her life. Chapter one introduces the historical facts of Margaret's life as well as issues affecting her patronage. Chapter two considers the monastery of Brou in Savoy as Margaret's architectural autobiography. Drawing on documentation and the building itself, it examines Margaret's involvement in Brou's creation. Chapter three looks at several of Margaret's other commissions such as her residence, the Palace of Savoy in Mechelen and the Convent of the Annunciate in Bruges. This chapter considers the potential goals of these projects, as ambitious as founding a capital city, embellishing her authority as a ruler, or attaining sainthood. Chapter four turns to Margaret's self-portraits, that is, images she commissioned of herself. Created in several mediums for a variety of audiences (including herself), Margaret's self-portraits portray her as everything from a widow to a goddess to a saint. Each image was designed for a specific audience and demonstrates Margaret's understanding of the function of images in negotiating a place in the contemporary world and history. Chapter five presents Margaret's view of herself as one of the rulers of a New World Empire with her pioneering collection of artefacts from the Americas. The conclusion considers the unique image of Margaret of Austria that emerges from her commissions.
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Acknowledging the "Lady of the house" : memory, authority and self-representation in the patronage of Margaret of AustriaMacDonald, Deanna. January 2001 (has links)
No description available.
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John Forbes White and George Reid : artists and patrons in north-east Scotland 1860-1920Melville, Jennifer January 2001 (has links)
John Forbes White's contribution to the history of Art in Scotland was, for the first seventy years after his death, mentioned only in passing by the main writers on Scottish art of the day. However, two of his daughters, Ina Mary Harrower and Dorothea Fyfe, both wrote articles on aspects of their father's collecting: Ina publishing "Private Picture Galleries, The Collection of John Forbes White" in Goodwords in 1896 (pp 813-819), John Forbes White (Edinburgh) in 1918 and in 1927, "Jozef lsraels and his Aberdeen Friend" for the Aberdeen University Review (pp 108-122). A noted art historian, Ina reflected her father's taste and collecting interests in her own writings, as with, for example, "Studies of Fruit by Courbet" Apollo (Vol. L No 296 1949 pp 95-98). Dorothea, with her co-author C.S. Minto, published John Forbes White, Miller, Collector, Photographer 1831-1904 (Edinburgh 1970). The only other writers who have examined White's contribution to art in any detail were Charles Carter, who as curator of Aberdeen Art Gallery, covered art and patronage in the North-East of Scotland in numerous articles and outlined White's contribution in "Art Patronage in Scotland: John Forbes White" published in the Scottish Art Review,(Vol VI, no 2, 1957, pp. 27-30). Frances Fowle, on completion of her PhD on Alexander Reid, also discussed White's tastes in "The Hague School and the Scots, A Taste for Dutch Pictures" (Apollo August 1991 pp 108-111). George Reid was still less favoured by critics after his death. With J.L. Caw championing James Guthrie and William MacTaggart, the innovative and influential aspects of Reid's art were obscured, reduced and even sometimes credited to others. W.D. McKay in The Scottish School of Painting (London 1906) had played down Reid's part in the introduction of Realism into Scotland and Agnes McKay in her monograph on Arthur Melville (Lee on Sea, 1951) went furthest of all in portraying Reid as the enemy of a younger, more innovative group of artists, who included the subject of her book. It was to be another thirty years before Dun can Macmillan would examine Reid, in Scottish Art 1460-1990 (Mainstream, 1990) as an important landscape painter, rather than, as had been the case before, as a reactionary president of the Royal Scottish Academy and an extremely dull, if talented, portrait painter. One year later John Morrison, having completed his PhD Rural Nostalgia: Painting in XIX Scotland c.1860-1880 (St Andrews 1989) wrote of Reid's important European contacts and of the vital relationship between White and Reid in "Sir George Reid in Holland, his work with G.A. Mollinger and Jozef Israels" (Jong Holland 1991 No 4 pp 10-19). Both the assets and the faults of Alexander Macdonald's collecting were examined by Charles Carter in "Alexander Macdonald 1837-1884 - Aberdeen Art Collector" (Scottish Art Review, Vol V, no 3, 1955, pp. 23-28) and again by Francina Irwin in an exhibition catalogue entitled Alexander Macdonald: From Mason to Maecenas in 1985. My main source of material has come from the uncatalogued archive of correspondence between George Reid, John Forbes White, Jozef Israels, George Paul Chalmers, David Artz, Gerrit Mollinger, Samuel Smiles and others, most of which is housed in Aberdeen Art Gallery. Reid's unpublished autobiography, transcribed by his wife Mia, (in the same archive) was also of great use, as was an unpublished but almost complete catalogue raisonne of Reid's work, compiled, probably by Percy Bate or Harry Townend c.1912. I have also made extensive use of the papers of James Pittendrigh Macgillivray which are held by The National Library of Scotland. The descendants of John Forbes White made the works and letters in their