Pub Date : 1900-01-01DOI: 10.21638/spbu27.2021.208
Yuning Xiang, Bingzhe Xiang
The topic of this study is a realistic due to the fact that in Chinese history, the Tang Dynasty (618–907) is considered as the peak of national strength. It is during this period that ancient China became the center of economic and cultural exchanges with a number of states in the medieval world. Thanks to stable social development and the steadily developing economy, Chinese art of this period flourished. To this day, it has a special meaning for both Chinese and Asian cultures. The article examines the presentational forms of the art of Tang Dynasty in historical and art museums of the People’s Republic of China at the beginning of the 21st century: an overview of the history of Tang Dynasty and its art is presented, the collections of museum objects — works of fine art of the Tang Dynasty in Chinese museums are considered, and specific forms of art presentation are analyzed, such as expositions, exhibitions, online exhibitions, educational programs and projects implemented in cooperation with the media. The research is based on original sources of museum origin (materials from museums’ official websites, interviews conducted with museum employees) and a body of regulatory and administrative documents covering museum policy developments in the People’s Republic of China.
{"title":"Chinese art in the Tang Dynasty and the forms of its presentation in museums of the People’s Republic of China at the beginning of the 21st century","authors":"Yuning Xiang, Bingzhe Xiang","doi":"10.21638/spbu27.2021.208","DOIUrl":"https://doi.org/10.21638/spbu27.2021.208","url":null,"abstract":"The topic of this study is a realistic due to the fact that in Chinese history, the Tang Dynasty (618–907) is considered as the peak of national strength. It is during this period that ancient China became the center of economic and cultural exchanges with a number of states in the medieval world. Thanks to stable social development and the steadily developing economy, Chinese art of this period flourished. To this day, it has a special meaning for both Chinese and Asian cultures. The article examines the presentational forms of the art of Tang Dynasty in historical and art museums of the People’s Republic of China at the beginning of the 21st century: an overview of the history of Tang Dynasty and its art is presented, the collections of museum objects — works of fine art of the Tang Dynasty in Chinese museums are considered, and specific forms of art presentation are analyzed, such as expositions, exhibitions, online exhibitions, educational programs and projects implemented in cooperation with the media. The research is based on original sources of museum origin (materials from museums’ official websites, interviews conducted with museum employees) and a body of regulatory and administrative documents covering museum policy developments in the People’s Republic of China.","PeriodicalId":115184,"journal":{"name":"The Issues of Museology","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115529396","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.21638/spbu27.2021.107
A. S. Bragin
The article considers the scientific basis for the study of the activities of university museums by Polish scientists. The main support for Polish university museums is said to be provided by the Association of University Museums (AUM). The author analyzes its research and popularization activities. The main purpose of the work is to study the history of the formation and development of six university museums of the Silesian Voivodeship in the Republic of Poland: “Museum of Geology of Deposits named after Czeslaw Poborsky at the Faculty of Mining and Geology of the Silesian University of Technology”, “Museum of the Faculty of Geosciences of the University of Silesia”, “Museum of Silesian Organs”, “Center for History and Traditions of the University of Economics in Katowice”, “Museum of Technology of the Silesian University of Technology” and the “Museum of Medicine and Pharmacy in Sosnowiec”. The author also examines their collections and exhibitions. Theoretical research in the field of studying university museums is considered in detail. For the analysis, scientific articles, books, brochures, mass media materials and information on museum websites are used in order to provide a complete picture of the historical and current state of university museums in the region. In the process of writing the article, the author contacted several guardians and university museum staff to clarify the dates and information provided in various sources. The work partially uses their responses received by e-mail, with the indication of information about the source.
