jeanflop/post_ocr_correction2 huggingface dataset:
entre les bibliothèques publiques et celles qui ne pourraient être mises à la disposition des lecteurs sans inconvénient grave pour les services eux-mêmes. Elle souhaite que ces bibliothèques publiques restent autant que possible ouvertes le soir. En ce qui concerne les renseignements, la réunion affirme le principe que l'activité des conservateurs ne doit pas être absorbée par cette besogne, mais que dans les grands musées elle devrait incomber à une organisation particulière. D'une manière générale, il serait obligatoirement répondu aux questions qui concernent les œuvres conservées dans le Musée, son service éducatif, et en général toutes les ressources offertes au public. Les demandes d'un caractère intéressé, ou qui exigeraient des recherches trop étendues, pourront être écartées. Le Musée centre de reproductions d'œuvres d'art La réunion estime que la fabrication et la diffusion des reproductions d'œuvres d'art doivent être encouragées par tous les moyens et recommande que soit institué auprès de chaque grand musée un service photographique pour l'exécution d'images qui seront mises à la disposition des travailleurs au plus bas prix possible. Il est également désirable que dans chaque pays soit créé un atelier de moulage ; les moulages devraient être vendus à des prix modiques. Les musées contrôleraient la qualité des reproductions. La réunion rappelle les décisions prises en octobre 1926 au sujet de l'échange des photographies et des moulages et tient pour utile l'institution d'un service spécial de renseignements de cet ordre auprès de l'Institut international de Coopération intellectuelle (Office des Musées). NOTES L'Exposition internationale des Chalcographies à Genève Le 1er septembre dernier a été inaugurée, au Musée Rath, à Genève, l'Exposition des Chalcographies espagnole, italienne et française qui avait été précédemment organisée à Madrid, à Paris et à Rome. La Commission de Coopération intellectuelle avait voulu que cette manifestation d'activité de l'Office international des Musées fut présentée dans la capitale de la Société des Nations pendant le mois de l'Assemblée. La municipalité de Genève et l'administration de ses musées ont, à cette occasion, prêté à l'Office le plus obligeant concours : grâce aux soins attentifs de M. Deonna, directeur général du Musée d'art et d'histoire, et de
qualité des reproductions. La réunion rappelle les décisions prises en octobre 1926 au sujet de l'échange des photographies et des moulages et tient pour utile l'institution d'un service spécial de renseignements de cet ordre auprès de l'Institut international de Coopération intellectuelle (Office des Musées). NOTES L'Exposition internationale des Chalcographies à Genève Le 1er septembre dernier a été inaugurée, au Musée Rath, à Genève, l'Exposition des Chalcographies espagnole, italienne et française qui avait été précédemment organisée à Madrid, à Paris et à Rome. La Commission de Coopération intellectuelle avait voulu que cette manifestation d'activité de l'Office international des Musées fut présentée dans la capitale de la Société des Nations pendant le mois de l'Assemblée. La municipalité de Genève et l'administration de ses musées ont, à cette occasion, prêté à l'Office le plus obligeant concours : grâce aux soins attentifs de M. Deonna, directeur général du Musée d'art et d'histoire, et de M. Gielly, conservateur du Musée des Beaux-Arts, les trois cents planches des chalcographies ont trouvé, au Musée Rath, une présentation parfaite. M. Dufour-Féronce, secrétaire général adjoint de la S. D. N., a souligné, dans son discours inaugural, l'importance de cette exposition au point de vue de la Coopération dans le domaine des Beaux-Arts. Il a pu annoncer que les trois gouvernements intéressés avaient décidé de faire hommage des œuvres exposées à la ville de Genève. M. Albaret, conseiller administratif, en a remercié, en termes élevés, les Gouvernements espagnol, français et italien. L'exposition s'est prolongée pendant tout le mois de septembre. Elle a remporté le plus vif succès. Les trois cents planches ont été transportées ensuite à Bruxelles. Elles y seront exposées pendant le mois de décembre et l'Office national des Musées belges espère pouvoir y joindre cent épreuves tirées par la nouvelle chalcographie nationale. Une exposition identique sera également organisée à Liège, pendant le mois de janvier, par les soins du Conseil communal et de la Société royale des Beaux-Arts de cette ville. Annuaire du Musée des Beaux-Arts de Budapest La bibliothèque de l'Office international des Musées vient de recevoir le tome IV des Annuaires du Musée des Beaux-Arts de
