Museum Of Fine Arts Research Articles

Tintoretto in the city of La Plata? Several investigations for the reattribution of the Portrait of Melchior Michael to Tintoretto

The records of the Museo Provincial de Bellas Artes “Emilio Pettoruti” (Provincial Museum of Fine Arts of Buenos Aires "Emilio Pettoruti") indicate that a work belonging to Jacopo Comin, "Tintoretto," is part of its cultural heritage, of great value to the museum and the university city of La Plata. Over time, and perhaps due to the ambitious nature of this attribution, the original assertion was called into question. A comprehensive and complementary spectroscopic analysis using Raman, FTIR-ATR and SEM-EDX techniques serves as one of the information sources for the current study. Thus, cinnabar (HgS), lead white (2PbCO3.Pb(OH)2), calcite (CaCO3), gypsum (CaSO4·2H2O), and carbon black were determined in the artwork using the vibrational techniques while the presence of several components, such as alum (KAl(SO4)2·12H2O), calcite (CaCO3), green earths (K(MgFe2+)(Fe3+Al)(AlSi3,Si4)O10(OH)2), lead white (2PbCO3·Pb(OH)2), cerussite (PbCO3), goethite (FeO(OH)), lapis lazuli, mainly composed of lazurite (Na6Ca2(AlSiO4)6(SO4,S,S2,S3,Cl,OH)2), calcite (CaCO3) and pyrite (FeS2) as well as gypsum (CaSO4·2H2O), umber (α-FeOOH·MnO2), zinc white (ZnO) and lead sulfide (PbS) can be inferred from the determination of the elements using SEM-EDX studies. The tracking of the artwork and its journey to the city of La Plata, and the scanned X-Ray determination revealing hidden objects under the painting surface of the artwork are also dimensions taking into account in the present study. Thus, we can affirm the validity of the work, the Portrait of Melchior Michael, reconfirming and reattributing it to the colossal Jacopo Comin, Tintoretto.

Trade signs in antiquity

AbstractThe paper discusses the inscriptions of two ancient artifacts, the fragment of an Egyptian wine jug (Museum of Fine Arts, Budapest), and a terra sigillata bowl made by Pacatus (Aquincum Museum, Budapest), and seeks to situate them in the history of trade signs. In ancient Egypt, signs predominantly indicated details such as the place and date of production, and the quality of the product, while in Rome trade signs conveyed information concerning the origin of the product through the craftsman or workshop.

Camouflaging colonialism: a case study of a NeoColonial Museum

Museums are presented as institutions housing a society’s most outstanding artistic collective achievements. They are racialized organisations helping preserve white supremacist normativity in the racialized social system. We argue that museums are colonial projects that often camouflage colonialism. Museums’ hierarchal nature in prioritising Europe is blatantly apparent but rendered unseen unless you study its presence. Then, you discover differences through indifference. We used ethnographic observations and photography to explore how the Boston Museum of Fine Arts conceals colonialism. We find, for example, that the Art of Africa is demoted to two transitionary passageways. The pre-Columbian exhibit is relegated to the basement and camouflaged by other exhibitions. Additionally, Black bodies are subject to out-of-place sexualised portrayals. These findings reinforce our earlier argument that museums are white sanctuaries, safe spaces allowing whites to reaffirm their dominance in society.

Library and Bibliographic Classifications of Art Literature in the Documents of the M.I. Fabrikant Archive

The professional art history interests of professor M.I. Fabrikant (1887—1966) in the field of book studies, bibliography, library and museum studies are reflected in the documents of his personal archive in the Department of Rare Books and Manuscripts of the Scientific Library of the Lomonosov Moscow State University. Based on his extensive experience, the scientist drafted in the 1920s a scientific classification of art literature. In addition, working in the 1930s in the scientific libraries of major Moscow museums (the Pushkin State Museum of Fine Arts, the State Tretyakov Gallery), he drafted the structures of branch catalogues. M.I. Fabrikant also participated as a consultant in the development of projects for the organisation of departments and catalogues in the new building of the Lenin State Library of the USSR in 1936.

Art museum visitors: how do they perform class distinction?