{"title":"University museums of the Silesian Voivodeship (Republic of Poland)","authors":"A. S. Bragin","doi":"10.21638/spbu27.2021.107","DOIUrl":"https://doi.org/10.21638/spbu27.2021.107","url":null,"abstract":"The article considers the scientific basis for the study of the activities of university museums by Polish scientists. The main support for Polish university museums is said to be provided by the Association of University Museums (AUM). The author analyzes its research and popularization activities. The main purpose of the work is to study the history of the formation and development of six university museums of the Silesian Voivodeship in the Republic of Poland: “Museum of Geology of Deposits named after Czeslaw Poborsky at the Faculty of Mining and Geology of the Silesian University of Technology”, “Museum of the Faculty of Geosciences of the University of Silesia”, “Museum of Silesian Organs”, “Center for History and Traditions of the University of Economics in Katowice”, “Museum of Technology of the Silesian University of Technology” and the “Museum of Medicine and Pharmacy in Sosnowiec”. The author also examines their collections and exhibitions. Theoretical research in the field of studying university museums is considered in detail. For the analysis, scientific articles, books, brochures, mass media materials and information on museum websites are used in order to provide a complete picture of the historical and current state of university museums in the region. In the process of writing the article, the author contacted several guardians and university museum staff to clarify the dates and information provided in various sources. The work partially uses their responses received by e-mail, with the indication of information about the source.","PeriodicalId":115184,"journal":{"name":"The Issues of Museology","volume":"89 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126579970","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.21638/spbu27.2022.102
V. P. Porshnev
The museum, named after its founder A.Kircher, is not sufficiently appreciated by museum historians in this country, limited only to brief characteristics of this cultural phenomenon of the Baroque era. The exposition of the museum was a complete author’s model of the Universe, a world of metaphors and symbols generated by the mystical worldview of A.Kircher. A world far from physical reality, despite the fact that its creator knew and took into account the main scientific discoveries of that time. The evaluation of this museum should not be based on A.Kircher’s contribution to natural sciences and humanities, but by the way the interior was decorated, how artfully the exhibits were selected and presented, how masterfully the visual and sound effects were thought out. In addition, historians do not sufficiently connect the museum with the extensive written heritage of A.Kircher, who previously outlined his model of the world order in a series of illustrated folios, which together formed a virtual museum, transformed by the author into the Musaeum Kircherianum, replacing book illustrations with an objective row. The sources of the proposed reconstruction of the museum are cosmological, scientific, linguistic and historical works of A.Kircher, notes of travelers, and museum catalogues of 1678–1878.
{"title":"Musaeum Kircherianum in the history of museum work during the Baroque epoch","authors":"V. P. Porshnev","doi":"10.21638/spbu27.2022.102","DOIUrl":"https://doi.org/10.21638/spbu27.2022.102","url":null,"abstract":"The museum, named after its founder A.Kircher, is not sufficiently appreciated by museum historians in this country, limited only to brief characteristics of this cultural phenomenon of the Baroque era. The exposition of the museum was a complete author’s model of the Universe, a world of metaphors and symbols generated by the mystical worldview of A.Kircher. A world far from physical reality, despite the fact that its creator knew and took into account the main scientific discoveries of that time. The evaluation of this museum should not be based on A.Kircher’s contribution to natural sciences and humanities, but by the way the interior was decorated, how artfully the exhibits were selected and presented, how masterfully the visual and sound effects were thought out. In addition, historians do not sufficiently connect the museum with the extensive written heritage of A.Kircher, who previously outlined his model of the world order in a series of illustrated folios, which together formed a virtual museum, transformed by the author into the Musaeum Kircherianum, replacing book illustrations with an objective row. The sources of the proposed reconstruction of the museum are cosmological, scientific, linguistic and historical works of A.Kircher, notes of travelers, and museum catalogues of 1678–1878.","PeriodicalId":115184,"journal":{"name":"The Issues of Museology","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127326988","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.21638/spbu27.2021.203
Marianna F. Gavrilova
In the presented article, the author analyzes the historical stages of development of one of the oldest literary museums in the Republic of Tatarstan, the “Kazan Museum of A. M. Gorky” (now “Museum of A. M. Gorky and F. I. Chaliapin”), in the context of the institution’s directors who were appointed by higher party bodies. Many appointees lacked experience in the museum sphere and did not have the corresponding educational background. This format of selecting candidates for key positions was characteristic of the Soviet period and was a kind of model for managing culture. However, the activities of the leaders of the museum — “appointees”, the intensive development of areas of work and dedication to the chosen profession influenced the formation of a special museum space in the republic, which united representatives of science, art, and outstanding writers of the region. The article emphasizes the special role of one of the first directors of the museum, Maria Nikolaevna Elizarova, who was not only a principled communist, but also a writer who led the museum for almost four decades and laid the foundations for its development strategy for many years. Elizarova’s cultural initiatives, as well as her predecessors’ and followers’, were significant in preserving the historical and cultural heritage of the region. Given the lack of existing facts on the history of the “Kazan Museum of A. M. Gorky”, and the activities of its employees, the material presented in the article is able to fill historical gaps and form a general idea in regard to the outstanding personalities who stood at the helm of the museum.
