Virtual International Authority File
The Virtual International Authority File is an international authority file. It is a joint project of several national libraries and operated by the Online Computer Library Center. Discussion about having a common international authority started in the late 1990s. After a series of failed attempts to come up with a unique common authority file, the new idea was to link existing national authorities; this would present all the benefits of a common file without requiring a large investment of time and expense in the process. The project was initiated by the US Library of Congress, the German National Library and the OCLC on August 6, 2003; the Bibliothèque nationale de France joined the project on October 5, 2007. The project transitioned to being a service of the OCLC on April 4, 2012; the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together. A VIAF record receives a standard data number, contains the primary "see" and "see also" records from the original records, refers to the original authority records.
The data are available for research and data exchange and sharing. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol; the file numbers are being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAF's clustering algorithm is run every month; as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records. Authority control Faceted Application of Subject Terminology Integrated Authority File International Standard Authority Data Number International Standard Name Identifier Wikipedia's authority control template for articles Official website VIAF at OCLC
Netherlands Institute for Art History
The Netherlands Institute for Art History or RKD is located in The Hague and is home to the largest art history center in the world. The center specializes in documentation and books on Western art from the late Middle Ages until modern times. All of this is open to the public, much of it has been digitized and is available on their website; the main goal of the bureau is to collect and make art research available, most notably in the field of Dutch Masters. Via the available databases, the visitor can gain insight into archival evidence on the lives of many artists of past centuries; the library owns 450,000 titles, of which ca. 150,000 are auction catalogs. There are ca. 3,000 magazines, of which 600 are running subscriptions. Though most of the text is in Dutch, the standard record format includes a link to library entries and images of known works, which include English as well as Dutch titles; the RKD manages the Dutch version of the Art and Architecture Thesaurus, a thesaurus of terms for management of information on art and architecture.
The original version is an initiative of the Getty Research Institute in California. The collection was started through bequests by Frits Lugt, art historian and owner of a massive collection of drawings and prints, Cornelis Hofstede de Groot, a collector, art historian and museum curator, their bequest formed the basis for both the art collection and the library, now housed in the Koninklijke Bibliotheek. Though not all of the library's holdings have been digitised, much of its metadata is accessible online; the website itself is available in both an English user interface. In the artist database RKDartists, each artist is assigned a record number. To reference an artist page directly, use the code listed at the bottom of the record of the form: https://rkd.nl/en/explore/artists/ followed by the artist's record number. For example, the artist record number for Salvador Dalí is 19752, so his RKD artist page can be referenced. In the images database RKDimages, each artwork is assigned a record number.
To reference an artwork page directly, use the code listed at the bottom of the record of the form: https://rkd.nl/en/explore/images/ followed by the artwork's record number. For example, the artwork record number for The Night Watch is 3063, so its RKD artwork page can be referenced; the Art and Architecture Thesaurus assigns a record for each term, but these can not be referenced online by record number. Rather, they are used in the databases and the databases can be searched for terms. For example, the painting called "The Night Watch" is a militia painting, all records fitting this keyword can be seen by selecting this from the image screen; the thesaurus is a set of general terms, but the RKD contains a database for an alternate form of describing artworks, that today is filled with biblical references. This is the iconclass database. To see all images that depict Miriam's dance, the associated iconclass code 71E1232 can be used as a special search term. Official website Direct link to the databases The Dutch version of the Art and Architecture Thesaurus
National Portrait Gallery, London
The National Portrait Gallery is an art gallery in London housing a collection of portraits of important and famous British people. It was the first portrait gallery in the world when it opened in 1856; the gallery moved in 1896 to its current site at St Martin's Place, off Trafalgar Square, adjoining the National Gallery. It has been expanded twice since then; the National Portrait Gallery has regional outposts at Beningbrough Hall in Yorkshire and Montacute House in Somerset. It is unconnected to the Scottish National Portrait Gallery in Edinburgh, with which its remit overlaps; the gallery is a non-departmental public body sponsored by the Department for Culture and Sport. The gallery houses portraits of important and famous British people, selected on the basis of the significance of the sitter, not that of the artist; the collection includes photographs and caricatures as well as paintings and sculpture. One of its best-known images is the Chandos portrait, the most famous portrait of William Shakespeare although there is some uncertainty about whether the painting is of the playwright.
Not all of the portraits are exceptional artistically, although there are self-portraits by William Hogarth, Sir Joshua Reynolds and other British artists of note. Some, such as the group portrait of the participants in the Somerset House Conference of 1604, are important historical documents in their own right; the curiosity value is greater than the artistic worth of a work, as in the case of the anamorphic portrait of Edward VI by William Scrots, Patrick Branwell Brontë's painting of his sisters Charlotte and Anne, or a sculpture of Queen Victoria and Prince Albert in medieval costume. Portraits of living figures were allowed from 1969. In addition to its permanent galleries of historical portraits, the National Portrait Gallery exhibits a changing selection of contemporary work, stages exhibitions of portrait art by individual artists and hosts the annual BP Portrait Prize competition; the three people responsible for the founding of the National Portrait Gallery are commemorated with busts over the main entrance.
