jeanflop/post-ocr-correction huggingface dataset:
arranged according to the tombs in which they were found. Venice: New Archeological Museum in the Royal Palace, including the collections Grimani, Contarini and Zuliani, 300 Greek, Hellenistic and Roman originals, 20,000 coins. Mantua: Palace of the Dukes, much neglected for decades, now completely restored to its original aspect; Greek and Roman sculpture (20 rooms), pictures of the 16th to 18th c.; tapestries, some marbles and terracottas, arranged aesthetically so as to maintain the character of a richly furnished ducal mansion. Florence: Palazzo Pitti. Reconstitution of the old Medici treasure (Argenteria); silver, gold, ivory, cut stones, amber, china, tapestries of
(Argenteria); silver, gold, ivory, cut stones, amber, china, tapestries of the Crocetta. Second floor: Gallery of Modern Painting. Florence: Museum of S. Marco, now specially devoted to Fra Angelico. Venice: Gallery G. Franchetti in the Ca'd'Oro. Building restored. Pictures of 15th c., primitives, oriental and antique marbles, tapestries, carpets, bronzes, disposed in a purely decorative manner. Modena: Gallery, Collection of Medals, and Museum of the House of Este. Gallery rebuilt, room devoted to the objects once the property of the Estes (harp, busts and wonderful collection of bronzes, specially Antico, Pollaiuolo, Riccio, Sansovino, Vittoria). Gallery arranged after schools: Modena, Ferrara,
Pollaiuolo, Riccio, Sansovino, Vittoria). Gallery arranged after schools: Modena, Ferrara, Venice, Bologna, Tuscany. Wonderful collection of 36,000 medals (6,000 exposed). Milan: Brera. Gallery completely overhauled after the war, skylights enlarged, rooms redecorated, marble pavements, central heating, etc. One fourth of the pictures sent to depot. New arrangement after a system of schools presented each in historic development; care given to aesthetic effect. Aim in some cases to restore pictures to their primitive position, in other cases to form historic groups. Modern section. Important acquisitions. Bologna: Gallery. New wing added (second proposed) containing big skylight rooms and cabinets to house the
proposed) containing big skylight rooms and cabinets to house the school of Guido Reni; some furniture and sculpture placed between the pictures. Old stock of gallery, especially Bolognese primitives and great school of the Carracci, entirely rearranged in older part of building. Attention given to Bolognese 18th c. Acquisitions. Communal galleries of Imola, Faenza, Forli, Cesena, Rimini reorganized. Bologna: Museum of Decorative Art, set up in Palazzo Davia Bargellini. Recalls gorgeous Bolognese interior of 17th c. Naples: Gallery. Hitherto mixed with Museum of Antiquity, now arranged in 30 small rooms along Western and Southern side of the Museum. Collection divided
along Western and Southern side of the Museum. Collection divided into "Gallery" and "Depot". Titian room. Bronzes, medals, ivories placed between the pictures. Naples: Museum of Villa Floridiana. Collection of "objets d'art" collected by Duca di Martino. Specially rich in Neapolitan and other porcelain. Museum has been given character of rich princely mansion of about 1800. Arrangement not entirely finished. Caserta: near Naples, Royal Palace: some apartments (furniture of 18th and 19th c.) arranged with pictures referring to popular and court life of 18th and first half of 19th c. in Naples. Grouping according to subjects e.g. historic events, feasts,
in Naples. Grouping according to subjects e.g. historic events, feasts, ceremonies and amusements, royal hunting, views of ports of the kingdom, army and navy uniforms, royal castles. Each room furnished in a definite style. Unification of Catalogues. Continued. See Museion no II, p. 116-133 (Les Catalogues des musées. Suite de l'enquête sur un projet d'unification, p. 222). Belgium: L. van Puypelde, adopts on principle the programme of the three types of catalogues, thinks that in practice some deviations will be necessary. Catalogue of Ancient Paintings, Brussels, 1922, is intermediary between an abridged and a scientific catalogue, being at once a