{"title":"“Appointees” — directors of the Museum of A. M. Gorky in Kazan: The Soviet model of cultural management","authors":"Marianna F. Gavrilova","doi":"10.21638/spbu27.2021.203","DOIUrl":"https://doi.org/10.21638/spbu27.2021.203","url":null,"abstract":"In the presented article, the author analyzes the historical stages of development of one of the oldest literary museums in the Republic of Tatarstan, the “Kazan Museum of A. M. Gorky” (now “Museum of A. M. Gorky and F. I. Chaliapin”), in the context of the institution’s directors who were appointed by higher party bodies. Many appointees lacked experience in the museum sphere and did not have the corresponding educational background. This format of selecting candidates for key positions was characteristic of the Soviet period and was a kind of model for managing culture. However, the activities of the leaders of the museum — “appointees”, the intensive development of areas of work and dedication to the chosen profession influenced the formation of a special museum space in the republic, which united representatives of science, art, and outstanding writers of the region. The article emphasizes the special role of one of the first directors of the museum, Maria Nikolaevna Elizarova, who was not only a principled communist, but also a writer who led the museum for almost four decades and laid the foundations for its development strategy for many years. Elizarova’s cultural initiatives, as well as her predecessors’ and followers’, were significant in preserving the historical and cultural heritage of the region. Given the lack of existing facts on the history of the “Kazan Museum of A. M. Gorky”, and the activities of its employees, the material presented in the article is able to fill historical gaps and form a general idea in regard to the outstanding personalities who stood at the helm of the museum.","PeriodicalId":115184,"journal":{"name":"The Issues of Museology","volume":"57 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122336286","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.21638/spbu27.2021.110
Oksana B. Vakhromeeva
In 2021, the 135th anniversary of George Semenovich Vereiskiy (1886–1962) was celebrated. Vereiskiy was a talented, methodical, and self-disciplined artist who focused on the subject of his work. He was a member of the “World of Art” association, curator of the State Hermitage’s Department of Engravings, teacher of painting, laureate of the second degree of the Stalin Prize (1946), People’s Artist of the RSFSR (1962), honored worker of the arts, and member of the Academy of Arts. Vereiskiy was involved in various forms of art, especially drawing and painting. He worked in many genres (portrait, landscape, interior, still life, residential and industrial genres). In his drawings and lithographs in the 1920–30s, he was a pioneer of industrial themes. The main source of his work was love for Russian nature (his landscapes are imbued with a soft lyricism). His clarity of perception of the surrounding reality and high civil position enabled him to make the most important aspect of art — a portrait. Without exaggeration, it can be argued that Vereiskiy for more than half a century created a large portrait gallery of his contemporaries, from science and artists to the Knights of St. George from the First World War and military officials of World War II (1941–1945). Vereiskiy’s artistic heritage is very extensive and it is still waiting for its explorer. This article was created in order to establish a precursor for the study of the artist’s creative heritage, fragmentarily concentrated in a number of museum collections, which are discussed below. The reference point to the artist’s creative heritage is his autobiography, which the article introduces into scientific circulation for the first time.
