Missing Identity

June 01 2015 Reply to Jeremy Coote Kathryn Wysocki Gunsch Kathryn Wysocki Gunsch Kathryn Wysocki Gunsch is Teel Curator of African and Oceanic Art, Museum of Fine Arts, Boston. KGunsch@mfa.org Search for other works by this author on: This Site Google Scholar Author and Article Information Kathryn Wysocki Gunsch Kathryn Wysocki Gunsch is Teel Curator of African and Oceanic Art, Museum of Fine Arts, Boston. KGunsch@mfa.org Online ISSN: 1937-2108 Print ISSN: 0001-9933 © 2015 by the Regents of the University of California.2015 African Arts (2015) 48 (2): 9. https://doi.org/10.1162/AFAR_a_00214 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Kathryn Wysocki Gunsch; Reply to Jeremy Coote. African Arts 2015; 48 (2): 9. doi: https://doi.org/10.1162/AFAR_a_00214 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAll JournalsAfrican Arts Search Advanced Search This content is only available as a PDF. © 2015 by the Regents of the University of California.2015 Article PDF first page preview Close Modal You do not currently have access to this content.

Argentina's National Museum of History and the National Museum of Fine Arts were created almost at the same time in Buenos Aires, towards the end of the nineteenth century. Many of the artefacts collected in both museums are of the same kind: oil paintings, drawings, engravings, and sculptures, depicting battles, portraits, landscapes, and costumbrista scenes. However, the artefacts in each institution were understood differently: those in the Museum of Fine Arts were considered as ‘art’, while those in the other museum were seen as historical documents. This differentiation between the material of art history and that of history deserves critical examination. The creation of each museum may explain this distinction, as well as offering a point of departure for further reflections about the way in which those artefacts have been exhibited, studied, and preserved.

Women have always played a large part in the visual arts throughout Africa. In Botswana at the present time this is illustrated most immediately by the woven baskets, seen everywhere, in galleries, shops and at roadside stalls, that have come to represent the country and its arts and crafts; and with the odd exception they are all made by women in the most rural areas. However, women in Botswana currently practice other arts, including house decoration and pottery, although, for a variety of reasons, these are less immediately obvious. In contrast to these practices, representing traditions inherited from the past, there are others of relatively recent inception. Since the 1980s Botswana has seen the emergence of a small number of women 'Fine' artists, some of whom are Botswana nationals while others are expatriates settled in the country. In contrast to arts made for immediate local use, or sold in roadside stalls, the work of these artists is exhibited in the few art galleries that now exist. During the same period, art education has also been gradually introduced into the school and university system in Botswana. Art galleries both private and public are another recent development, beginning with the National Museums and Monuments Art Gallery, which opened in 1978, and which began to facilitate local exhibitions of Botswana art, while also encouraging exhibitions of this material in other countries. In addition to local tradition and an emerging Fine Art practice, art education, museums and galleries, a series of workshops has also been developed. Some of these were set up by expatriates on a more-or-less permanent basis with the aim of training women in various art forms, while others are temporary and artist-led, giving selected groups of artists the chance to meet, work and exchange ideas. I begin this thesis, therefore, with a survey of all the arts inherited from the past, and currently practised by women in Botswana, and then, in a series of chapters I look at each of the developments, including art education, museums and galleries, and workshops; and their histories, their aims, and their achievements with particular regard to the overall development of the arts in Botswana. This thesis thereby provides a comprehensive study of all the arts practised by women in Botswana through the last thirty years.

