The Art Museum in the 19th Century. J. J. Winckelmann's Influence on the Establishing of the Classical Paradigm of the Art Museum (original) (raw)
Related papers
"Where, how, by whom and for what were the first museums of contemporary art created? These are the key questions addressed by J. Pedro Lorente in this book. In it he explores the concept and history of museums of contemporary art, and the shifting ways in which they have been imagined and presented. Following an introduction that sets out the historiography and considering questions of terminology, the first part of the book then examines the paradigm of the Musée des Artistes Vivants in Paris and its equivalents in the rest of Europe during the nineteenth century. The second part takes the story forward from 1930 to the present, presenting New York's Museum of Modern Art as a new universal role model that found emulators or 'contramodels' in the rest of the Western world during the twentieth century. An epilogue, reviews recent museum developments in the last decades. Through its adoption of a long-term, worldwide perspective, the book not only provides a narrative of the development of museums of contemporary art, but also sets this into its international perspective. By assessing the extent to which the great museum-capitals – Paris, London and New York in particular – created their own models of museum provision, as well as acknowledging the influence of such models elsewhere, the book uncovers fascinating perspectives on the practice of museum provision, and reveals how present cultural planning initiatives have often been shaped by historical uses. Contents: Introduction; Part I The Parisian Musée du Luxembourg as a Paradigm in the 19th Century: The origin of the Musée des Artistes Vivants in Paris; The first emulators and alternatives to the Luxembourg; Unresolved dilemmas in the last third of the 19th century; Utopian ideas and experiments at the turn of the 19th century. Part II The Role of the MoMA of New York as the International Model of the 20th Century: Foundations and context of the MoMA's creation; MoMA's transition to adulthood amidst war and confrontations; MoMA as an international role model during the Cold War: triumph and opposition; The Pompidou Centre, a counter-model which ends up imitating MoMA; Topographic review of the new museums of contemporary art at the turn of the millennium; Epilogue; References; Index."
2017
Much that we might imagine as ideal was natural for them [the ancient Greeks].' 1 ♣ Just as Johann Joachim Winckelmann mourned the loss of antiquity, so have subsequent generations mourned his passing at the age of fifty, in 1768, as he was planning his first journey to Greece. His deification through-not least-the placement of his profile head, as if carved out of a gemstone, on the title page of the first volume of his Geschichte der Kunst des Alterthums ('History of Ancient Art') in 1776 (the second edition, published posthumously) made him the poster boy for the study of classical art history and its related branches, Altertumswissenschaft or classical studies, history of art, and classical archaeology. 2 While Winckelmann strongly influenced artists, aesthetes, and historians, who have debated and developed his ideas in his and succeeding generations, his renown has put him at the centre of many movements-aesthetic (classicism, Hellenism, and neoclassicism), intellectual (historicism, 3 romanticism, 4 and modernism 5 * I am grateful to the editors for the invitation to contribute this piece and for their patience and to Katherine Harloe for encouragement, useful discussions, and reading an earlier draft of this article. I acknowledge all responsibility for remaining errors. 9 In emphasizing first-hand observation of works, Winckelmann was influenced by, in particular, Comte de
The End of Art and the Origin of the Museum
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.
MUSEUMS AND THEIR PRECURSORS: A BRIEF WORLD SURVEY
Manual of Curatorship: a guide to museum practice, [Second edition], 1992
The term museum 1 , like most words, has changed in meaning with time. Today it conveys concepts not only of preserving the material evidence of the human and natural world but of a major force in interpreting these things. The idea is perceived positively and the availability of museums as a public facility is considered desirable in developed and developing countries alike. For countries with a significant past museums may be seen to have a vital cultural and even economic role to play. Museums today are, to quote part of the the International Council of Museums (1989) definition of a museum, `in the service of society and of its development'.
Museums and the Ancient Middle East. Curatorial Practice and Audiences
Routledge, 2018
Museums and the Ancient Middle East is the first book to focus on contemporary exhibit practice in museums that present the ancient Middle East. Bringing together the latest thinking from a diverse and international group of leading curators , the book presents the views of those working in one particular community of practice: the art, archaeology, and history of the ancient Middle East. Drawing upon a remarkable group of case studies from many of the world's leading museums, including the British Museum, the Louvre, The Metropolitan Museum of Art, the Ashmolean Museum, and the Vorderasiatisches Museum in Berlin, this volume describes the tangible actions curators have taken to present a previously unseen side of the Middle East region and its history. Highlighting overlaps and distinctions between the practices of national, art, and university museums around the globe, the contributors to the volume are also able to offer unique insights into the types of challenges and opportunities facing the twenty-first century curator. Museums and the Ancient Middle East should be of interest to academics and students engaged in the study of museums and heritage, archaeology, the ancient Near East, Middle Eastern studies, and ancient history. The unique insights provided by curators active in the field ensure that the book should also be of great interest to museum practitioners around the globe.
Minia Journal of Tourism and Hospitality Research MJTHR
The Egyptian Museum The Metropolitan Museum of Art The Egyptian Museum renovation project Restoration of Tutankhamun's objects The artifacts display sequence Due to the deteriorating state of the Egyptian Museum in Cairo, the Egyptian and American governments agreed in 1975 that the proceeds of Tutankhamun Exhibition in the USA 1976-1979 would be assigned for the renovation of this museum or any other cultural projects in Egypt. The Metropolitan Museum of Art, as the main organizer of the exhibition, accomplished an assessment process of the situational condition of the Egyptian Museum which showed that it needed a general cleaning, repainting, rearrangement of the display sequence of Tutankhamun's objects and the restoration of several Tutankhamun's items before their removal to be displayed in the USA. This research illustrates the importance of this project, the role of the Metropolitan Museum of Art, and the renovation process. This paper utilizes primary source documents in the Metropolitan Museum of Art Archives in New York as raw evidence to analyze and interpret this museological exercise in 1970s.
in Moritz Baumstark and Robert Forkel (eds.), Historisierung. Begriff - Methode - Praxis, Stuttgart/Weimar : J.B. Metzler, forthcoming May 2016. This essay examines an important transformation in public history in relation to two institutions, the British Museum in London and the Neue Museum in Berlin and their identity as collections and monuments in their own right . In an analysis of the crisis of the commemorative monument in contemporary Germany James E. Young recognizes the continued desire for a form of monumentality, observing a general move from the heroic to the ironic as “the need for a unified vision of the past, as found in the traditional monument, necessarily collides with the modern conviction that neither the past nor its meanings are ever just one thing.” To what extent can a similar shift be observed as these museums construct institutional memory and how does this contribute to “institutional survival” , to renewing their mandate to preserve and to be themselves preserved and transmitted for the benefit of future generations? When we consider the British Museum and the Neue Museum as representative models of the ‘universal museums’ of the first museum age , it follows that it is significant to see how, in today’s ‘second museum age’, both of these museums have incorporated specific representations of their institutional past into the partial or full renovation of their houses . The Enlightenment gallery at the British Museum reveals how artefacts relating to a former ‘order of things’ have been used to produce an overarching vision of the museum’s initial encyclopaedic project. The case of the Neue Museum, whose newly renovated building can be seen as an exhibit in itself , is considered from the point of view of the remains of the historicist murals created in the 1850s and 1860s and the meaning of their role in a ‘new’ (2009) museum narrative.