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The article reviews the exhibition "The Brontës' ‘Web of Childhood'" at the at the Brontë Parsonage Museum, Haworth, England, running from February 1, 2024, to January 1, 2025.

This article examines the notion of adaptation in relation to historicist manufactures as put forward by the illustrated catalogues to international exhibitions in England and France published by The Art-Journal between 1851 and 1881. Through both illustrations and language, the catalogues put particular emphasis on the visual quality of wares. Using the example of the archaeological-style jewelry produced by London goldsmith John Brogden, this essay analyzes the language used around revival and adaptation of style in The Art-Journal's illustrated catalogues to argue that adaptation rather than imitation was central to the logic of appropriation in nineteenth-century historicist manufactures. [ABSTRACT FROM AUTHOR]

The article explores the origins and development of the public dialogue between Australian art historians Bernard Smith and Robert Hughes. The dialogue started when Hughes was commissioned to write the catalogue essay for the exhibition "Recent Australian Painting" showcased at the London Whitechapel Gallery in England in 1961. It mentions the role of the Antipodean Manifesto drafted by Smith as a topic of contention for Hughes. Also described are their perspectives on Australian art.

In the last few months of 2020 and the first half of 2021, two urban art cataloguing projects have been carried out in two cities in different countries, making it possible to put some methodological proposals into practice that, until now, were being carried out mainly at a theoretical level. This is the project "Painted on the wall. A study of wall painting in the province of Jaén in the XX-XXI centuries'', financed by the Instituto de Estudios Giennenses (Diputación de Jaén, Spain) and the project "The muralist creation of the CALLEGENERA Urban Expressions Festival as cultural artistic consumption" in the city of Monterrey, financed by the Mexican Programme for the Promotion of Cultural Projects and Co-investments. Methodological systems for working with and collecting information, cataloguing sheets and models for interviewing different artists have been developed in both of these projects with a common theoretical basis, such as the proposals that emerged within the GEIIC Urban and Public Art Group, and the CAPuS project and YOCOCU proposals. As such, this paper analyses both projects in terms of their methods and results, and draws conclusions about which options have worked best in terms of optimising resources for future projects. A proposal is also made to improve the urban art cataloguing sheets by including information regarding the correlation between the work and the communities surrounding it, since urban art only makes sense in its context, and some of this information is lost when the sheets are made. Furthermore, as far as possible action for the preservation of artworks is concerned, we consider the relationship the art shares with the surrounding community to be fundamental. [ABSTRACT FROM AUTHOR]

The article focuses on Mercure de France at the 1900 Universal Exhibition and official catalog which should have presented Orientalist works and painters to visitors. It mentions chronicles of Émile Verhaeren who, unlike his colleagues, does not present the Exhibition, but rather makes us a reading, a symbolic, humanist reading, poetics. It also mentions collections of poetry to which must be added the four that will be released during the year 1895.

Artist books are works of art, not about art. They are collected by libraries and museums alike. Historically and presently, they cover a broad spectrum ranging from conceptual books to bibliophile unique items. They also showcase the most varied range of artistic techniques, complicating a clear definition. The article presents an overview of key challenges in the acquisition, cataloguing and presentation of artist books. [ABSTRACT FROM AUTHOR]

British Art Studies, a born-digital, open-access journal, co-published by the Paul Mellon Centre for Studies in British Art (PMC) and the Yale Center for British Art (YCBA), launched in November 2015. This article documents how and why British Art Studies was established and the ethos that has motivated the editorial team to always think "beyond the PDF" in creating a new digital publication for the field of art history. Drawing on case studies of articles and features published in the first seven issues of British Art Studies, the purpose of this article is to reflect on the creation and development of the journal alongside the broader critical and methodological questions that have guided and shaped our approach to publishing. Co-written by the current editorial and production team, this article explores how establishing and maintaining British Art Studies has enabled us and our authors to join the growing conversation about the intersection and cross-fertilization of art-historical research with digital tools and technologies. [ABSTRACT FROM AUTHOR]