domaine des Beaux-Arts. Il a pu annoncer que les trois gouvernements intéressés avaient décidé de faire hommage des œuvres exposées à la ville de Genève. M. Albaret, conseiller administratif, en a remercié, en termes élevés, les Gouvernements espagnol, français et italien. L'exposition s'est prolongée pendant tout le mois de septembre. Elle a remporté le plus vif succès. Les trois cents planches ont été transportées ensuite à Bruxelles. Elles y seront exposées pendant le mois de décembre et l'Office national des Musées belges espère pouvoir y joindre cent épreuves tirées par la nouvelle chalcographie nationale. Une exposition identique sera également organisée à Liège, pendant le mois de janvier, par les soins du Conseil communal et de la Société royale des Beaux-Arts de cette ville. Annuaire du Musée des Beaux-Arts de Budapest La bibliothèque de l'Office international des Musées vient de recevoir le tome IV des Annuaires du Musée des Beaux-Arts de Budapest (Az Orszagos Magyar Szépmuvészeti Múzeum Évkönyvei. Années 1924-1926. Grand in-4°. 232 p. de texte, 155 illustrations. Sommaire en allemand, p. 219-230). C'est M. Elek de Petrovics — le directeur du grand musée national hongrois auquel Mouseion a consacré un article (n° 1, p. 31-34) — qui a veillé à l'établissement de cet ouvrage où les articles d'érudition sont accompagnés de la reproduction parfaite des œuvres étudiées. Les mémoires de ce recueil ont trait aux œuvres conservées dans le musée ou bien à celles qui intéressent l'histoire de la Hongrie ; ils sont signés par Antoine Helder, Osvald Sirén, Cornelius Divald, Béla Ivanyi, Edith Hoffmann, Henri de Csukard, Yolande Balogh, André Pigler. La seconde partie du volume est le compte rendu de l'activité des divers départements qui, pendant ces années 1924-1926, se sont enrichis de quantité de chefs-d'œuvre. EDUCATION BY AMERICAN MUSEUMS (1) There seems to be less in common between museums of art, science and other subjects in Europe than in America. There are several possible explanations of the close ties of mutual interest which bind all of our museums together, but administrative considerations seem largely to be responsible. With few exceptions, each American museum is governed by a
l'établissement de cet ouvrage où les articles d'érudition sont accompagnés de la reproduction parfaite des œuvres étudiées. Les mémoires de ce recueil ont trait aux œuvres conservées dans le musée ou bien à celles qui intéressent l'histoire de la Hongrie ; ils sont signés par Antoine Helder, Osvald Sirén, Cornelius Divald, Béla Ivanyi, Edith Hoffmann, Henri de Csukard, Yolande Balogh, André Pigler. La seconde partie du volume est le compte rendu de l'activité des divers départements qui, pendant ces années 1924-1926, se sont enrichis de quantité de chefs-d'œuvre. EDUCATION BY AMERICAN MUSEUMS (1) There seems to be less in common between museums of art, science and other subjects in Europe than in America. There are several possible explanations of the close ties of mutual interest which bind all of our museums together, but administrative considerations seem largely to be responsible. With few exceptions, each American museum is governed by a board of so-called trustees, each trustee being a public spirited citizen and a man of affairs who serves without compensation. The board, acting through its president, shapes the policies of the museum and these policies are carried out by a paid director who is assisted in the larger museums by a staff of curators. Associated with the museum is a body of citizens who are called members and who pay annual dues. This form of administration is responsible for a considerable administrative technique which most museums share. In passing it may be remarked that the success of a museum depends primarily upon the ability of its director and that by general agreement an adequate salary for the director is the most profitable investment which the museum can make. A second bond between American museums is the fact that most of them are similarly supported. They receive on the one hand gifts from private sources and on the other appropriations from public treasuries. The common experience of seeking adequate support and justifying it by commensurate public service gives museums many interests in common. In Europe a museum might be defined as a collection. In America, it would be defined as an
