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In the pages of this book are reproduced all of the 503 images that Steichen described as "photographs, made in all parts of the world, of the gamut of life from birth to death with emphasis on daily relationship..."-- Back cover.
Where, how, by whom and for what were the first museums of contemporary art created? These are the key questions addressed by J. Pedro Lorente in this new book. In it he explores the concept and history of museums of contemporary art, and the shifting ways in which they have been imagined and presented. Following an introduction that sets out the historiography and considering questions of terminology, the first part of the book then examines the paradigm of the Musée des Artistes Vivants in Paris and its equivalents in the rest of Europe during the nineteenth century. The second part takes the story forward from 1930 to the present, presenting New York's Museum of Modern Art as a new universal role model that found emulators or 'contramodels' in the rest of the Western world during the twentieth century. An epilogue, reviews recent museum developments in the last decades. Through its adoption of a long-term, worldwide perspective, the book not only provides a narrative of the development of museums of contemporary art, but also sets this into its international perspective. By assessing the extent to which the great museum-capitals - Paris, London and New York in particular - created their own models of museum provision, as well as acknowledging the influence of such models elsewhere, the book uncovers fascinating perspectives on the practice of museum provision, and reveals how present cultural planning initiatives have often been shaped by historical uses.
List of members in v. 3, 4, and 8.
Art is a comedy set in Paris which revolves around three friends and raises questions about art and friendship. Moving from disagreement on the questionable purchase of a completely white painting their arguments become less theoretical and more personal. They border on destroying their friendships.
First published in 1998, this volume explores the expanding wave of a new kind of museums of contemporary art in the nineteenth and early twentieth centuries. Lorente examines their ‘coming of age’ and the weight of their museological legacy, arguing that the establishment of great national museums of art at London and Paris radiated out, carrying their influence with it. This book emerged as part of a series on towns and cities and has a focus on London and Paris as centres of artistic innovation.
Illustrated listings of 150 must-see Impressionist paintings from Musée d'Orsay, Musée de l'Orangerie, Musée Marmottan Monet, Musée du Louvre, Petit Palais, Musée Picaso and Musée Rodin with the stories behind the art. Easy-to-follow tours that bring the reader into the streets of Paris to explore the places where the artists lived, fell in love, found inspiration and placed their easels to paint these famous works.
A narrative history of the founding of the Louvre that also explores the ideological underpinnings, pedagogical aims, and aesthetic criteria of this, the first great national art museum.
Multicultural societies are a phenomenon that can be increasingly observed worldwide. This book focuses on the question of how individuals living within a multicultural society experience the meeting of cultures. Murdock combines both a thorough review of the theoretical body of research concerning multiculturalism and related concepts such as globalization, acculturation and biculturalism with specific empirical research evidence, providing new insights into factors which shape our openness towards a plurally composed society. Multiculturalism, Identity and Difference contains original research conducted within the ‘natural laboratory’ that multilingual, multicultural Luxembourg provides. This is a country where the foreign population makes up nearly half of the total population. In the era of globalization, culture contact is a daily occurrence and this book makes a contribution to the questions of if and how culture contact can be experienced as an opportunity rather than a threat by individuals.