This article considers the various ways that the Art Institute of Chicago's digital scholarly collection catalogues engage with art history in the digital realm. Since 2009, when the Art Institute of Chicago (AIC) was invited by the Getty Foundation to participate with a group of other museums to create a platform for museum collection catalogues online, the AIC has been a leader in this growing field. The digital platform we designed has proven to be the ideal vehicle to present our research in a dynamic manner. Through several case studies, we will demonstrate how these publications have not only made contributions to the field of digital art history through the presentation of primary archival source material online, but have also facilitated the incorporation of digital art history into our methodological toolbox. This paper also discusses the challenges of digital publishing as compared to more traditional, print-based workflows. [ABSTRACT FROM AUTHOR]

In 1889, Vilhelm Hammershøi (1864-1916) exhibited for the first time outside Scandinavia, contributing four of the 190 oil paintings that Denmark sent to the Exposition Universelle in Paris, where he was awarded a bronze medal. There has been some confusion, with five extant paintings being proposed for the four pictures that were catalogued and exhibited. These five pictures are: Portrait of a Young Woman. The Artist's Sister, Anna Hammershøi, 1885, Hirschsprung Collection, Copenhagen. This picture was not exhibited in Paris, but was entered for the Neuhaus prize in Denmark, where its lack of success caused an outcry, and was instrumental in provoking the foundation of Den Frie Udstilling in 1891. In contrast to scholarship that suggests works by Christen Købke as a likely role model, I propose an earlier Portrait of the Artist's Sister (1847) by Julius Exner. Étude: A Baker's Shop (En Bagerbutik), 1888, Vejen Kunstmuseum. Catalogue number 44 at the 1889 Exposition Universelle. Evidence is provided to confirm that the work exhibited in Paris as Étude is A Baker's Shop. Its radical nature is discussed, and proposes links to modern artists like Mondrian, Rothko and Malevich, as well as Gerhard ter Borch and Caspar David Friedrich. Vielle Femme: An Old Woman (En Gammel Kone), 1886, Hirschsprung Collection, Copenhagen. Catalogue number 45 at the 1889 Exposition Universelle. The removal of all extraneous narrative elements by Hammershøi is analysed, as are the strong links to 17th- century Dutch art, particularly Gerhard ter Borch. Jeune Fille: Young Girl Sewing. Anna Hammershøi, the Artist's Sister, 1887 Ordrupgaard, Copenhagen. Catalogue number 46 at the 1889 Exposition Universelle. Links to Dutch art, and its regular motif of depictions of women sewing. Discusses Hammershøi's viewing of significant works by Vermeer in the Gazette des Beaux-Arts and Nicolas Maes in Rotterdam. Job, 1888, Hirschsprung Collection, Copenhagen. Catalogue number 47 at the 1889 Exposition Universelle. Discusses the reasons for the non-exhibition of this picture since 1889. Dismisses direct links to other versions of Job and instead proposes a link with a statue of the Egyptian god Anubis that is now housed in the Ny Carlsberg Glyptotek. [ABSTRACT FROM AUTHOR]

In April 2014, the National Gallery of Art launched its first online scholarly publication as part of the Online Scholarly Catalogue Initiative ("OSCI") funded and initiated by The Getty Foundation. Although Dutch Paintings of the Seventeenth Century, by Arthur K. Wheelock, Jr. (http://www.nga.gov/content/ngaweb/research/online-editions/17th-century-dutch-paintings.html), was originally issued in 1995 as a volume in the Gallery's Systematic Catalogue series (and thus, not "born digital"!), its online presence is an updated and enlarged version of its shelved self. This new format for the Gallery's permanent collection offers a new framework for delivering scholarly information in a sustainable format. [ABSTRACT FROM AUTHOR]

Two pairs of paintings by Johannes Vermeer are designated as pendants by Walter Liedtke in his catalog of Vermeer's paintings. The canvases of one of these pairs have previously been shown to be from the same bolt, which is frequently an attribute of a pendant pair in seventeenth-century Dutch paintings. This paper provides evidence, in the form of a new weave match, that the second pendant pair identified by Walter Liedtke also exhibits this bolt-matestatus. [ABSTRACT FROM AUTHOR]