an abridged and a scientific catalogue, being at once a guide for visitors and an instrument for research. It does not contain complete biographical and bibliographical information for reasons of costs. Catalogue of Modern Paintings will be more scientific and include in certain cases explanations of the subject of pictures. Only illustrations, no descriptions. Small Guide to Modern Paintings, by Laes, published: not quite 20 pages, could be entirely read in the Gallery during visit. Special care to be given to printing. Great Britain: The answers of our British correspondents are given in English on pp. 224-231. Italy: G. Fogolari
are given in English on pp. 224-231. Italy: G. Fogolari and A. Minto approve of the propositions. E. Modigliani is sceptical as to the practical advantage of proposals and possibility of executing them. Does not believe in standardization of Catalogues. Catalogue of antiquities and of "objets d'art" to be arranged locally. States what each of the three kinds of catalogues for picture-galleries should contain. Does not exclude historical, iconographic and aesthetic explanations from the Catalogue-Guidebooks, which should always be arranged topographically. Holland: J. H. Holwerda approves of the classification proposed by Committee. Art considered as one of the aspects in
by Committee. Art considered as one of the aspects in a general survey of civilisation. Poland: F. Kopera defines limitations to topographically arranged catalogues. Sweden: G. Upmark: catalogue-guidebooks; handbooks; sceptical as to abridged catalogue. Principles for catalogue of ethnological museums (illustrations required). Necessity of an International List of Museum-Publications. Deterioration of Prints and Drawings by light (Les expositions permanentes de miniatures, de dessins et de reliures), by ROLAND MARCEL, p. 238. Taking into account the deterioration in colour, inks, paper of prints, drawings and engravings, advocates suppression of permanent exhibits of such objects; temporary exhibits of fac-similes recommended. EDUCATIVE ROLE
of such objects; temporary exhibits of fac-similes recommended. EDUCATIVE ROLE OF MUSEUMS: 1. Education by American Museums (L'Enseignement dans les musées américains), by L. V. COLEMAN; in French, p. 240. English text, p. 268. 2. The Social Role of Museums: a Belgian example (Le rôle social des Musées: un exemple belge), by J. LEFRANCQ, p. 244. Three stages in historical development of Museums, the museum considered as a curiosity-room, as a field for research, as a means of education. Instruction: the museum used permanently by primary and secondary schools as a means of teaching general history, hist. of religion, of
a means of teaching general history, hist. of religion, of art, of literature, etc., side by side with school instruction (where there is no museum, collections of reproductions advised). Educationally, the museum is a means of learning to observe, to understand, to admire, eventually to create. Therefore, organization of 1° Peripatetic lectures illustrating the teaching of history, 2° Elementary courses in history of art, 3° "Museum hours" and "Museum games" essential. American example: the more a museum serves the people, the more popular—and richer—It becomes. Formation of a separate "Educational Department". In Brussels e. g., established as an association, budget
Department". In Brussels e. g., established as an association, budget 100,000 francs, 1,000 members, subscription 25 francs p. a., 3,000 very cheap reproductions issued, 5 lessons per day given, at a cost of 150 frs daily, to some 16,000 children. Educational Department relieves curators; it is mainly pedagogic under the control of the curators. It should make the museum popular. Teaching of adults. "Guides" must be specially trained, and paid by the autonomous Educational Department. 3. Meeting of Experts [Committee held on oct. 28th and 29th] (Reunion d'experts) p., 251. A committee of experts was convoked to discuss the Educative
