Pub Date : 2021-11-05DOI: 10.1080/19369816.2021.1986294
Iñaki Arrieta-Urtizberea, J. Seguí, Xavier Roigé
Since the 1930s Spain has lived through a succession of different political systems: the Republic which lasted until 1939, the dictatorship which emerged after the Civil War and, since 1975, a parliamentary monarchy which has persisted through alternating socialist and conservative governments. The Museum of the Spanish People (Museo del Pueblo Español), a national museum first created by the left-leaning government during the Second Republic and originally devoted to folkloric studies, survived different political systems and generated numerous policies mirroring the political culture of each period. This article looks critically at the institutional history of the Museum of the Spanish People under changing social and political conditions. In this paper, our objective is to examine specific cultural policies adopted by the museum that evolved as a response to the larger national environment during its lifetime.
自20世纪30年代以来，西班牙经历了一系列不同的政治制度:持续到1939年的共和国，内战后出现的独裁统治，以及自1975年以来，社会主义政府和保守派政府交替存在的议会君主制。西班牙人民博物馆(Museo del Pueblo Español)是在第二共和国时期由左倾政府创建的国家博物馆，最初致力于民俗研究，在不同的政治制度下幸存下来，并制定了许多反映每个时期政治文化的政策。本文以批判的眼光审视西班牙人民博物馆在不断变化的社会和政治条件下的制度历史。在本文中，我们的目标是研究博物馆在其生命周期中为应对更大的国家环境而采取的具体文化政策。
{"title":"National museums, political systems, and cultural policies in Spain: The Museum of the Spanish People during the Second Republic, the dictatorship, and the parliamentary monarchy","authors":"Iñaki Arrieta-Urtizberea, J. Seguí, Xavier Roigé","doi":"10.1080/19369816.2021.1986294","DOIUrl":"https://doi.org/10.1080/19369816.2021.1986294","url":null,"abstract":"Since the 1930s Spain has lived through a succession of different political systems: the Republic which lasted until 1939, the dictatorship which emerged after the Civil War and, since 1975, a parliamentary monarchy which has persisted through alternating socialist and conservative governments. The Museum of the Spanish People (Museo del Pueblo Español), a national museum first created by the left-leaning government during the Second Republic and originally devoted to folkloric studies, survived different political systems and generated numerous policies mirroring the political culture of each period. This article looks critically at the institutional history of the Museum of the Spanish People under changing social and political conditions. In this paper, our objective is to examine specific cultural policies adopted by the museum that evolved as a response to the larger national environment during its lifetime.","PeriodicalId":52057,"journal":{"name":"Museum History Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-11-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48236561","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 : 2021-07-03DOI: 10.1080/19369816.2021.2000701
Annalisa Buttò, D. Fiore
ABSTRACT In this paper, we examine the itinerary of the objects and the agencies involved in the construction of the collections of ethnographic artefacts gathered by German ethnographer and priest Martin Gusinde during his fieldtrips to Tierra del Fuego (Argentina and Chile), carried out between 1918 and 1924. In order to study the formation processes of these collections, we will trace the agencies of the Selk´nam, Yagan and Kawésqar Indigenous people in the making, selling, trading or withholding of their material culture, showing the differential impact these had on the collections. We retrace the dispersal of these Fuegian collections into five museums located in Chile, Austria and the Vatican, presenting a reservoir unknown until now. Our exploration of the complex networks of social and material interactions involved in the dynamic biography of these Fuegian ethnographic collections sheds light on the active role of the Indigenous people in their construction.