ABSTRACT Previous studies predominantly used sociodemographic factors to categorize art museum visitors, overlooking an in-depth exploration of the motivations guiding their museum experiences and relying heavily on aggregated data. Building upon Bourdieu’s (1984, Distinction: A Social Critique to the Judgment of Taste. Cambridge: Harvard University Press) theory of cultural consumption and Peterson’s (2005a. “Problems in comparative research: The example of omnivorousness.” Poetics 33:257–282. doi:10.1016/j.poetic.2005.10.002; 2005b. “Changing Arts Audiences: Capitalizing on Omnivorousness.” https://culturalpolicy.uchicago.edu/sites/culturalpolicy.uchicago.edu/files/peterson1005.pdf) omnivore/univore theory, this study aims to investigate the distinct segments of art museum visitors, considering their experience expectations and cultural preferences. Specifically, utilizing two-step cluster analysis, we explore the experiences sought by art museum visitors, considering their cultural preferences. Analyzing 411 questionnaires from visitors to Lyon’s premier fine arts museum, two distinct visitor groups emerge. Thus, the findings suggest that conventionally labeled ‘museum-goers’ represent diverse visitor types, emphasizing the holistic importance of considering a combination of factors. The results affirm Peterson's theory adding to the literature that these groups exhibit distinct cultural and culinary preferences, aligning with Bourdieu's social distinction theory. The study offers both theoretical and practical implications.

Strategi Kreatif Komunikasi Pemasaran Digital Pada Wisata Museum di Jakarta Barat

The government is currently trying to manage museums in Indonesia and attract the interest of the millennial generation. Currently, the number of visits to the National Museum, Jakarta History Museum, Ceramic Museum and other museums in Jakarta is still low. In fact, these museums are one of the tourist destinations that can be visited by tourists. Therefore, the number of visits still needs to be increased in order to compete with the habits of the millennial generation who often visit shopping centers. The Old City area in Taman Sari District, located in West Jakarta, is a favorite tourist destination for local and foreign tourists. The strength of the Old City area is the existence of Dutch heritage buildings and several museums that are located close together, namely the Jakarta History Museum, the Wayang Museum, the Ceramic and Ceramic Fine Arts Museum and several local Indonesian bank museums such as the BNI Museum (Bank Negara Indonesia 1946), the Bank Mandiri Museum and the Bank Indonesia Museum. Based on the above, researchers are interested in researching Creative Strategies for Museum Tourism in Jakarta.

Specificity of Translating Icononyms into Diverse Structural Languages (English, French, and Tatar)

This study examines proper names functioning as titles of iconographic works (such as ‘Pokrov Bogomateri’ (the Protection of the Mother of God), ‘Voskreseniye Khristovo’ (the Resurrection of Christ), ‘Soshestviye vo ad’ (the Descent into Hell) etc.) in the context of exploring their translation into English, French, and Tatar. A comparative analysis of artionyms (icononyms) is conducted. The sources for this research include catalogs of ancient Russian painting, particularly those from the collection of the State Museum of Fine Arts of the Republic of Tatarstan (Kazan). The paper discusses the challenges involved in translating terms such as ‘umileniye’ (compassion), ‘pokrov’ (protection), and ‘успение’ (dormition) etc. On one hand, doctrinal discrepancies are noted in the target languages, which are attributed to extralinguistic factors (differences in approaches to key Christian doctrines among Orthodoxy, Protestantism, and Catholicism, as well as the absence of cultural elements from the source language in the target language). On the other hand, semantic inconsistencies are identified, which can be explained by attempts at generalization or, conversely, specification of the content of terms aimed at facilitating recipient comprehension. One of the most frequent translational transformations observed is calquing, with identified differences in word formation patterns explained by the distinct typological models of the languages being compared (synthetic, analytic, agglutinative).

Historians of Islamic Art Association 2023 Biennial Symposium, the Museum of Fine Arts, Houston, and Rice University, March 2–4, 2023

Historians of Islamic Art Association 2023 Biennial Symposium, the Museum of Fine Arts, Houston, and Rice University, March 2–4, 2023

Periodicals beyond Hierarchies: Challenging Geopolitical and Social ‘Centres’ and ‘Peripheries’