A committee of experts was convoked to discuss the Educative Role of Museums at the Inst. of Intell. Coop., Paris, J. LEFRANCQ, Brussels, gave an account of what has been achieved in Belgium. See below p. 244. Sir Cecil Harcourt SMITH spoke of the various methods required by different kinds of mus. and of the help small mus. might obtain from big ones in this direction. L. HAUTECHEUR, discussed conditions in Paris: 1° Specialised teaching (besides that of the University) at the Ecole du Louvre; preparatory courses in general history of art (with the help of the Boyer foundation); supplementary
of art (with the help of the Boyer foundation); supplementary practical instruction in presence of the object; 2° Popular courses: a) every Monday several peripatetic lectures in the Louvre under guidance of lecturers from the University or graduates of the Ecole du Louvre; b) lectures given on special subjects: buildings, towns, masters. Information asked from the Museum. Sale of all types of reproductions. CHOTEK, Bratislava: close contact between local museum and population in the small towns of Bohemia. VAN GELDER. Lectures to adults delivered, on request only, by assistant curators, generally organised by Popular Universities; courses for children given by
generally organised by Popular Universities; courses for children given by ass. curators and stud. of Hist. of Art. Difficulties raised by overburdened teaching programmes in which Art does not figure. At the Hague: collections of reproductions circulating among schools. Instruction should begin at Mus. of Natural Hist. and be continued at Mus. of Local History rather than attempt to give superficial notions of art. M. FRIEDLAENDER: in Germany, great variety in administrative status and type of museums (in Europe, museums preceded the "idea" of the museum, whereas in America, the need for museums created them) Conducted lectures. Result not very
need for museums created them) Conducted lectures. Result not very satisfactory. F. rather sceptical. Advocates training of schoolmasters, not direct instruction of children by keepers. Short lectures on museums (10 to 20 minutes) broadcasted considerably raise number of visitors. In Mannheim and Essen (new Museums) creation of a sort of "University Extension" applied to Museum and Art (workmen). A. COLASANTI. In Italy, history of art taught with success at the universities publicly and free. Obligatory for students of Faculty of Letters. History of Art also obligatory in secondary education; teaching by the schoolmasters; free entrance permits given as reward; compositions
by the schoolmasters; free entrance permits given as reward; compositions on works of art. Primary education: Visits to museums, drawing classes. Evening schools for workers. Conducted visits of soldiers to museums. The "Workman's Leisure-hours" Societies of Friends of historic Monuments Official publications. 400,000 photos issued. Attempt to group schoolmasters. H. FOCILLON: What could be done to stimulate educational efficiency of Mus with regard to children and young people? Discussion about "Museum Hour". Could objects be lent to schools? Should children be encouraged to visit museums? All museums? L. V. COLEMAN: In so far as museums consider education as their first
In so far as museums consider education as their first duty, they all have much in common. H. FOCILLON: Should there be different methods in Mus. of archeology and of reproductions and in Mus. of art? VAN GELDER: One should begin with practical subjects. First, natural history, then history, last art. Sir Cecil Harcourt SMITH: Importance of creating circulating collections of reproductions. No specialised museums for children. L. HAUTECHEUR: The circulating "Pedagogic Museum" in France. Teaching should begin with natural history. M. FRIEDLAENDER: Certain things may be taught, but not art. All museums contain material that could be utilised. It