{"title":"The unfulfilled museum collection of works by G. S.Vereiskiy: The artist’s autobiography as a key to his creative heritage","authors":"Oksana B. Vakhromeeva","doi":"10.21638/spbu27.2021.110","DOIUrl":"https://doi.org/10.21638/spbu27.2021.110","url":null,"abstract":"In 2021, the 135th anniversary of George Semenovich Vereiskiy (1886–1962) was celebrated. Vereiskiy was a talented, methodical, and self-disciplined artist who focused on the subject of his work. He was a member of the “World of Art” association, curator of the State Hermitage’s Department of Engravings, teacher of painting, laureate of the second degree of the Stalin Prize (1946), People’s Artist of the RSFSR (1962), honored worker of the arts, and member of the Academy of Arts. Vereiskiy was involved in various forms of art, especially drawing and painting. He worked in many genres (portrait, landscape, interior, still life, residential and industrial genres). In his drawings and lithographs in the 1920–30s, he was a pioneer of industrial themes. The main source of his work was love for Russian nature (his landscapes are imbued with a soft lyricism). His clarity of perception of the surrounding reality and high civil position enabled him to make the most important aspect of art — a portrait. Without exaggeration, it can be argued that Vereiskiy for more than half a century created a large portrait gallery of his contemporaries, from science and artists to the Knights of St. George from the First World War and military officials of World War II (1941–1945). Vereiskiy’s artistic heritage is very extensive and it is still waiting for its explorer. This article was created in order to establish a precursor for the study of the artist’s creative heritage, fragmentarily concentrated in a number of museum collections, which are discussed below. The reference point to the artist’s creative heritage is his autobiography, which the article introduces into scientific circulation for the first time.","PeriodicalId":115184,"journal":{"name":"The Issues of Museology","volume":"96 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133255253","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.21638/11701/spbu27.2019.104
V. Kelner
Статья посвящена истории создания в Санкт-Петербурге в начале XX в. Еврейского музея. Сам процесс этого сложного и трудоемкого дела начался еще в 1860-е гг. Он был тесно связан с появлением в стране еврейской интеллигенции и осознанием ею своих исторических задач в деле национального воспитания народа. В первую очередь в статье выделяются следующие аспекты этого дела: его общенародный характер, народническая и либеральная направленность, роль меценатства. Несмотря на то что фактическим идеологом всего процесса создания музея был участник русского народнического движения, член партии социалистов-революционеров, писатель, драматург и поэт С. (Ш.) Ан-ский (Ш. Раппопорт), это дело превратилось в общенародное, общенациональное. В нем приняли участие не только революционно настроенные люди, но и представитель русского либерального движения, видный участник русского политического процесса М. М. Винавер, сионисты, идишисты и представители практически всех многочисленных еврейских партий и общественных организаций. В статье подчеркивается, что музей, согласно идее его создателей, был частью единой научной и культурной системы, призванной объединить в единое целое все национальные институты под эгидой официально созданного в 1908 г. Еврейского историко-этнографического общества. Много места в работе уделено истории руководимых С. Ан-ским экспедиций, работавших на территориях еврейской оседлости, по сбору материалов, документов и предметов; ликвидации музея в 1929 г. и дальнейшей судьбе его коллекций, влиянию музеологических идей создателей этого музея на дальнейшее развитие национального музейного дела в стране. Ключевые слова: музей, этнография, Ан-ский, экспедиции, евреи, быт, культура.