a staff of curators. Associated with the museum is a body of citizens who are called members and who pay annual dues. This form of administration is responsible for a considerable administrative technique which most museums share. In passing it may be remarked that the success of a museum depends primarily upon the ability of its director and that by general agreement an adequate salary for the director is the most profitable investment which the museum can make. A second bond between American museums is the fact that most of them are similarly supported. They receive on the one hand gifts from private sources and on the other appropriations from public treasuries. The common experience of seeking adequate support and justifying it by commensurate public service gives museums many interests in common. In Europe a museum might be defined as a collection. In America, it would be defined as an organization which uses a collection for specific purposes. The call to action binds American museums together; the acceptance of the idea of a static museum holds European museums apart. It would be seen therefore that much of the experience developed in the New World is not entirely applicable to present conditions in the Old. However, the following outline is perhaps of some suggestive value. For two or three decades American museums have been engaged in discovering methods, and an endless variety of technique have been evolved. From it all has now emerged quite a clear outline of procedure in every branch of museum work; especially is this true in the field of educational effort which has received special and widespread attention. By common consent museums among us have long been regarded as what might be called extensive educational institutions. In other words, they have been thought to exist for the purpose of raising the general level of culture and enlightenment in the community rather than of devoting themselves to the special interests of any one class or group. On this theory it has been the practice to scatter educational effort broadcast in the faith that enough seed would take root
conditions in the Old. However, the following outline is perhaps of some suggestive value. For two or three decades American museums have been engaged in discovering methods, and an endless variety of technique have been evolved. From it all has now emerged quite a clear outline of procedure in every branch of museum work; especially is this true in the field of educational effort which has received special and widespread attention. By common consent museums among us have long been regarded as what might be called extensive educational institutions. In other words, they have been thought to exist for the purpose of raising the general level of culture and enlightenment in the community rather than of devoting themselves to the special interests of any one class or group. On this theory it has been the practice to scatter educational effort broadcast in the faith that enough seed would take root to repay. Popular educational work for children is of two kinds: The first is that offered to children who come to the museum of their own initiative and who are instructed during so-called "museum hours" on Saturdays when schools are closed or after school-hours on other days. The technique of the "museum hour", though simple, is the result of careful study from the standpoint of pedagogy. The children are met in groups of twenty or thirty and are first led in a discussion of selected museum objects which are placed before them. The instructor stimulates the interest of the children by inducing them to participate in the discussion rather than by lecturing them. After this, the group breaks up and plays so-called "museum-games". These games consist of finding the answers for written questions by inspecting exhibits. The questions may call for statements of facts gleaned from labels, or they may ask for judgments of aesthetic values. To continue the interest aroused by museum hours, clubs (sometimes called hobby-clubs) are formed. These little organizations are governed by the children themselves and are led in their activities so that what each club really takes is an elementary course in drawing, art history,
the "museum hour", though simple, is the result of careful study from the standpoint of pedagogy. The children are met in groups of twenty or thirty and are first led in a discussion of selected museum objects which are placed before them. The instructor stimulates the interest of the children by inducing them to participate in the discussion rather than by lecturing them. After this, the group breaks up and plays so-called "museum-games". These games consist of finding the answers for written questions by inspecting exhibits. The questions may call for statements of facts gleaned from labels, or they may ask for judgments of aesthetic values. To continue the interest aroused by museum hours, clubs (sometimes called hobby-clubs) are formed. These little organizations are governed by the children themselves and are led in their activities so that what each club really takes is an elementary course in drawing, art history, science or what not. The second type of work for children — that administered in cooperation with the schools — falls in turn into two categories: 1° Lending of illustrative material to the teacher for use in the class room; the material is selected