art. All museums contain material that could be utilised. It is through teaching that material pedagogically valuable can be brought forth. J. LEFRANCQ: Explains system adopted in Brussels by „Educational Dept.". A. Rossi. Children's visits to mus. should be regular. Discussion on open and closed days of museums. More than one closed day per week impossible. "Evening museum Discussion. Question of light and expense. Opening hours on Sunday. Difficulty of attracting workmen. Museum information service. Reproductions issued by museums. The meeting of experts voted resolutions, printed on p. 263 We give here the essential points contained in them. Considering the
give here the essential points contained in them. Considering the fact that as in spite of differences, all museums can serve for education, the experts think that efforts should be made to make the youth of a country visit museums under competent supervision. For this purpose one hour every week or every fortnight, the "Museum hour", should be reserved for instruction. The experts recommend that a special organ be created at museums for educative purposes, controlled by but in no case staffed with the scientific personnel of the museums. The experts do not think it necessary to constitute special popular
experts do not think it necessary to constitute special popular museums, but recommend that Museums should open their doors after the working hours as far as this would be compatible with the conditions of lighting and of supervision. They express the desire to see all museums and their libraries, if the latter be for public use, open on Sundays till a late hour. They recommend that a department for photography be constituted at all great museums in order to facilitate circulation of reproductions of works of art. They desire to see a special department created at the International Office of
see a special department created at the International Office of Museums for information which would effectively help such circulation. Le Gérant: ED. SCHNEIDER. LIBRAIRIE DE FRANCE 110, Boulevard Saint-Germain, PARIS Les Albums d'Art Druet Chaque album, 24 phototypies tirées par Daniel Jacomet et une notice illustrée d'une ou deux similigravures Format in-4° raisin Prix : 30 Francs PARUS : I. Cézanne, notice de Joachim GASQUET. II. Maillol, notice de Waldemar GEORGE. III. Van Gogh, notice de Waldemar GEORGE. IV. Daumier, notice d'André FONTAINAS. V. Delacroix, notice de Gabriel MOUREY. VI. Degas, notice de François FOSCA. A PARAITRE : Monet, Manet,
Degas, notice de François FOSCA. A PARAITRE : Monet, Manet, Pissaro, Courbet, Joseph Bernard, Corot, Despiau, Rouault, Seurat, Ingres, etc., etc. COLLECTION DRUET 30.000 clichés photographiques des œuvres des peintres et sculpteurs des XIXe et XXe siècles. Catalogue illustré de plus de 600 reproductions Prix : 12 francs. — Franco : 13 fr. 50. ÉDITIONS DE LA REVUE D'ART 'Mil STURGE' POTSDAMERSTRASSE 134a BERLIN W. 9 Pour tous les esprits cultivés Pour tous les amateurs d'art L'expressionnisme est l'art de notre temps ! LE LIVRE DEFINITIF sur l'expressionnisme vient de paraître en 3e, 4e et 5e éditions, les premières éditions
paraître en 3e, 4e et 5e éditions, les premières éditions ayant été rapidement épuisées : Herwarth Walden: " Coup d'œil sur l'Art " Relié demi-toile 2. — M 75 reproductions en pleine page des œuvres principales des Expressionnistes, Cubistes et Futuristes de tous les pays, 3 tableaux en couleurs, 10 études d'Herwarth Walden donnant les bases pour l'établissement des formules du nouvel art, histoire de l'art expressionniste du temps présent. Présentation parfaite, établie avec le plus grand soin Ouvrage indispensable pour connaître l'art expressionniste du temps présent. Indispensable à tout connaisseur, par son abondante documentation empruntée aux Maîtres. Indispensable à