Archives of Facial Plastic SurgeryVol. 9, No. 5 BeautyFree AccessFrank W. Benson’s Portrait of My DaughtersLisa Duffy-ZeballosLisa Duffy-ZeballosSearch for more papers by this authorPublished Online:1 Sep 2007AboutSectionsPDF/EPUB Permissions & CitationsPermissionsDownload CitationsTrack CitationsAdd to favorites Back To Publication ShareShare onFacebookTwitterLinked InRedditEmail Frank Weston Benson was born into a prosperous maritime family in Salem, Massachusetts, in 1862. When he was 18 years old, Benson attended the School of the Museum of Fine Arts, Boston, Massachusetts. He later traveled to Paris, France, where he attended the avant-garde Académie Julian and studied under Gustave Boulanger and Jules Joseph Lefebvre. In Paris, Benson saw the works of the great Impressionist masters and began to experiment with painting out of doors (en plein air) himself, producing works like Paris Parade (private collection). Although Benson's submission was not accepted for the Paris Salon, the official exhibition of the Académie des Beaux-Arts, his painting After the Storm (private collection), depicting 2 Breton girls standing on the shore overlooking rough seas, was accepted by the British Royal Academy of Arts, London, in 1884. Bolstered by this success, the young artist set up a studio and executed portraits for members of Boston society. One of his most sensitive and intimate paintings is his portrait of the young Gertrude Schirmer (Museum of Fine Arts). In a style derived from John Singer Sargent's intimate portraits of children, Benson portrays her seated in a diminutive rocking chair. Formally perched in a stiff ruffled frock, she seems constrained by the formality of her surroundings; her delicate pink dress emphasizes her youth, and her face conveys the suppressed energy of childhood.Benson served as co-director of the School of the Museum of Fine Arts with Edmund Tarbell and continued to teach there until 1930. In his later years, he turned his attention to still-life paintings and etchings of sportsmen hunting and fishing. By the time of his death in 1951, Benson had accrued numerous academic honors and enjoyed unprecedented financial success as well.Benson was a founding member of the society of the Ten American Painters. Known simply as “the Ten,” this society comprised a group of American painters who exhibited jointly: Childe Hassam, John Twachtman, J. Alden Weir, Thomas Dewing, Robert Reid, Edward Simmons, Willard Metcalf, and Joseph DeCamp, as well as Tarbell and Benson. Most, but not all, of these artists had adopted the Impressionist style while studying in Paris. More conservative than their French counterparts, the American Impressionists painted in a high-keyed pastel palette with more subtle value contrasts. And, whereas Monet and Renoir occasionally painted urban settings, the Americans painted figures enjoying the countryside or in quiet domestic interiors.Benson was initially hesitant to adopt the Impressionist dissolution of form in the depiction of his figures' faces, which he solidly and realistically rendered. Like Renoir, Benson used tight, even brushstrokes to delineate his subjects' features and limited his experiments with the effects of sunlight on different surfaces to the rendering of the background and his figures' clothing.However, by the turn of the 20th century, Benson had fully embraced the Impressionist credo of representing only impressions, or the effects of light and atmosphere on his subjects. As he instructed his eldest daughter Eleanor, “Don't paint anything but the effects of light. Don't paint things.”1 In his plein-air paintings like Sunlight (Indianapolis Museum of Art, Indianapolis, Indiana) and Eleanor (Museum of Fine Arts), Benson employs characteristic short brushstrokes with a quick application of paint to capture the fleeting effects of light on dappled surfaces, and background details are lost in a surfeit of light. Benson's Hilltop (Malden Public Library, Malden, Massachusetts) depicts Eleanor standing atop a hilltop bluff, accompanied by her brother George, overlooking the shore. Eleanor holds a white kerchief above her head, signaling the unseen ships in the distance. The movement of the handkerchief caught in the breeze is echoed by her blue sash and the hem of her dress, which wave frantically in the sea breeze. Yet amid this swirling rush of fabric, the children's faces are impassive as they gaze out toward the sea.Benson's most beloved paintings evoke the seaside retreat of his country home near Penobscot Bay, Maine. Benson's favorite models were his 4 children, whom he immortalized in paintings evoking the eternal New England summer. Eleanor (born in 1890), was his favorite model, and she posed for some of his greatest plein-air canvases, including Sunlight, Eleanor, and The Reader (private collection), and later posed with her son in Eleanor and Benny (private collection). Benson painted Portrait of My Daughters (Worcester Art Museum, Worcester, Massachusetts) in the summer of 1907 at Wooster Farm, his summer home on North Haven Island in Maine. Earlier that summer, he painted Eleanor alone in profile perched on top of a picket fence before an idyllic landscape background, a beach cabana visible at the left and a view of the sea in the distance. In the present painting, he depicts his 3 daughters half-length before the same background. Fourteen-year-old Elizabeth, on the left, gazes down at the small basket of orange nasturtiums on her lap. Seventeen-year-old Eleanor is on the far right, turned away from the viewer, resting her arm against the railing of the bench, as she looks out toward the ocean beyond. Standing between them, 9-year-old Sylvia grasps a lock of her long brown hair and glances off to the left. Such feminine figural groupings were common in the works of the Boston School. Many of these decorative paintings of women indoors or seated out-of-doors depict “reveries,” and, indeed, each girl seems absorbed in her own thoughts and makes little attempt to engage each other or the viewer. The girls' interior serenity contrasts with the agitated light and movement of their surroundings. Benson employs the Impressionist broken color technique, in which complementary colors are placed next to each other to produce dazzling visual effects. In the landscape behind Eleanor and in the flowers in Elizabeth's lap, Benson placed flecks of blue paint next to dabs of orange to produce a visual resonance of color. His quick, staccato brushstrokes animate the natural surroundings, evoking the rustling leaves in the trees; the wind blows the girls' tresses, and the grasses wave in the breeze. In contrast to the serene stillness put forth by the academic style, with their glasslike surfaces, Benson's canvas scintillates with impasto energy, capturing the sights, sounds, and exhilaration of a perfect summer's day.W. Benson (1862-1951). Portrait of My Daughters, 1907. Oil on canvas, 26 × 36⅛ in. Worcester Art Museum, Worcester, Massachusetts.Reference1. Bedford FA. Frank W. Benson: American Impressionist. New York, NY: Rizzoli; 1994:175 Google ScholarFiguresReferencesRelatedDetails Volume 9Issue 5Sep 2007 InformationCopyright 2007 American Medical Association. All Rights Reserved. Applicable FARS/DFARS Restrictions Apply to Government Use.To cite this article:Lisa Duffy-Zeballos.Frank W. Benson’s Portrait of My Daughters.Archives of Facial Plastic Surgery.Sep 2007.376-377.http://doi.org/10.1001/archfaci.9.5.376Published in Volume: 9 Issue 5: September 1, 2007PDF download