这篇文章是关于20世纪初圣彼得堡犹太人博物馆创造的故事。这个复杂而艰苦的过程始于19世纪60年代，它与犹太知识分子的出现和他们对民族教育的历史目标有着密切的联系。本文强调了这一案件的下列方面:它的普遍性、人民和自由主义，以及捐助者的作用。尽管整个博物馆的实际意识形态是俄罗斯人民运动的成员、社会主义革命党成员、作家、剧作家和诗人s。安斯基(h . rappport)，这个案子已经变成了一个全国性的案子。它不仅包括革命的人民，而且包括俄罗斯自由运动的代表，俄罗斯政治进程的杰出参与者m . m . vinaver、犹太复国主义者、意第奇主义者和几乎所有犹太政党和社会组织的代表。这篇文章强调，博物馆是一个科学和文化系统的一部分，旨在在1908年正式成立的犹太历史民族主义社会的支持下统一所有国家机构。许多工作地点包括在犹太人定居地区工作的南非探险队的历史，收集材料、文件和物品;1929年博物馆被拆除，以及博物馆收藏的进一步命运，博物馆创始人的博物馆思想对国家博物馆事业的进一步发展的影响。关键字:博物馆、民族志、安斯基、探险、犹太人、生活、文化。
{"title":"“Time to Gather Stones.” On history of the Jewish Historical-Ethnographic Museum and its collections. 2019","authors":"V. Kelner","doi":"10.21638/11701/spbu27.2019.104","DOIUrl":"https://doi.org/10.21638/11701/spbu27.2019.104","url":null,"abstract":"Статья посвящена истории создания в Санкт-Петербурге в начале XX в. Еврейского музея. Сам процесс этого сложного и трудоемкого дела начался еще в 1860-е гг. Он был тесно связан с появлением в стране еврейской интеллигенции и осознанием ею своих исторических задач в деле национального воспитания народа. В первую очередь в статье выделяются следующие аспекты этого дела: его общенародный характер, народническая и либеральная направленность, роль меценатства. Несмотря на то что фактическим идеологом всего процесса создания музея был участник русского народнического движения, член партии социалистов-революционеров, писатель, драматург и поэт С. (Ш.) Ан-ский (Ш. Раппопорт), это дело превратилось в общенародное, общенациональное. В нем приняли участие не только революционно настроенные люди, но и представитель русского либерального движения, видный участник русского политического процесса М. М. Винавер, сионисты, идишисты и представители практически всех многочисленных еврейских партий и общественных организаций. В статье подчеркивается, что музей, согласно идее его создателей, был частью единой научной и культурной системы, призванной объединить в единое целое все национальные институты под эгидой официально созданного в 1908 г. Еврейского историко-этнографического общества. Много места в работе уделено истории руководимых С. Ан-ским экспедиций, работавших на территориях еврейской оседлости, по сбору материалов, документов и предметов; ликвидации музея в 1929 г. и дальнейшей судьбе его коллекций, влиянию музеологических идей создателей этого музея на дальнейшее развитие национального музейного дела в стране. Ключевые слова: музей, этнография, Ан-ский, экспедиции, евреи, быт, культура.","PeriodicalId":115184,"journal":{"name":"The Issues of Museology","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130152438","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.21638/11701/SPBU27.2020.207
A. Amosova, Tat’iana M. Konysheva
The article is devoted to the analysis of the updated museum exposition entitled “The Object ‘Pavilion’”, implemented in a bomb shelter under the building of the St. Petersburg administration for the anniversary of the Victory in the Great Patriotic War, by May 9, 2020. The authors study history of The Smolny Museum, as well as its current expositions and memorial spaces available for visitors within the walls of the government building: the exposition “From the history of women’s education in Russia. Smolny Institute for Noble Maidens” and “December, 1. Shot in Smolny”; V. I. Lenin’s study and the room in which he lived with his wife, N. K. Krupskaya; The white-column assembly hall, where in the fall of 1917 the II All-Russian Congress of Soviets of Workers ‘and Soldiers’ Deputies was held. The period of the war and the siege of Leningrad (1941–1944) occupies an important place in the museum’s theme. One of the most attractive memorial spaces of the museum is the underground bunker located under the territory of the Smolny garden, museumified in 2019. The article describes the technical parameters of the underground structure and considers its history, studies and compares two versions of the bomb shelter exposition (“Bunker A. A. Zhdanov”, 2019 and “The Object ‘Pavilion’”, 2020). The updated exposition is distinguished by a significant expansion of the exposition space, an emphasis on demonstrating the previously hidden functional premises of the bunker (dining room, disinfection room, rest room, etc.), a more detailed display of the historical events of the blockade related to the management of the city and the front, the introduction of multimedia technologies. The article is based on the historical sources of the museum origin.