Although Walter Liedtke's catalogue of Dutch paintings in the Metropolitan Museum of Art includes an extensive entry about Rembrandt's Aristotle with a Bust of Homer, dated 1653 and ordered by the Sicilian nobleman Antonio Ruffo, he could not mention everything. This short note calls attention to an inventory of the collection of Antonio Ruffo from 1783, published by Rosanna De Gennaro, made after the earthquake of that year, with an extensive description of three paintings by Rembrandt. This article considers the implications of the 1783 inventory description for the history of the Aristotle and related works commissioned by Ruffo. [ABSTRACT FROM AUTHOR]

The article presents the results of the author's ongoing research on recording the 16th to the 18th century printed Turcica, which have been thus far preserved in Polish libraries. It mentions the primary source of studies is the central catalogue of old printed books of the National Library in Warsaw; and also mentions works on the catalogue of 16th to 18th century Turcica in Polish collections will be carried out in several stages.

We survey 40 examples of 2-level patterns in Islamic geometric ornament from Iran and Central Asia, and identify a range of methods that can be used to explain their construction. Techniques based on modular design are shown to simplify the process. Each 2-level pattern is listed in a catalogue that gives the location, construction method, pattern type of the large and small-scale patterns, and references to photographs and other literature. We also show that a tympanum pattern in the Darb-i Imam in Isfahan is constructed by filling compartments and not by subdividing modules, as has been previously suggested. None of the medieval patterns in the catalogue is quasiperiodic. [ABSTRACT FROM AUTHOR]

This paper critiques de Botton and Armstrong's Art as Therapy project (2013-2015), a collaboration with art museums in Canada, the Netherlands, and Australia, in which labels in the gallery, as well a catalogue and website, explain how viewers might use works of art to serve therapeutic purposes in their lives. The paper argues that, instead of making art more accessible to those who, allegedly, do not find access to art on their own, the Art as Therapy project undermines the force and richness of art by first declaring it useless and inaccessible and then repurposing it as therapeutic life hack. [ABSTRACT FROM AUTHOR]

Joan Dearnley draws on her experience as a long-standing indexer of fine art and art history and tutor to discuss the challenges that this sort of indexing imposes and possible solutions, warning that as always in indexing there are no prescriptive answer. It all depends! [ABSTRACT FROM AUTHOR]

The austerity and grandeur in the design of some books, especially art catalogs, is primarily a visual and tactile pleasure that lasts over time. This paper proposes a classification of the different types of art catalogs as unique tools for the understanding of artwork. This classification is developed from the technical parameters and the tools of media publishing: typography, graphic design, photography. [ABSTRACT FROM AUTHOR]

The article reviews the exhibition "Lowry and the Painting of Modern Life," featuring works by the British artist Laurence Stephen Lowry, on view at the Tate Britain gallery from June to October 2013, as well as the accompanying catalogue "Lowry and the Painting of Modern Life" by T.J. Clark and Anne Wagner.

The article offers information on the 1971 "Irish Imagination" exhibition, curated by Irish artist Brian O'Doherty, and the catalogue essay of the exhibition. It examines the presentation of the modern Irish art in the text and its relation to the priorities of the art establishment in Ireland in early 1970s. It mentions the use of systematic method of formalism by O'Doherty to position Irish art within the postcolonial framework.