In 2019, as part of the events dedicated to the 50th anniversary of the Museum, the album "The Kemerovo Regional Museum of Fine arts" (now the Kuzbass Museum of Fine Arts) was published. This is the first publication about the Kuzbass Museum of Fine Arts — a regional cultural institution of the Kemerovo region, opened in 1969. The album is based on research that reveals the history of the Museum in its fundamental aspects: the origins, the ascetics, the buildings that housed the Museum, and the art collection. В 2019 году в рамках мероприятий, посвященных 50-летию музея, издан альбом «Кемеровский областной музей изобразительных искусств» (ныне Музей изобразительных искусств Кузбасса). Это первое издание о Музее изобразительных искусств Кузбасса (МИИК) — областном учреждении культуры Кемеровской области, открытом в 1969 году. Основой альбома является исследование, раскрывающее историю музея в ее фундаментальных аспектах: истоки, подвижники, здания, в которых размещался и размещается музей, и художественная коллекция.

[The Toulouse – Lautrec Collection of the Budapest Museum of Fine Arts at Ara Pacis, Rome, December 2015].Taking 170 works from the Museum of Arts in Budapest, Ara Pacis in Rome has produced a majo...

Journal Article The Henry E. Huntington Library and Art Gallery: From its Beginnings to 1969. By John E. Pomfret. (San Marino, Calif.: Huntington Library. 1969. Pp. x, 241. $8.50.), Museum of Fine Arts, Boston: A Centennial History. In two volumes. By Walter Muir Whitehill. (Cambridge, Mass.: Belknap Press of Harvard University Press. 1970. Pp. xi, 442; 444–888. $25.00 the set.), and Merchants and Masterpieces: The Story of the Metropolitan Museum of Art. By Calvin Tomkins. (New York: E. P. Dutton and Company. 1970. Pp. 383. $10.00.) Get access The Henry E. Huntington Library and Art Gallery: From its Beginnings to 1969. By Pomfret John E.. (San Marino, Calif.: Huntington Library. 1969. Pp. x, 241. $8.50.) Museum of Fine Arts, Boston: A Centennial History. In two volumes. By Whitehill Walter Muir. (Cambridge, Mass.: Belknap Press of Harvard University Press. 1970. Pp. xi, 442; 444–888. $25.00 the set.) Merchants and Masterpieces: The Story of the Metropolitan Museum of Art. By Tomkins Calvin. (New York: E. P. Dutton and Company. 1970. Pp. 383. $10.00.) Lillian B. Miller Lillian B. Miller University of Wisconsin, Milwaukee Search for other works by this author on: Oxford Academic Google Scholar The American Historical Review, Volume 75, Issue 7, December 1970, Pages 2136–2138, https://doi.org/10.1086/ahr/75.7.2136 Published: 01 December 1970

Contributors

This article describes the recently completed remounting, transport, and reinstallation of two large-scale Egyptian objects at the Museum of Fine Arts, Boston: the exquisitely painted cedar coffin panels of Djehutynakht and the monolithic granodiorite sculpture of Lady Sennuwy. Both artifacts exhibit structural instabilities, their surfaces are severely compromised by degradation, and their considerable weight added to the challenge of handling. Information on previous treatments and installation methods was limited, further complicating the process of developing appropriate conservation and mounting measures. Custom-designed armatures were developed to stabilize the structural integrity of the objects and facilitate their move within the building, allow secure reinstallation for a temporary exhibition, and provide future mobility. The precarious nature of both objects dictated that handling had to be kept to a minimum. Decision-making processes, conservation and mounting measures, and armature design are discussed in detail.