这篇文章专门分析了2020年5月9日在圣彼得堡政府大楼下的防空洞中为纪念卫国战争胜利周年而更新的博物馆展览“The Object’Pavilion”。作者研究了斯莫尔尼博物馆的历史，以及目前在政府大楼内为游客提供的展览和纪念空间:“从俄罗斯妇女教育的历史来看”的展览。斯莫尔尼贵族少女学院”和“十二月一号”。在斯莫尔尼拍摄”;列宁的书房和他与妻子克鲁普斯卡娅居住的房间;1917年秋，第二次全俄工兵代表苏维埃代表大会在这里召开。战争时期和列宁格勒围城(1941-1944)在博物馆的主题中占有重要地位。博物馆最具吸引力的纪念空间之一是位于斯莫尔尼花园地下的地下掩体，该掩体于2019年被博物馆化。本文描述了地下结构的技术参数，并考虑了其历史，研究和比较了两个版本的防空洞博览会(“Bunker A. A. Zhdanov”，2019年和“The Object’Pavilion”，2020年)。更新后的展览的特点是展览空间的显著扩展，重点展示了以前隐藏的地堡功能场所(餐厅、消毒室、休息室等)，更详细地展示了与城市和前线管理相关的封锁历史事件，并引入了多媒体技术。本文是根据博物馆起源的历史资料。
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Pub Date : 1900-01-01DOI: 10.21638/spbu27.2022.112
S. Vivatenko, T. E. Sivolap
The relevance of the topic raised in this article is justified by the importance of the issue of restitution of cultural property after the Second World War and the interest it arouses in society at the current stage of development. During the time that has passed since the defeat of Nazi Germany, many former owners of works of art, from whom the Nazis requisitioned their collections, have regained their artifacts. The process of restitution continues up to the present. The idea of restitution arose from the idea of protecting cultural property from encroachment. And if shortly after the war, the families of former owners of works of art tried to return their art property from private collectors, now lawsuits are usually directed against museums. One of the well-known restitution cases in recent years is the lawsuit against the New York Museum of Modern Art, which is an attempt to return family values by the descendants of the German artist Georg Grosz and collector Alfred Flechtheim. Dispute resolution has not yet been brought to its logical conclusion. The purpose of the article is to establish the problems of returning the lost cultural property that was illegally acquired by the Nazis during the Second World War and sold to museums, as well as to private collectors. Today, many of these works of art are owned by American collectors or museums. The descendants of repressed cultural figures who suffered from the Nazi regime demand the restoration of their rights, through the restitution of art artefacts or compensation for lost works of art.
