jeanflop/post_ocr_correction2 huggingface dataset:
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 (Une Chalcographie belge), by A. J. J. DELEN, p. 190. Collection Plantin-Moretus contains several thousand drawings and engravings of Antwerp masters collected by E. Terbruggen about 1850. Additions since. Some engravings provisionally taken to the Rubens Coll. in the Antwerp Fine Art Mus.; but the stock is not yet catalogued as a print-room should be. Stock of the old copper-plates of the Plantin editions and of many other Antwerp editors. (Linnig Coll. of copper-plates of the XVI cent. and of the Rubens engravers) List of the most important copper-plates. Smaller stocks of plates in Brussels and in the Postel and Westmalle Abbeys. Intention to form out of all this a Belgian National Chalcography, for financially helping the Belgian Museums and popularizing Belgian art. Recent Reorganization of the Prado, Madrid (La Transformation récente du Prado de Madrid), by J. ALVAREZ DE SOTOMAYOR, p. 196. Classified of the pictures according to schools and tendencies. Chief Gallery now contains Spanish art from 15th century to Goya, the parallel suite of rooms the Italian and the Flemish schools; big central Velázquez room communicates with the middle of the Grand Gallery (Spanish 17th century). Greco linking up Venetians, Flemish and Spaniards. — The "Big Museums"
as a print-room should be. Stock of the old copper-plates of the Plantin editions and of many other Antwerp editors. (Linnig Coll. of copper-plates of the XVI cent. and of the Rubens engravers) List of the most important copper-plates. Smaller stocks of plates in Brussels and in the Postel and Westmalle Abbeys. Intention to form out of all this a Belgian National Chalcography, for financially helping the Belgian Museums and popularizing Belgian art. Recent Reorganization of the Prado, Madrid (La Transformation récente du Prado de Madrid), by J. ALVAREZ DE SOTOMAYOR, p. 196. Classified of the pictures according to schools and tendencies. Chief Gallery now contains Spanish art from 15th century to Goya, the parallel suite of rooms the Italian and the Flemish schools; big central Velázquez room communicates with the middle of the Grand Gallery (Spanish 17th century). Greco linking up Venetians, Flemish and Spaniards. — The "Big Museums" ought not to be shapeless and huge, but a selection of masterpieces and a few other pictures important in character or of historic value. The rest should be handed to provincial museums which therein might find great impulse of artistic and educational value. The Prado is being "cleansed" on these principles. Goya Centenary. Scientific catalogue in preparation. Reorganization of the Italian Galleries and Museums (Reorganisation des galeries et musées nationaux d'Italie), by F. SAPORI, p. 201. New excavations in Herculaneum, Pompeii and in Rome at the Forums; restoration of antique Theaters and Thermae; enlargement of Etruscan Mus. of Villa Giulia; reorganization of Spada Gallery bought by the state; opening of a new Mus. of Ancient Art (Museo Mussolini) on the Capitole. Complete reorganization of the Florentine Galleries. Opening of a Mus. of Oriental Art at the Ca'Pesaro, Venice. Ancona: New Archeological Museum in S. Francesco delle Scale. Principally Greco-Roman and Roman objects from the local necropolis and those of the num (Vth to 1st c. B.C.), from Novella to Historia, 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
principles. Goya Centenary. Scientific catalogue in preparation. Reorganization of the Italian Galleries and Museums (Reorganisation des galeries et musées nationaux d'Italie), by F. SAPORI, p. 201. New excavations in Herculaneum, Pompeii and in Rome at the Forums; restoration of antique Theaters and Thermae; enlargement of Etruscan Mus. of Villa Giulia; reorganization of Spada Gallery bought by the state; opening of a new Mus. of Ancient Art (Museo Mussolini) on the Capitole. Complete reorganization of the Florentine Galleries. Opening of a Mus. of Oriental Art at the Ca'Pesaro, Venice. Ancona: New Archeological Museum in S. Francesco delle Scale. Principally Greco-Roman and Roman objects from the local necropolis and those of the num (Vth to 1st c. B.C.), from Novella to Historia, 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 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, 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
mansion. Florence: Palazzo Pitti. Reconstitution of the old Medici treasure (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, 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 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 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
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 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, 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 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
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 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 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 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 MUSEUMS: 1. Education by American Museums (L'Enseignement dans les
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 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 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 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 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.
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 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 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 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 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
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 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 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 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
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 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 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 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