connaisseur, par son abondante documentation empruntée aux Maîtres. Indispensable à tout homme cultivé, car il expose comment l'art constitue aujourd'hui un aspect universel de la pensée. L'histoire de l'expressionnisme Le manifeste des expressionnistes de tous pays ÉDITION DE LUXE : Les 10 premiers exemplaires de la 3e édition reliés peau, numérotés et signés par l'auteur, l'ex. : 50 mks. Les 50 exemplaires suivants reliés demi-peau, numérotés et signés par l'auteur, l'ex. : 30 mks. MEUBLES ANCIENS V. VIDAL 4, rue Petel Paris (XVe) Téléphone : Vaugirard 15-80 B3—i—n=as ■■■■' == (8 Ready Now A SPECIAL MONOGRAPH devoted entirely to SPANISH
(8 Ready Now A SPECIAL MONOGRAPH devoted entirely to SPANISH ART (Produced under the direction of "The Burlington Magazine," in conjunction with Messrs. B. T. Batsford, Ltd., acting as Publishers) The publication of this work was suggested firstly by the marked increase of interest in the art of Spain, and, secondly, by the immense success of our first and less ambitious experiment in book production, "Chinese Art" (now out of print). The new volume will be on an ampler scale, but will conform in format to "Chinese Art" The new book about SPANISH ART will consist of eight essays, each
book about SPANISH ART will consist of eight essays, each dealing with one of the arts practised in Spain, as detailed in the list of contents printed below. The volume will be lavishly illustrated in colour and monotone, and the plates will be arranged chronologically. A valuable bibliography, a map, etc., will be included. CONTENTS SPANISH ART (an Introduction to the Volume). By R. R. Tatlock (Editor of "The Burlington Magazine") ARCHITECTURE.. By Royall Tyler — PAINTING .... — Sir Charles Holmes an H. Isherwood Kay — SCULPTURE ... — Geoffrey Webb — TEXTILES .... — A. F. Kendrick —
Geoffrey Webb — TEXTILES .... — A. F. Kendrick — CERAMICS .... — Bernard Rackham and A. Van de Put — WOODWORK ... — Bernard Bevan — METALWORK... — Pedro de Artinano The book will contain about 280 illustrations in colour and monotone, and the size will be royal 4to (nearly as large as "The Burlington Magazine"). The price will be £2 2s. net (foreign postage 2S. 6d. extra). An illustrated prospectus will be sent on application. As it is already clear that the demand for this book will be very large, applications for copies should be made at once
very large, applications for copies should be made at once to the Publishers : The BURLINGTON MAGAZINE, 17 Old Burlington Street, London, W. 1 Paris : BRENTANO'S, 39, avenue de l'Opéra 1-6 Louis LEMAIRE Expert VENTES PUBLIQUES INVENTAIRES PARTAGES 86, rue Blomet (en appartement) PARIS 1 LES PRESSES UNIVERSITAIRES DE FRANCE 49, Boulevard Saint-Michel, PARIS (Ve) Les Dessins de la Collection LÉON BONNAT au Musée de Bayonne Trois portefeuilles, comprenant chacun une Table explicative et 60 planches en phototypie 600 francs La première série ne se vend plus séparément. Les deuxième et troisième séries se vendent séparément chacune, au prix
deuxième et troisième séries se vendent séparément chacune, au prix de 200 francs. — Les trois séries ensemble, prix : 600 francs. Frais d'expédition pour la France : 8 francs par série. — Pour l'étranger : 10 francs par série. M. & R. GORRA 32 bis, Boulevard Haussmann, PARIS Objets d'Art et Tapisseries du MOYEN AGE et de la RENAISSANCE FAÏENCES ITALIENNES et HISPANO-MOREQUES R. C. Seine, 56.476 0 | a mmm LIBRAIRIE ANCIENNE et MODERNE a B E ■■ K Es pi Wm ww Livres rares et curieux en tous genres et de toutes les époques Spécialité de gravures,