{"title":"Fuegian diaspora: The itinerary and agents involved in the construction of Fuegian ethnographic collections carried out by Martin Gusinde through South America and Europe, 1918–1924","authors":"Annalisa Buttò, D. Fiore","doi":"10.1080/19369816.2021.2000701","DOIUrl":"https://doi.org/10.1080/19369816.2021.2000701","url":null,"abstract":"ABSTRACT In this paper, we examine the itinerary of the objects and the agencies involved in the construction of the collections of ethnographic artefacts gathered by German ethnographer and priest Martin Gusinde during his fieldtrips to Tierra del Fuego (Argentina and Chile), carried out between 1918 and 1924. In order to study the formation processes of these collections, we will trace the agencies of the Selk´nam, Yagan and Kawésqar Indigenous people in the making, selling, trading or withholding of their material culture, showing the differential impact these had on the collections. We retrace the dispersal of these Fuegian collections into five museums located in Chile, Austria and the Vatican, presenting a reservoir unknown until now. Our exploration of the complex networks of social and material interactions involved in the dynamic biography of these Fuegian ethnographic collections sheds light on the active role of the Indigenous people in their construction.","PeriodicalId":52057,"journal":{"name":"Museum History Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45461515","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 : 2021-07-03DOI: 10.1080/19369816.2021.1969794
J. Abt
{"title":"Art and Curiosity Cabinets of the Late Renaissance: A Contribution to the History of Collecting","authors":"J. Abt","doi":"10.1080/19369816.2021.1969794","DOIUrl":"https://doi.org/10.1080/19369816.2021.1969794","url":null,"abstract":"","PeriodicalId":52057,"journal":{"name":"Museum History Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49018935","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 : 2021-02-08DOI: 10.1080/19369816.2021.1877030
Stephanie Travis
ABSTRACT Nestled within the gardens of Dumbarton Oaks in Washington DC is a modern pavilion for viewing art, designed by Philip Johnson in 1963. Johnson utilised a circular module organised into a three-by-three grid, with an open courtyard in the centre. Each module is encased by glass walls, as Johnson wanted to merge nature and architecture. The building is outfitted in a minimal palette of luxurious materials, with an aesthetic that pulls stylistically from Johnson’s travels. With no programmatic or budgetary constraints, Johnson was able to design conceptually, similar to his own projects where he designed small structures with little purpose, termed follies. Critically acclaimed yet lesser-known, the pavilion has not been analysed as a museum. As such, this article asks the question, is this structure merely a folly or does it function as a space to exhibit and view the pre-Columbian objects in the collection?
{"title":"Function or folly? Philip Johnson’s pavilion for pre-Columbian art in Washington DC","authors":"Stephanie Travis","doi":"10.1080/19369816.2021.1877030","DOIUrl":"https://doi.org/10.1080/19369816.2021.1877030","url":null,"abstract":"ABSTRACT Nestled within the gardens of Dumbarton Oaks in Washington DC is a modern pavilion for viewing art, designed by Philip Johnson in 1963. Johnson utilised a circular module organised into a three-by-three grid, with an open courtyard in the centre. Each module is encased by glass walls, as Johnson wanted to merge nature and architecture. The building is outfitted in a minimal palette of luxurious materials, with an aesthetic that pulls stylistically from Johnson’s travels. With no programmatic or budgetary constraints, Johnson was able to design conceptually, similar to his own projects where he designed small structures with little purpose, termed follies. Critically acclaimed yet lesser-known, the pavilion has not been analysed as a museum. As such, this article asks the question, is this structure merely a folly or does it function as a space to exhibit and view the pre-Columbian objects in the collection?","PeriodicalId":52057,"journal":{"name":"Museum History Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/19369816.2021.1877030","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43182961","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 : 2020-07-02DOI: 10.1080/19369816.2020.1786642
M. Huang
ABSTRACT In the first half of the twentieth century, members of the public in Britain were familiar with traditional Chinese painting, but not work produced by living artists from Republican China. Public museums did not become enthusiastic about acquiring twentieth-century Chinese pictorial art until the 1960s. Substantial gifts of modern Chinese painting and calligraphy presented by private collectors to the British Museum and the Ashmolean Museum of Art and Archaeology in the 1990s have contributed to the proliferation of associated exhibitions, illustrated catalogues and scholarly activities. This paper explores the visions and strategies of British museums in forming their collections of modern Chinese painting in the second half of the twentieth century. It focuses on the institutional histories, acquisition policies and the collections of Chinese pictorial art in the British Museum and the Ashmolean Museum of Art and Archaeology in order to examine the impetus for initiating new collecting strategies in the last quarter of the twentieth century. It also investigates the contribution of individual curators in enhancing the British understanding of modern Chinese painting through acquisitions, exhibitions and publications from the 1960s to the 1990s, which laid a strong foundation for developing vigorous programmes of contemporary collecting and display.