{"title":"Museum restitution problems: The cases of the Grosz and Flechtheim families against the New York Museum of Modern Art","authors":"S. Vivatenko, T. E. Sivolap","doi":"10.21638/spbu27.2022.112","DOIUrl":"https://doi.org/10.21638/spbu27.2022.112","url":null,"abstract":"The relevance of the topic raised in this article is justified by the importance of the issue of restitution of cultural property after the Second World War and the interest it arouses in society at the current stage of development. During the time that has passed since the defeat of Nazi Germany, many former owners of works of art, from whom the Nazis requisitioned their collections, have regained their artifacts. The process of restitution continues up to the present. The idea of restitution arose from the idea of protecting cultural property from encroachment. And if shortly after the war, the families of former owners of works of art tried to return their art property from private collectors, now lawsuits are usually directed against museums. One of the well-known restitution cases in recent years is the lawsuit against the New York Museum of Modern Art, which is an attempt to return family values by the descendants of the German artist Georg Grosz and collector Alfred Flechtheim. Dispute resolution has not yet been brought to its logical conclusion. The purpose of the article is to establish the problems of returning the lost cultural property that was illegally acquired by the Nazis during the Second World War and sold to museums, as well as to private collectors. Today, many of these works of art are owned by American collectors or museums. The descendants of repressed cultural figures who suffered from the Nazi regime demand the restoration of their rights, through the restitution of art artefacts or compensation for lost works of art.","PeriodicalId":115184,"journal":{"name":"The Issues of Museology","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127914300","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.21638/11701/spbu27.2019.203
O. Lysenko
{"title":"Picture frames from the Romanov Gallery of the Imperial Hermitage. To the history of creation and existence","authors":"O. Lysenko","doi":"10.21638/11701/spbu27.2019.203","DOIUrl":"https://doi.org/10.21638/11701/spbu27.2019.203","url":null,"abstract":"","PeriodicalId":115184,"journal":{"name":"The Issues of Museology","volume":"01 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127443296","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.21638/spbu27.2021.103
A. Kugusheva
The article highlights the history of the prewar collection of the Simferopol Art Museum in 1937–1941 and notes the most important works of art lost. The events that accompanied the loss of the collection during the Great Patriotic War were repeatedly covered by the museum in publications. According to official data, during the evacuation in October 1941, the boxes with the exhibits and the museum archive were transported to Kerch where they were burnt during a fire in the port caused by the bombing of enemy aircraft. For many years, the museum’s employees Galina I. Fedotova, Natalya D. Dyachenko and Natalya F. Grishchenko studied documents in the Simferopol, Moscow and St. Petersburg archives to restore the list of exhibits from the prewar collection. The result of their work was an extensive “Catalog of the values of the Simferopol Art Museum, lost during the Second World War” (2002), which is presented in the documentary archive of the museum. The main sections of the permanent exhibition of the prewar collection of the Simferopol Art Gallery are marked in the catalog. This information is of great importance for Russian museum science: many items transferred in 1937–1941 to the Simferopol collection were previously included in the funds of the State Russian Museum, the Tretyakov Gallery, the Hermitage and other major museum collections.
这篇文章重点介绍了辛菲罗波尔艺术博物馆1937年至1941年战前收藏的历史，并指出了丢失的最重要的艺术作品。在卫国战争期间，博物馆在出版物中多次报道了这些藏品丢失的事件。根据官方数据，在1941年10月的撤离期间，装有展品和博物馆档案的箱子被运到刻赤，在那里，它们在敌机轰炸引起的一场火灾中被烧毁。多年来，博物馆的员工加林娜·i·费多托娃(Galina I. Fedotova)、娜塔莉亚·d·迪亚琴科(Natalya D. Dyachenko)和娜塔莉亚·f·格里先科(Natalya F. Grishchenko)研究了辛菲罗波尔、莫斯科和圣彼得堡档案馆的文件，以恢复战前收藏的展品清单。他们的工作成果是一个广泛的“辛菲罗波尔艺术博物馆价值目录，在第二次世界大战期间丢失”(2002年)，这是在博物馆的纪录片档案中呈现的。辛菲罗波尔艺术画廊战前收藏品永久展览的主要部分在目录中有标记。这些信息对俄罗斯博物馆的科学研究非常重要:1937年至1941年转移到辛菲罗波尔收藏的许多物品以前都包括在俄罗斯国家博物馆、特列季亚科夫画廊、冬宫和其他主要博物馆收藏的资金中。
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