This special issue of the Journal of European Periodical Studies emerges from the 10th International European Society for Periodical Research (ESPRit) conference and postgraduate workshop, held in September 2022 at the Museum of Fine Arts – Central European Research Institute for Art History (KEMKI) in Budapest, Hungary, in collaboration with the Petőfi Literary Museum – Kassák Museum. Focused on the theme of ‘Periodicals beyond Hierarchies: Challenging Geopolitical and Social “Centres” and “Peripheries” through the Press’, the conference attracted scholars from diverse backgrounds who explored core–periphery tensions in various contexts. The essays included in this issue, stemming from selected presentations at the Budapest conference, offer an introduction to the spatial breadth and historical dimensions of the centre–periphery lens within periodical studies. Building upon theoretical foundations dating back to Raúl Prebisch’s recognition of core–periphery disparities in the 1920s, and subsequent critiques such as Immanuel Wallerstein’s identification of semi-peripheral regions, these essays critically engage with the evolving discourse surrounding core–periphery dynamics. Ultimately, this collection encourages a nuanced understanding of periodicals as cultural maps that survey the complexities of collaboration, competition, and conflict across diverse geographic landscapes. By doing so, it prompts critical interrogation of the centre–periphery model, questions its utility in enriching our understanding of periodical dynamics, and challenges preconceived notions of centrality and peripherality within periodical studies specifically, and cultural studies more generally.

The Museum of Fine Arts Building in the Space of Reconstructed Moscow in the 1930s: Ideas and Projects

В статье на примере здания Государственного музея изобразительных искусств (ГМИИ), построенного по проекту Р.И. Клейна в начале ХХ века, рассматривается такой малоисследованный сюжет в истории реконструкции Москвы 1930-х годов, как передвижка особо ценных сооружений. Несмотря на то, что здание музея в силу обстоятельств осталось на своём историческом участке и не подверглось никаким переделкам, сама история попыток такого рода служит наглядной иллюстрацией тех путей, которыми в поздние 1930-е годы планировалось вести преобразование города. Отдельное внимание в статье уделяется идее создания «музейного городка», обсуждавшейся на рубеже 1920-х – 1930-х годов в связи с проектированием А.В. Щусевым нового здания Третьяковской галереи на Волхонке рядом со зданием музея. Эта идея возродилась вновь в конце 1930-х годов, когда при обсуждении проблемы организации площади вокруг Дворца Советов возник план передвижки здания ГМИИ к Гоголевскому бульвару. Речь шла об объединении на одном участке ГМИИ, Музея Восточных культур, Музея Нового Западного искусства и др.

PROFESSOR IVAN TSVETAEV AND HIS METHODS OF THE EPIGRAPHIC RESEARCH: INTERPRETATION OF THE BRONZE FROM FALERII NOVI (CIL I2.365)

Ivan Vladimirovich Tsvetaev (1847-1913) was an outstanding Russian сlassical philologist, art historian and archaeologist, professor at the Moscow State University. He was known as the founder of the Alexander III Museum of Fine Arts. As a researcher, Tsvetaev was interested in Latin literature and Italic languages. The article is based on the linguistic analysis and interpretation of bronze tablet from Falerii Novi (CIL I2.365), published by Tsvetaev in the Ministry of Public Education journal in November 1883. Tsvetaev’s article is supplemented with comments of modern reading and explanation of some linguistic features, the historical grammar of Latin and other Italic languages, as well as a modern interpretation of the text and linguistic characteristics of the inscription language, which is still the subject of discussion. The article reveals an outstanding role of Tsvetaev in the development of the studies in Italic languages.

Antwerp's Royal Museum of Fine Arts

AbstractThe Royal Museum of Fine Arts in Antwerp, Belgium, reopened after an 11‐year renovation. In addition to completely cleaning the exterior façade of the neoclassical building, a new, modern wing was built inside former internal courtyards—a glossy, white cube with very high ceilings and a dramatic 100+ step flight of stairs. The historical part of the museum was also fully renovated to its original grandeur. The collection was reinstalled, and the overall interpretive strategy focused on making the art approachable to a multigenerational and multicultural visitorship: Eschewing chronology, paintings are grouped by themes, texts are user‐friendly and encourage interactive experiences, and special activities are available for children. Short videos are also available in some galleries that provide context, explain specific art techniques, or contain games. A wide range of experiences is available to museum users, somewhat consistent with an approach proposed by the Smithsonian Institution's IPOP framework. The reviewer found the reinstallation and related user experiences a relevant, people‐oriented model for 21st century art museums.