tous genres et de toutes les époques Spécialité de gravures, Livres sur les Beaux-Arts Voyages, Atlas, Marine, 1 Cartes géographiques anciennes de tous les pays du monde, Vues de villes. Catalogue périodique francs sur demande i GALERIE AUBIER — Im PARIS (vie) passage Conti, — il TABLEAUX MODERNES. — ÉDITIONS 1 La maison d'édition vient de faire paraître un travail important de Maurice RAYNAUD Anthologie de la peinture moderne de 1906 à nos jours. 1 vol. broché . 30 francs. LES ANCIENS ORFÈVRES FRANÇAIS ET LEURS POINÇONS Tirage numéroté, volume grand in-4° de 430 pages donnant les noms de plus
grand in-4° de 430 pages donnant les noms de plus de 10.000 orfèvres reproduisant, décrivant ou indiquant plus de 5.500 poinçons. Ces poinçons, principalement de province, sont presque tous inédits : ils ont été retrouvés sur les planches d'insculpation où les maîtres-orfèvres étaient tenus de frapper leur poinçon avant d'entrer en fonction. C'est donc l'empreinte officielle du poinçon neuf qui se trouve reproduite. En vente chez: BOIVIN, orfèvre, fabricant toute la belle argenterie, 24, rue des 4-fils, PARIS (III e) IMPORTANTE RICHESSE D'ARGENTERIE ET D'ORFÈVRERIE ÉDITÉS FRANÇAISES DU HEMISPHÈRE LES PRESSES UNIVERSITAIRE DE FRANCE 49, Boulevard Saint-Michel, PARIS (Ve) ACTES
PRESSES UNIVERSITAIRE DE FRANCE 49, Boulevard Saint-Michel, PARIS (Ve) ACTES DU CONGRÈS D'HISTOIRE DE L'ART organisé par la Société d'Histoire de l'Art français Paris, 26 septembre-5 octobre 1921 (TEXES ANGLAIS, FRANÇAIS, ESPAGNOL, ITALIEN) Trois volumes de 18,5x25,5 cm, VIII-1348 pages et un album de 100 planches 200 fr. FRAIS D'EXPÉDITION POUR LA FRANCE, 8 fr. ; POUR L'ÉTRANGER, 20 fr. PUBLICATIONS DE L'INSTITUT INTERNATIONAL DE COOPÉRATION INTELLECTUELLE Cahiers des relations artistiques (Presses Universitaires de France): I. La Coopération intellectuelle et les Beaux-Arts (1927). Prix 5 francs. II. Collections de reproductions photographiques d'œuvres d'art (1927). Prix: 12 francs. III. (En préparation):
photographiques d'œuvres d'art (1927). Prix: 12 francs. III. (En préparation): L'Identification des œuvres d'art. IV. (En préparation): Le Congrès international des Arts populaires. À paraître prochainement: Catalogue de l'exposition internationale des chalcographies. MADRID, PARIS, ROME. Mai 1927. (Paris, Morancé, 1927.) Éditions en français, italien, espagnol. Prix: 10 francs. Bulletin des relations universitaires. Six numéros par an. (Édition bilingue, Presses Universitaires de France. Abonnement: un an: France: 36 francs; autres pays: 2 dollars; le numéro: 8 francs.) Bulletin des relations scientifiques, trimestriel. (Édition bilingue, Presses Universitaires de France. Abonnement: un an: France: 24 francs; autres pays: 2 dollars; le numéro: 8
France: 24 francs; autres pays: 2 dollars; le numéro: 8 francs.) Bulletin bibliographique de documentation internationale contemporaine, mensuel. (Édition bilingue, Presses Universitaires de France. Abonnement: un an: 40 francs.) Liste des ouvrages remarquables parus dans différents pays au cours de l'année 1924. (Édition bilingue, Presses Universitaires de France. Prix: 5 francs, épuisé, en réimpression.) Bulletin de la Section d'information et de documentation, mensuel. (Édition bilingue, Presses Universitaires de France. Abonnement: un an: 30 francs; le numéro: 3 francs.) The Intellectual Foundations of International Cooperation, par Alfred ZIMMERN. (Presses Universitaires de France, 1926. Prix: 10 francs.) À paraître prochainement: Travaux de
France, 1926. Prix: 10 francs.) À paraître prochainement: Travaux de l'Institut international de coopération intellectuelle pendant l'année 1926. (Presses Universitaires de France. Un volume de 220 pages.) DIRECTION HENRY LAPAUZE LA RENAISSANCE DE L'ART FRANÇAIS ET DES INDUSTRIES DE LUXE 10, RUE ROYALE PARIS LA PLUS IMPORTANTE LA PLUS LUXUEUSE LA MIEUX DOCUMENTÉE LA PLUS RÉPANDUE DES REVUES D'ART ABONNEMENTS ABONNEMENT ANNUEL: FRANCE, 150 FRANCS; ÉTRANGER, 200 FRANCS 10, RUE ROYALE — PARIS PUBLICATIONS DE L'INSTITUT INTERNATIONAL DE COOPÉRATION INTELLECTUELLE Cahiers des relations artistiques (Presses Universitaires de France): I. La Coopération intellectuelle et les Beaux-Arts (1927). Prix: 5 francs. II.