by the teacher and delivered when she wants it for use in the regular work of the school; 2° Instruction of school classes at the museum. This instruction takes the same form as that of the "museum hours" discussed above. Who conducts the educational work? In a small museum with no special educational staff, necessarily the director does the work. In the larger museums there is usually a curator of education with instructors under his direction. According to a plan which is now finding general adoption, these instructors are paid by the school department of the city and are assigned to the museum to work under the direction of the curator of education. As rapidly as this last plan finds acceptance so rapidly will it be possible for museums to continue part of their present effort to train school teachers. Teacher training is now an important museum function and, of course, it will always be necessary
she wants it for use in the regular work of the school; 2° Instruction of school classes at the museum. This instruction takes the same form as that of the "museum hours" discussed above. Who conducts the educational work? In a small museum with no special educational staff, necessarily the director does the work. In the larger museums there is usually a curator of education with instructors under his direction. According to a plan which is now finding general adoption, these instructors are paid by the school department of the city and are assigned to the museum to work under the direction of the curator of education. As rapidly as this last plan finds acceptance so rapidly will it be possible for museums to continue part of their present effort to train school teachers. Teacher training is now an important museum function and, of course, it will always be necessary that museums address themselves to teachers with sufficient force to assure sympathetic understanding of museum purpose and ability to use illustrative material in the classroom. Ultimately, however, all museum instruction should be conducted by special museum instructors. How is the work supported? Though many museums without public grants do active educational work, it is true in general that the costs are borne by municipal appropriations. These appropriations are made in the expectancy of public service and the returns which the people receive in service ultimately measure the generosity of the public support. There is a close parallelism between the support of libraries and of museums. It is an accepted principle that the total income of a library should be one dollar or more per capita. Some libraries receive twice as much as this — all from the city. Museums are not as well supported since the active ones receive about twenty five cents per capita on the average. This figure applies to the single museum of a small town or the aggregate income of the various museums of a large city. It is likely that about 1 /3 of the resources of an active museum is devoted to educational work,
educational work, it is true in general that the costs are borne by municipal appropriations. These appropriations are made in the expectancy of public service and the returns which the people receive in service ultimately measure the generosity of the public support. There is a close parallelism between the support of libraries and of museums. It is an accepted principle that the total income of a library should be one dollar or more per capita. Some libraries receive twice as much as this — all from the city. Museums are not as well supported since the active ones receive about twenty five cents per capita on the average. This figure applies to the single museum of a small town or the aggregate income of the various museums of a large city. It is likely that about 1 /3 of the resources of an active museum is devoted to educational work, the other two-thirds being devoted to the administration and curatorial work respectively. This is about equivalent to one quarter mill per dollar of assessed valuation of the city (one dollar for every 4,000 dollars of capital value of city property). Popular educational work for adults takes various forms which are perfectly familiar to all museum workers: there is the conducting of parties through the exhibition halls; there are lectures, publications, publicity and temporary exhibits. An especially interesting development is consecutive class work and it is believed in some quarters that this line of activity may develop in close relationship to the library reading courses which have become very popular. One may pause to enquire why so much progress has been made along the lines already sketched and to ask what alchemy has produced the popular interest and widespread and generous support. This has not been a sudden development: it is the result of twenty years of growth. Much of the progress has been due to individual initiative and much has also been to the fact that museums have pooled their experience and their efforts. In this latter connection, The American Association of Museums is the visible channel of activity. The