{"title":"Collecting the new: Major museum collections of twentieth-century Chinese painting in London and Oxford","authors":"M. Huang","doi":"10.1080/19369816.2020.1786642","DOIUrl":"https://doi.org/10.1080/19369816.2020.1786642","url":null,"abstract":"ABSTRACT In the first half of the twentieth century, members of the public in Britain were familiar with traditional Chinese painting, but not work produced by living artists from Republican China. Public museums did not become enthusiastic about acquiring twentieth-century Chinese pictorial art until the 1960s. Substantial gifts of modern Chinese painting and calligraphy presented by private collectors to the British Museum and the Ashmolean Museum of Art and Archaeology in the 1990s have contributed to the proliferation of associated exhibitions, illustrated catalogues and scholarly activities. This paper explores the visions and strategies of British museums in forming their collections of modern Chinese painting in the second half of the twentieth century. It focuses on the institutional histories, acquisition policies and the collections of Chinese pictorial art in the British Museum and the Ashmolean Museum of Art and Archaeology in order to examine the impetus for initiating new collecting strategies in the last quarter of the twentieth century. It also investigates the contribution of individual curators in enhancing the British understanding of modern Chinese painting through acquisitions, exhibitions and publications from the 1960s to the 1990s, which laid a strong foundation for developing vigorous programmes of contemporary collecting and display.","PeriodicalId":52057,"journal":{"name":"Museum History Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/19369816.2020.1786642","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44508493","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 : 2020-07-02DOI: 10.1080/19369816.2020.1787634
A. Bounia
ABSTRACT Between the two world wars, affluent and intellectual men and women in Greece assembled and displayed in their private homes in Athens collections of Byzantine and pseudo-Byzantine objects in order to recreate personal renderings of the ‘Byzantine world’. Some of these collections, like the one by Dionysios Loverdos, ultimately transformed into house museums; others, like the collection owned by Eleni Stathatos, were donated to institutions where they are exhibited to this day; finally, a few, like the one by Eleni Kanellopoulou-Zouzoula, were dispersed and disappeared once their owners passed away. In this paper, I discuss these collections and their development against the backdrop of the Byzantine revival in Greece and the support and promotion of Byzantium and its art by the Arts and Crafts movement in Britain. I focus on these collections as interior decoration; the appreciation and understanding these collections enjoyed, which varied according to the gender of the collector; and the changes in meaning as these collections went from the domestic to the institutional.
{"title":"The revival of Byzantium through early twentieth century domestic collections in Greece: Tradition, modernity and gender","authors":"A. Bounia","doi":"10.1080/19369816.2020.1787634","DOIUrl":"https://doi.org/10.1080/19369816.2020.1787634","url":null,"abstract":"ABSTRACT Between the two world wars, affluent and intellectual men and women in Greece assembled and displayed in their private homes in Athens collections of Byzantine and pseudo-Byzantine objects in order to recreate personal renderings of the ‘Byzantine world’. Some of these collections, like the one by Dionysios Loverdos, ultimately transformed into house museums; others, like the collection owned by Eleni Stathatos, were donated to institutions where they are exhibited to this day; finally, a few, like the one by Eleni Kanellopoulou-Zouzoula, were dispersed and disappeared once their owners passed away. In this paper, I discuss these collections and their development against the backdrop of the Byzantine revival in Greece and the support and promotion of Byzantium and its art by the Arts and Crafts movement in Britain. I focus on these collections as interior decoration; the appreciation and understanding these collections enjoyed, which varied according to the gender of the collector; and the changes in meaning as these collections went from the domestic to the institutional.","PeriodicalId":52057,"journal":{"name":"Museum History Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/19369816.2020.1787634","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46780038","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 : 2020-07-02DOI: 10.1080/19369816.2020.1807122
R. Torrence, Elizabeth Bonshek, A. Clarke, Susan M. Davies, Jude Philp, M. Quinnell
ABSTRACT Between 1888 and 1898 Sir William MacGregor, first Administrator of British New Guinea, orchestrated the collection of over 15,000 cultural objects. Using Appadurai's notion of ‘things-in-motion’, we trace the networked biography of the MacGregor collection through ‘regimes of value’ as it moved from the territory to museums in Australia and Britain and then repatriated to Papua New Guinea. We show how collection management practices in these institutions were shaped by attitudes about anthropology as an emerging discipline, British New Guinea, and Sir William himself. The social history of the MacGregor collections highlights the multifaceted roles that ethnographic collections have played in sustaining cultural values, strengthening personal ties, re-enforcing self-identity and supporting nation building.