Dumitru Peicev. The tribute to art

Dumitru Peicev (19.05.1943–18.12.2023), a renowned figure in the field of fine art in the Republic of Moldova, professionally evolved during the 1960s, inspired by the traditions of the French and Romanian schools of painting from the late 19th to early 20th centuries. A significant influence on his artistic conceptions and aesthetic visions was played by master Mihail Grecu, one of the founders of the national school of painting, with whom Dumitru Peicev had a warm and fruitful collaboration. Throughout his artistic career, he manifested himself as a talented painter of thematic compositions, genre scenes, landscapes, still life, and portraits. Dumitru Peicev’s paintings are housed in the collections of the National Art Museum of Moldova, the Museum of Fine Arts in Razgrad, Bulgaria, the Art Museum in Ţelingrad, Kazakhstan, and in numerous private collections. A significant number of his works have been donated to the „Dumitru Peicev” Art Gallery in the city of Taraclia. Through his original creations, Dumitru Peicev contributed to the enrichment of the national cultural heritage, shaping a new chapter in the history of contemporary fine arts.

Нарративный анализ мотивационных структур гражданской активности студенческой молодежи при создании культурно-просветительских обучающих проектов

A modern university is a space for professional exchange, spiritual search, formation, development and self-development of the individual, students and teachers. Studying the motivational structures of student youth's civic engagement helps teachers in the search for teaching and communication strategies, and also contributes to project activities. Student activity is considered as a complex process of social interaction, including communication and professional activities. The article presents a study of motivational structures that stimulate students to be active in cultural and educational projects. The experiment (February - August 2023, Kazan) was based on quantitative and qualitative methods, including a survey (158 people), analysis of successful cases, application of a narrative approach to the focus group method and expert interviews. It was revealed that motivational structures directly depend on the psychological profile of generations. For Generation X, the least significant motive is “Communication” (3.17 points) and the most significant motive is “Self-development” (4.83 points). For generation Y, the least important motive is “Presentation, personal brand” (2.47 points) and the most important is the “Knowledge” motive (4.84 points). For generation Z, this parameter, indicated as less significant, was rated at 3.83 points, the highest value for generation Z is the motive “Self-development” (4.93 points). For older respondents, the structure of motives becomes more complex, expanding the composition of the components that form the motive, which leads to more informed decision-making. The leading motive for participation in cultural projects for respondents of all ages was “Self-development.” The results of the study were tested in training programs by lecturers and students of the High School of Journalism of the Kazan Federal University when creating educational and cultural projects based on The Contemporary Art Gallery of the National Museum of Fine Arts (Kazan), which is aimed at youth audiences.

Same but different

Attic black-figure vases from the Late Archaic and Early Classical periods are often neglected by scholars. Most of them are not included in the Beazley Archive Pottery Database, significantly hindering related research. This paper presents such a vase from the collection of the Museum of Fine Arts in Budapest. The authors propose that the scene on the lekythos, akin to others from the era, is a simplified version of a more elaborate one.

Six ostraca of <i>The Teaching of Khety</i> in the State Pushkin Museum of Fine Arts, Moscow

Six ostraca of <i>The Teaching of Khety</i> in the State Pushkin Museum of Fine Arts, Moscow

Prefrontal engagement predicts the effect of museum visit on psychological well-being: an fNIRS exploration.

Recent research suggests that museum visits can benefit psychological well-being by reducing symptoms of stress and anxiety. However, these reported relaxing effects remain inconsistent between studies. Shedding light on the underlying cerebral mechanisms of museum visits might support a better understanding of how it affects psychological well-being. This study aimed to investigate the prefrontal engagement evoked by artwork analysis during a museum visit and to determine if these prefrontal substrates are associated with the museum's effect on psychological well-being in older adults. Nineteen adults aged between 65 and 79, toured a Baroque-style exhibit at the Montreal Museum of Fine Arts for approximately 20 minutes while equipped with a near-infrared spectroscopy system measuring the prefrontal cortex's hemodynamic activity. For each painting, participants received the instruction to either (1): analyze the painting and produce a personal interpretation of its signification (analytic condition) or (2) visualize the painting without any specific thoughts (visualization condition). Questionnaires measuring stress, anxiety, and well-being were administered before and after the visit. Sixteen older women (71.5 ± 4 years) were included in the analyses. Results showed that, at the group level, the analytic condition was associated with an increased activation pattern in the left ventrolateral prefrontal region, typically related to attentional processes (not observed in the visualization condition). The activation associated with the analytic condition predicted pre-/post-visit reductions in self-reported anxiety and stress in the sample of older women. These observations suggest that the level of engagement of attentional processes during artwork analysis may play a major role in the effect of a museum's visit on self-reported symptoms of anxiety.