When the Walker Art Center, in Minneapolis, Minnesota, publishes its next collection catalog online (http://collections.walkerart.org/) this year, entries on works in the collection will be extensive, dynamic, and free to anyone with an Internet connection. With high-resolution images and rich media, in-depth texts, perpetually updated information, various critical perspectives, and augmented search capabilities, the publication is expansive, alterable, and ongoing—always in production, in pace with discourses on art of our time. This new kind of catalog becomes a platform for presenting and exchanging research on works of contemporary art in a setting that allows for long-term thinking. It gives space, time, and opportunities to engage with complex concepts and processes behind works in the Walker's collection. This article briefly describes the composition of content for an online catalog entry, while discussing the evolution of contemporary arts scholarship in the era of digital humanities publishing. [ABSTRACT FROM PUBLISHER]

The history of art and taste in the twenty-first century is being written from one biennial exhibition to another. The catalogs that document these huge, international art exhibitions are critical for scholars of contemporary art. Art libraries must keep track of these exhibitions, purchase the catalogs that are available, and provide access to information about the exhibitions. This is not an easy task because of the exhibitions' very contemporaneity, the difficulties in acquiring many of the international catalogs, and the challenges of accessing them in online catalogs. This article focuses on the practical issues surrounding acquisitions of and access to biennial exhibition catalogs in a library environment. [ABSTRACT FROM AUTHOR]

PUBLIC 46: Prime Mover is a selection of five essays corresponding to five hypothetical exhibitions of works from an influential private collection with which Eamon was professionally involved for more than ten years. The collection, one of the first in private hands to focus almost exclusively on time-based media, has been the subject of a number of graduate theses and museum catalogues, but this publication aims to bolster these efforts towards better understanding of a collection that has altered the field of media art. In a sense, these essays constitute a history of moving-image art starting from around 1900 that is meant to be a resource for students of film and video art, on the one hand, and for scholars investigating the history of collections on the other. Although the five exhibitions imagined here evolved separately, they can be read as chapters of a continuous story, or, alternatively, they can be read as different lenses through which one can look at the history of media art itself, as a necessarily fragmentary history. The different formats and different approaches in this publication all come from the curator's toolbox, where one is able to place works of art in a variety of contexts, grouping them in ways that both illuminate the works and, hopefully, the history of art as well. [ABSTRACT FROM AUTHOR]

PUBLIC 46: Prime Mover is a selection of five essays corresponding to five hypothetical exhibitions of works from an influential private collection with which Eamon was professionally involved for more than ten years. The collection, one of the first in private hands to focus almost exclusively on time-based media, has been the subject of a number of graduate theses and museum catalogues, but this publication aims to bolster these efforts towards better understanding of a collection that has altered the field of media art. In a sense, these essays constitute a history of moving-image art starting from around 1900 that is meant to be a resource for students of film and video art, on the one hand, and for scholars investigating the history of collections on the other. Although the five exhibitions imagined here evolved separately, they can be read as chapters of a continuous story, or, alternatively, they can be read as different lenses through which one can look at the history of media art itself, as a necessarily fragmentary history. The different formats and different approaches in this publication all come from the curator's toolbox, where one is able to place works of art in a variety of contexts, grouping them in ways that both illuminate the works and, hopefully, the history of art as well. [ABSTRACT FROM AUTHOR]

PUBLIC 46: Prime Mover is a selection of five essays corresponding to five hypothetical exhibitions of works from an influential private collection with which Eamon was professionally involved for more than ten years. The collection, one of the first in private hands to focus almost exclusively on time-based media, has been the subject of a number of graduate theses and museum catalogues, but this publication aims to bolster these efforts towards better understanding of a collection that has altered the field of media art. In a sense, these essays constitute a history of moving-image art starting from around 1900 that is meant to be a resource for students of film and video art, on the one hand, and for scholars investigating the history of collections on the other. Although the five exhibitions imagined here evolved separately, they can be read as chapters of a continuous story, or, alternatively, they can be read as different lenses through which one can look at the history of media art itself, as a necessarily fragmentary history. The different formats and different approaches in this publication all come from the curator's toolbox, where one is able to place works of art in a variety of contexts, grouping them in ways that both illuminate the works and, hopefully, the history of art as well. [ABSTRACT FROM AUTHOR]