The rock-cut tombs of Cyrene's Northern Necropolis have survived to the present day in a pitifully ruinous state because of the looting that has taken place since antiquity and because of their frequent re-use as dwellings or stables. An important archive of typewritten reports, photographs, sketches, and correspondence pertaining to this necropolis is preserved principally in the Museum of Fine Arts in Boston and documents the first officially-sanctioned archaeological excavation at Cyrene. This was conducted by an American archaeological mission lead by Richard Norton from October 1910 to the end of April 1911 and was jointly sponsored by the Archaeological Institute of America and the Museum of Fine Arts in Boston. The documents, particularly those that chronicle the excavation of four tombs and their associated finds, represent an important resource for our understanding of the history of the exploration of this necropolis. They not only offer information on individual monuments, but they also illustrate the typological range of artefacts selected for funerary ritual from the late Classical period into the second century AD, but principally during the Hellenistic period. Additionally, the documents reveal particular funerary practices, such as the successive re-use of tombs that took place at least from the late Hellenistic period onwards.

Review - Hélio Oiticica: The Body of Colour Exhibition at the Museum of Fine Arts, Houston 10 December 2006 – 1 April 2007 Tate Modern, London 6 June – 23 September 2007 Catalogue by Mari Carmen Ramirez (ed.) Tate Publishing, London, 2006376 pp., 225 colour illus. ISBN 978-1-85437-698-5 £24.99 (pb) - Volume 11 Issue 3-4

Policymakers are challenged to advance diversity and inclusion throughout the Australian academy. Informing this issue, this study aims to (a) identify proportions of staff in Australian universities that are publicly reported as being represented by persons with disability; (b) identify categories of actions supporting the employment and career development of people with lived experience as reported within Australian university plans and (c) critically examine contemporary policy efforts of Australian universities by exploring the scholarly evidence base for measures with potential to support disability recruitment and advancement in the academy. The study is informed by thematic analysis as applied to 17 action plans retrieved from an internet search and 7 scholarly articles obtained from Scopus, ProQuest Central and ProQuest Social Science databases. This research offers policymakers a preliminary guide containing good practice features that they should consider when designing and developing policy endeavouring to increase the representation and advancement of persons with disability in staff at Australian universities.

Taiwan has implemented its Dementia Action Plan 2.0 for 8 years and Inclusive Art Programs have been developed after 6 years of preparation. The “Arts Together for Wise Friends,” an effort coordinated by the research staff from the Taiwan National Museum of Fine Arts, provided dementia friendly art tour to dementia families. This creation was based on the concept of dementia friendly and equity for people with disabilities. Every two months, a trained docent, with the accompany of 3‐4 trained college students from Chung Shan Medical University (CSMU), provided a 1.5‐hour art tour to 2‐3 dementia families. The activities included the appreciation of art pieces and art history, along with group discussion about the time spent together. This purpose of this paper was to evaluate the outcomes of this inclusive art program for the dementia families and those who involved. The qualitative research method was used by doing detailed interviews to those participants, including the students, the docents, and people with dementia and their families. A total of 10 people were interviewed: 4 dementia families, 3 docents and 3 students. Theme analysis was conducted and four major categories were grouped: resilience in dementia families, respite and relaxation, empathy and communication, road to dementia friendliness. The dementia families grew closer in relationship after attending the event while docents and students were able to develop their communication and problem solving skills. This paper concluded by providing critical elements to make inclusive art programs successful and to provide implications for future program develop and policy agenda to create a dementia friendly society.

The article provides a brief overview of the Egyptian Collection of the Museum of Fine Arts, Boston, and its excavations. The conservation history of the collection is established through reviews of excavation records, early photodocumentation, and curatorial and conservation files. Previous approaches to stabilization in the field and other pertinent information, such as packing methods, are discussed in the context of published accounts of conservation methods from the early 20th century. Specific information is provided in sections devoted to metals, ceramics, stone, wood, and organic materials. Part 2 of this article discusses subsequent conservation issues and treatment of the objects at the MFA.

The return of 13 classical antiquities from Boston's Museum of Fine Arts (MFA) to Italy provides a glimpse into a major museum's acquisition patterns from 1971 to 1999. Evidence emerging during the trial of Marion True and Robert E. Hecht Jr. in Rome is allowing the Italian authorities to identify antiquities that have been removed from their archaeological contexts by illicit digging. Key dealers and galleries are identified, and with them other objects that have followed the same route. The fabrication of old collections to hide the recent surfacing of antiquities is also explored.ACKNOWLEDGEMENTS: The authors are grateful to the following for their assistance during the writing of this paper: Malcolm Bell, Ann Copeland (La Trobe University), Tracey Cullen, Colin Hope (Monash University), Andrew Jamieson (University of Melbourne), Ian MacPhee (La Trobe University), Jessica Powers (San Antonio Museum of Art), Sonia Puttock (University of Queensland), Peter Watson, and Karol Wight (The J. Paul Getty Museum).