Risk analysis for preventive conservation of heritage collections in Mediterranean museums: case study of the museum of fine arts in Alexandria (Egypt)

The impacts of climate change on heritage collections in Mediterranean museums are serious and lead to accelerated material degradation, loss of value, increasing conservation costs and climatisation. Climate change scenarios and simulation models have been developed to predict the extreme and average future environmental conditions and to assess the future long-term risks caused by global warming for museum buildings and their collections in Mediterranean countries, with Egypt being particularly at risk. This paper presents the results of the risk analysis of the indoor and outdoor environments in Alexandria Museum of Fine Arts (AMFA) in Egypt to provide an overview of the current situation of conservation and museum management and to provide evidence-based data to support decision-making regarding preventive conservation given the museum's limited funding, capacity and resources. Unfortunately, the air quality in the museum cannot be considered satisfactory and specific measures need to be taken to improve the level of air quality and museum and building management. The results enabled an assessment of indoor air quality and provided information on potential risks to the museum building and collections, including variations in temperature (T) and relative humidity (RH), concentrations of NO2, SO2, O3, CO2, acetic and formic acid and lighting conditions, as well as the location and management of the museum. The results necessitate the development of a preventive conservation plan to address the challenges associated with high T/RH fluctuations and pollution pressure. This requires more regular use of the HVAC system within certain T/RH set points as well as minimising light exposure and the use of UV-filtering glazing. Care should be taken to ensure that housekeeping and emergency preparedness reduce the damping and salt florescence in the museum building. However, dealing with the impact of climate change on indoor and outdoor environments and museum collections in Mediterranean museums requires a holistic and adaptive approach that includes joint collaboration, research, training and strategic planning to ensure the long-term preservation of valuable cultural heritage collections in different climates with customised adaptations based on local environmental conditions, resources and needs. Resilience planning should be region-specific and take into account the potential impacts of extreme weather events, sea level rise and other climate-related challenges.

Paul Graupe, Arthur Goldschmidt and the dispute over an Adriaen van Ostade painting in wartime France

Abstract In 2023 the Museum of Fine Arts, Boston, the collectors Susan and Matthew Weatherbie, and the heirs of the Jewish art dealers Paul Graupe and Arthur Goldschmidt reached a financial settlement over Adriaen van Ostade’s Customers Conversing in a Tavern. The museum had been alerted to a potential claim on the painting in 2017 while conducting research on promised gifts from the Weatherbies’ collection. At that time, the van Ostade was registered as a Nazi-era loss by the heirs of Graupe. Research revealed that it was handled by Graupe and his associate Goldschmidt when they were trying to flee Nazi-occupied Europe. This article provides insight into the working relationship of Graupe and Goldschmidt, and offers clues to the fate of other works of art placed in their custody which heirs of Holocaust victims may be seeking. It also offers a roadmap for museums navigating similar provenance research, donor relations and collection management questions.

The Museum as a Laboratory: An Approach to the Experience of Public Museums in Chile

The present article analyzes the recent debates regarding the redefinition of the museum, exploring resonances in reflective practices and processes in public museums in Chile. While these have caused controversy and discord, they appear to converge in the need to rethink the relationship between museums and society, seeking to make them more inclusive, democratic and diverse. The present discussion is based on the preliminary results of “LAB_Museums: Contemporary Museums and Museologies”, an ongoing interdisciplinary research intervention model promoting processes of co-production of knowledge regarding museums and museography. This paper is the publication of the results of the project. To this end, a collaborative ecosystem of knowledge has been developed between the university, museums and public sector, based on the implementation of laboratories, initially, in five public museums of the Metropolitan Region of Santiago, Chile: the National Museum of Fine Arts, the National Historical Museum, the Museum of Contemporary Art, the Popular Art Museum and the National Center of Contemporary Art. The theoretical/methodological framework used was that of Institutional Analysis (IA), based on which interviews and discussion groups with museum professionals promote dialogues on the present reality and contemporary challenges of museums.