{"title":"Regimes of value in museum practices: A networked biography of the MacGregor field collection from British New Guinea","authors":"R. Torrence, Elizabeth Bonshek, A. Clarke, Susan M. Davies, Jude Philp, M. Quinnell","doi":"10.1080/19369816.2020.1807122","DOIUrl":"https://doi.org/10.1080/19369816.2020.1807122","url":null,"abstract":"ABSTRACT Between 1888 and 1898 Sir William MacGregor, first Administrator of British New Guinea, orchestrated the collection of over 15,000 cultural objects. Using Appadurai's notion of ‘things-in-motion’, we trace the networked biography of the MacGregor collection through ‘regimes of value’ as it moved from the territory to museums in Australia and Britain and then repatriated to Papua New Guinea. We show how collection management practices in these institutions were shaped by attitudes about anthropology as an emerging discipline, British New Guinea, and Sir William himself. The social history of the MacGregor collections highlights the multifaceted roles that ethnographic collections have played in sustaining cultural values, strengthening personal ties, re-enforcing self-identity and supporting nation building.","PeriodicalId":52057,"journal":{"name":"Museum History Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/19369816.2020.1807122","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41435554","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 : 2020-07-02DOI: 10.1080/19369816.2020.1805262
J. Lorente
{"title":"Art museums of Latin America: structuring representation","authors":"J. Lorente","doi":"10.1080/19369816.2020.1805262","DOIUrl":"https://doi.org/10.1080/19369816.2020.1805262","url":null,"abstract":"","PeriodicalId":52057,"journal":{"name":"Museum History Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/19369816.2020.1805262","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47016310","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 : 2020-07-02DOI: 10.1080/19369816.2020.1802900
Kate Scardifield
The warmest and wettest regions tend to host the highest structural complexity and biological diversity. The Amazonian forests in South America are home to 16,000 described and undescribed tree species alone and to communities that speak over 300 different languages. Moving towards the poles, biodiversity decreases in line with the average temperature, while the ratio of land covered by forests increases: the boreal forest that covers 33% of the total forested area is thus the largest biome on the planet.
{"title":"Formafantasma: Cambio","authors":"Kate Scardifield","doi":"10.1080/19369816.2020.1802900","DOIUrl":"https://doi.org/10.1080/19369816.2020.1802900","url":null,"abstract":"The warmest and wettest regions tend to host the highest structural complexity and biological diversity. The Amazonian forests in South America are home to 16,000 described and undescribed tree species alone and to communities that speak over 300 different languages. Moving towards the poles, biodiversity decreases in line with the average temperature, while the ratio of land covered by forests increases: the boreal forest that covers 33% of the total forested area is thus the largest biome on the planet.","PeriodicalId":52057,"journal":{"name":"Museum History Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/19369816.2020.1802900","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44592595","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 : 2020-07-02DOI: 10.1080/19369816.2020.1796337
M. Barrigón
ABSTRACT This article traces the history of the collection of medieval textiles from the abbey church of Las Huelgas in Burgos (Spain), including its discovery, study and initial display. The collection consists of more than 200 medieval textile grave goods from members of the royal family of Castile recovered between 1942 and 1944. After a detailed account of its discovery and the conditioning factors surrounding the occasions when the tombs were opened for scientific purposes, it goes on to describe how the collection was studied by the famous historian Gómez-Moreno. It also examines the establishment of the museum of medieval textiles that opened in the abbey in 1949, providing information about its unpublished project dating from 1944. The repercussions of the discovery of this collection and the creation of the museum were both national, leading to the opening of further tombs, and international, to studies on textiles.
{"title":"The creation of the major medieval textile museum in Spain: A history of the discovery, study and initial exhibition of the collection (1942−1949)","authors":"M. Barrigón","doi":"10.1080/19369816.2020.1796337","DOIUrl":"https://doi.org/10.1080/19369816.2020.1796337","url":null,"abstract":"ABSTRACT This article traces the history of the collection of medieval textiles from the abbey church of Las Huelgas in Burgos (Spain), including its discovery, study and initial display. The collection consists of more than 200 medieval textile grave goods from members of the royal family of Castile recovered between 1942 and 1944. After a detailed account of its discovery and the conditioning factors surrounding the occasions when the tombs were opened for scientific purposes, it goes on to describe how the collection was studied by the famous historian Gómez-Moreno. It also examines the establishment of the museum of medieval textiles that opened in the abbey in 1949, providing information about its unpublished project dating from 1944. The repercussions of the discovery of this collection and the creation of the museum were both national, leading to the opening of further tombs, and international, to studies on textiles.","PeriodicalId":52057,"journal":{"name":"Museum History Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/19369816.2020.1796337","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43761646","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}
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