possession freely available to me. These included the correspondence between John Forbes White and William Stott of Oldham which is cited in Chapter 6. Elements of this thesis, and particularly sections 2,3, & 4 of Chapter 4, appeared in a revised form in "Art and Patronage in Aberdeen 1860-1920", a paper that I delivered at the Scottish Society of Art History's conference on Patronage, and which was published in The Journal of the Scottish Society for Art Historians (Volume 3 1998 pp 16-24). The sixth section of Chapter 5 appeared in a revised form, in An Album of Photographs compiled by Sir John Everett Millais PRA published in Studies in Photography (Edinburgh, 1997). The discussion of the influence of Ancient Greece and Classicism in the eighth section of Chapter 7 was included in a paper entitled John Forbes White, The Classical Tradition and Ideals In Art given at the conference on "The Role of Collections In The Scottish Cultural Tradition", which was held at Aberdeen University in 1998. The third section of Chapter 7 appeared in a revised form in Robert Brough (Aberdeen Art Gallery, 1995). Appendix A contains relevant excerpts from letters and text, on which much of my research was based whilst Appendix B lists the works of art owned by John Forbes White.
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Patronage, business and the value of art: the corporate arts sponsorship of Absa bank and Hollard insuranceVerschoor, Jenni 08 March 2010 (has links)
ABSTRACT
This report is a study into the corporate sponsorship of art as is evident in South Africa today.
Starting with a history of patronage in the West, it leads to South Africa and the role currently
being played by South African companies in the art world. Through an examination of South
African patronage by the government and direct interviews with individuals involved in
government and corporate sponsorship of the arts, this report endeavours to show how and
why organisations such as Absa Bank and Hollard Insurance have chosen to involve
themselves in the art world. I will then follow on to discuss the effect that this corporate
sponsorship has on the value of art – financially, socially and culturally. The end result will
be study on the relationship that exists between the benefactor and the beneficiary of
corporate sponsorship in South Africa and the resulting impact this has on the perceived
value of art.
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Forging the corporate identity with art : four Montreal corporations : Alcan Aluminium Limited, Martineau Walker, Banque Nationale du Canada, Loto-Quebec with a focus on AlcanMeade, JoAnn. January 2000 (has links)
No description available.
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John Boydell, 1719-1804 a study of art patronage and publishing in Georgian London /Bruntjen, Sven H. A. January 1985 (has links)
Thesis (Ph. D.)--Stanford University, 1974. / Includes bibliographical references (p. 277-291).
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Monastery and monarchy: the foundation and patronage of Santa María la Real de Las Huelgas and Santa María la Real de SigenaMcKiernan González, Eileen Patricia 28 August 2008 (has links)
Not available / text
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Constructed destinations : art and representations of history at the Vancouver International AirportRorke, Rosalind Alix 11 1900 (has links)
Since its opening in 1931, the Vancouver International Airport has been a site
where significant representations of the city, its geography and its population have been
made. Instead of being utilitarian structures the airport terminals have been purposefully
designed and decorated with art chosen specifically to communicate Vancouver's distinct
qualities and culture to travelers. As culture is never static and changes continuously, the
representations have also shifted over time.
By considering the specific history of Vancouver's airport in conjunction with the
wider history of Canadian and international airport development, patterns (such as the
continuous use of symbols from native cultures to represent aspects of the colonizer's
culture) and tensions (such as Vancouver's relative position as a major Canadian urban
centre and the growth of visible immigrant populations) which accompany the
representation of locality at the airport become apparent. Henri Lefevbre's
understanding of space as an active social product, David Harvey's assessment of the
impact of globalization upon the local and Siegfried Kracauer's interpretation of
architecture as illustrative of broad social trends underpin my analysis.
The adoption,of an historical and theoretical framework within this thesis is
directed at developing an interpretation of the current art program at the Vancouver
International Airport which can move beyond the point where debate regarding
"authenticity" and the agency of the native artists or their communities constricts the
discussion. Through an examination of airport design, both theoretical and actual, the
genesis of and reactions to art programs executed at the airport since the 1960s, as well
as aspects of the city's social history, I illustrate that the current art program is
representative of more than a superficial thematic strategy. Instead, it points to a
complex and ongoing struggle to define and represent Vancouver both to its residents and
the rest of the world.
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