perfectly familiar to all museum workers: there is the conducting of parties through the exhibition halls; there are lectures, publications, publicity and temporary exhibits. An especially interesting development is consecutive class work and it is believed in some quarters that this line of activity may develop in close relationship to the library reading courses which have become very popular. One may pause to enquire why so much progress has been made along the lines already sketched and to ask what alchemy has produced the popular interest and widespread and generous support. This has not been a sudden development: it is the result of twenty years of growth. Much of the progress has been due to individual initiative and much has also been to the fact that museums have pooled their experience and their efforts. In this latter connection, The American Association of Museums is the visible channel of activity. The Association has existed for more than twenty years and in its efforts to advance the mutual interest of all the museums it has quite recently succeeded in establishing a permanent office. It now acts as a bureau of information, disseminating the information through letters and publications. It acts as a research body making studies of museum method and technique. It conducts demonstrations of ideas which seem to be important. These activities are twofold in meaning: they indicate that American museums have united for common ends and they promise greater progress and more vigorous growth in future. Laurence Vail COLEMAN, Director of The American Association of Museums. SUMMARY OF FRENCH ARTICLES Spanish Engraving at the Chalcography of Madrid (La Gravure espagnole à la Chalcographie de Madrid), by Henri FOCILLON, p. 175. Exhibition gave a very interesting general view of Spanish engraving. No primitives, no Ribera. Spanish wood-cuts of the 15th c. (from Valencia) and of the 16th; Ferret, engraver under Philip II. Goldsmiths-Engravers. Ribera's role as an etcher. Reproducing engravers. Tomas Lopez and Juan de la Cruz (cartographers) Alfonso Cruzado (stone-cutter) and Manuel Salvador Carmona (1734 to 1820), engraver, sent to Paris in 1752 for training. Excellent but somewhat academic workmanship.
research body making studies of museum method and technique. It conducts demonstrations of ideas which seem to be important. These activities are twofold in meaning: they indicate that American museums have united for common ends and they promise greater progress and more vigorous growth in future. Laurence Vail COLEMAN, Director of The American Association of Museums. SUMMARY OF FRENCH ARTICLES Spanish Engraving at the Chalcography of Madrid (La Gravure espagnole à la Chalcographie de Madrid), by Henri FOCILLON, p. 175. Exhibition gave a very interesting general view of Spanish engraving. No primitives, no Ribera. Spanish wood-cuts of the 15th c. (from Valencia) and of the 16th; Ferret, engraver under Philip II. Goldsmiths-Engravers. Ribera's role as an etcher. Reproducing engravers. Tomas Lopez and Juan de la Cruz (cartographers) Alfonso Cruzado (stone-cutter) and Manuel Salvador Carmona (1734 to 1820), engraver, sent to Paris in 1752 for training. Excellent but somewhat academic workmanship. His followers Bias Ametller and Fern. Selma, then Pascal P. Moles (pupil of Dupuis). Carmona, Moles, Ametller and F. Mat. Ant. Irala Yuso (Telemachus), engravings after French originals. Spanish subjects (views, portraits, Murillo, decorative paintings). Followers: Galvan y Candela, Alcazar y Ruiz, Maura (died 1926). In History of Art two currents: one international, European, tending to unity, the other national. Goya too subjective for a mere work of reproduction. His etchings after Velázquez, 1778 (Olivares, 'Drinkers, Baltazar Carlos, Menippus, Dwarfs). Caprichos, 1793 to 97. Pessimistic satirist of manners, tremendously autochthonous, haunted by gruesome visions of a macabre world. Directness of personal accent, popular note, exuberance of buffoonery, mysterious power of feeling. The "Man at the pillory", "Saint François de Paule". Goya not overwhelmed by the material lure of things, not led away by the charm of his own technique. Moulds and subjugates it according to the imperious bidding of his dreams. Copper-plates of Caprichos given by Goya himself to Royal Chalcography (1803). Goya's influence on the painters of the 19th c. Drawings done in old age for another series of Caprichos. Contemporary engravers: J. Pedraza Ostos, T. Campuzano, J. Espina y Capo, Carlos Haes, Ric. de los Rios. Belgian Chalcography