PUBLIC 46: Prime Mover is a selection of five essays corresponding to five hypothetical exhibitions of works from an influential private collection with which Eamon was professionally involved for more than ten years. The collection, one of the first in private hands to focus almost exclusively on time-based media, has been the subject of a number of graduate theses and museum catalogues, but this publication aims to bolster these efforts towards better understanding of a collection that has altered the field of media art. In a sense, these essays constitute a history of moving-image art starting from around 1900 that is meant to be a resource for students of film and video art, on the one hand, and for scholars investigating the history of collections on the other. Although the five exhibitions imagined here evolved separately, they can be read as chapters of a continuous story, or, alternatively, they can be read as different lenses through which one can look at the history of media art itself, as a necessarily fragmentary history. The different formats and different approaches in this publication all come from the curator's toolbox, where one is able to place works of art in a variety of contexts, grouping them in ways that both illuminate the works and, hopefully, the history of art as well. [ABSTRACT FROM AUTHOR]

PUBLIC 46: Prime Mover is a selection of five essays corresponding to five hypothetical exhibitions of works from an influential private collection with which Eamon was professionally involved for more than ten years. The collection, one of the first in private hands to focus almost exclusively on time-based media, has been the subject of a number of graduate theses and museum catalogues, but this publication aims to bolster these efforts towards better understanding of a collection that has altered the field of media art. In a sense, these essays constitute a history of moving-image art starting from around 1900 that is meant to be a resource for students of film and video art, on the one hand, and for scholars investigating the history of collections on the other. Although the five exhibitions imagined here evolved separately, they can be read as chapters of a continuous story, or, alternatively, they can be read as different lenses through which one can look at the history of media art itself, as a necessarily fragmentary history. The different formats and different approaches in this publication all come from the curator's toolbox, where one is able to place works of art in a variety of contexts, grouping them in ways that both illuminate the works and, hopefully, the history of art as well. [ABSTRACT FROM AUTHOR]

The author presents a speculative introduction to the new descriptive cataloging standard, Resource Description and Access (RDA), and its implications for libraries, archives, and museums. Particular focus is given to art cataloging issues as addressed in the RDA instructions and how the RDA rules in this context differ from those in the Anglo-American Cataloging Rules, 2nd Edition (AACR2). [ABSTRACT FROM AUTHOR]

Artists in modern times have often also been prolific collectors of note. We sometimes fix upon the more famous, such as Reynolds or Degas, perhaps in order to illustrate the subtleties of their own art. But what of a cohort or school of artists, some famous, others less well known? Can anything new be learned about an artistic style or artistic practices from the study of their shared collecting habits? More fundamentally, what does collecting at this level reveal about the ‘commerce’ of artworks in a given historical period? The following essay uses sales catalogues and other supporting evidence to examine the collections of French neo-classical artists working in Paris and in the French provinces in the period roughly from 1780 to 1830, in part to understand the daily realities of artistic life in late-eighteenth-century France, and in part to shed light on the inner history of that historical style. The period is a critical one in the history of Western art, as many of the characteristically modern features of the public sphere – auctions, criticism, museums, and so on – were intimately connected with the fate of the neo-classical movement. [ABSTRACT FROM PUBLISHER]

In Europe, Japanese ceramic and lacquer objects have been collected and used as interior decoration since the early seventeenth century. In the nineteenth century, the worldwide fashion for Japonisme generated an extensive trade in various Japanese decorative arts. Consequently, museums and private collections all over the world have rich holdings of Japanese decorative arts. Despite their popularity and profound influence on Western applied arts, the systematic research of Japanese decorative arts in Western collections is backward compared to the investigation of other art forms. It is actually difficult to gain access to the objects scattered in numerous collections or to achieve high-quality images, not to mention that there are only a few specialists capable of documenting the objects. Generally, that is why there are only very few online databases dedicated to decorative arts. The Art Research Centre, Ritsumeikan University (Kyoto, Japan), has developed databases of various Japanese cultural assets, tangible as well as intangible art forms and, based on the expertise in developing scholarly databases, has launched online image databases of three-dimensional art objects. The purpose of the project is to advance searchable, academic databases and to foster international cooperation between researchers and students of Japanese art by sharing high-quality images on the Web. [ABSTRACT FROM AUTHOR]