At centre is Philip Henry Stanhope, 4th Earl Stanhope, with his supporters on either side, Thomas Babington Macaulay, 1st Baron Macaulay and Thomas Carlyle. It was Stanhope who, in 1846 as a Member of Parliament, first proposed the idea of a National Portrait Gallery, it was not until his third attempt, in 1856, this time from the House of Lords, that the proposal was accepted. With Queen Victoria's approval, the House of Commons set aside a sum of £2000 to establish the gallery; as well as Stanhope and Macaulay, the founder Trustees included Benjamin Disraeli and Lord Ellesmere. It was the latter. Carlyle became a trustee after the death of Ellesmere in 1857. For the first 40 years, the gallery was housed in various locations in London; the first 13 years were spent at Westminster. There, the collection increased in size from 57 to 208 items, the number of visitors from 5,300 to 34,500. In 1869, the collection moved to Exhibition Road and buildings managed by the Royal Horticultural Society. Following a fire in those buildings, the collection was moved in 1885, this time to the Bethnal Green Museum.
This location was unsuitable due to its distance from the West End and lack of waterproofing. Following calls for a new location to be found, the government accepted an offer of funds from the philanthropist William Henry Alexander. Alexander donated £60,000 followed by another £20,000, chose the architect, Ewan Christian; the government provided the new site, St Martin's Place, adjacent to the National Gallery, £16,000. The buildings, faced in Portland stone, were constructed by Son. Both the architect, Ewan Christian, the gallery's first director, George Scharf, died shortly before the new building was completed; the gallery opened at its new location on 4 April 1896. The site has since been expanded twice; the first extension, in 1933, was funded by Lord Duveen, resulted in the wing by architect Sir Richard Allison on a site occupied by St George's Barracks running along Orange Street. In February 1909, a murder–suicide took place in a gallery known as the Arctic Room. In an planned attack, John Tempest Dawson, aged 70, shot his 58 year–old wife, Nannie Caskie.
His wife died in hospital several hours later. Both were American nationals. Evidence at the inquest suggested that Dawson, a wealthy and well–travelled man, was suffering from a Persecutory delusion; the incident came to public attention in 2010 when the Gallery's archive was put on-line as this included a personal account of the event by James Donald Milner the Assistant Director of the Gallery. The collections of the National Portrait Gallery were stored at Mentmore Towers in Buckinghamshire during the Second World War, along with pieces from the Royal Collection and paintings from Speaker's House in the Palace of Westminster; the second extension was funded by Sir Christopher Ondaatje and a £12m Heritage Lottery Fund grant, was designed by London-based architects Edward Jones and Jeremy Dixon. The Ondaatje Wing opened in 2000 and occupies a narrow space of land between the two 19th-century buildings of the National Gallery and the National Portrait Gallery, is notable for its immense, two-storey escalator that takes visitors to the earliest part of the collection, the Tudor portraits.
In January 2008, the Gallery received its largest single donation to date
Royal Academy of Arts
The Royal Academy of Arts is an art institution based in Burlington House on Piccadilly in London. It has a unique position as an independent funded institution led by eminent artists and architects, its purpose is to promote the creation and appreciation of the visual arts through exhibitions and debate. The Royal Academy of Arts was founded through a personal act of King George III on 10 December 1768 with a mission to promote the arts of design in Britain through education and exhibition; the motive in founding the Academy was twofold: to raise the professional status of the artist by establishing a sound system of training and expert judgement in the arts, to arrange the exhibition of contemporary works of art attaining an appropriate standard of excellence. Supporters wanted to foster a national school of art and to encourage appreciation and interest among the public based on recognised canons of good taste. Fashionable taste in 18th-century Britain was based on continental and traditional art forms, providing contemporary British artists little opportunity to sell their works.
From 1746 the Foundling Hospital, through the efforts of William Hogarth, provided an early venue for contemporary artists in Britain. The success of this venture led to the formation of the Society of Artists of Great Britain and the Free Society of Artists. Both these groups were exhibiting societies; the combined vision of education and exhibition to establish a national school of art set the Royal Academy apart from the other exhibiting societies. It provided the foundation upon which the Royal Academy came to dominate the art scene of the 18th and 19th centuries, supplanting the earlier art societies; the origin of the Royal Academy of Arts lies in an attempt in 1755 by members of the Society for the Encouragement of Arts and Commerce, principally the sculptor Henry Cheere, to found an autonomous academy of arts. Prior to this a number of artists were members of the Society for the Encouragement of Arts and Commerce, including Cheere and William Hogarth, or were involved in small-scale private art academies, such as the St Martin's Lane Academy.
Although Cheere's attempt failed, the eventual charter, called an'Instrument', used to establish the Royal Academy of Arts over a decade was identical to that drawn up by Cheere in 1755. It was Sir William Chambers, a prominent architect and head of the British government's architects' department, the Office of Works, who used his connections with George III to gain royal patronage and financial support for the Academy in 1768; the painter Joshua Reynolds was made its first president, Francis Milner Newton was elected the first secretary, a post he held for two decades until his resignation in 1788. The instrument of foundation, signed by George III on 10 December 1768, named 34 founder members and allowed for a total membership of 40; the founder members were Reynolds, John Baker, George Barret, Francesco Bartolozzi, Giovanni Battista Cipriani, Augustino Carlini, Charles Catton, Mason Chamberlin, William Chambers, Francis Cotes, George Dance, Nathaniel Dance, Thomas Gainsborough, John Gwynn, Francis Hayman, Nathaniel Hone the Elder, Angelica Kauffman, Jeremiah Meyer, George Michael Moser, Mary Moser, Francis Milner Newton, Edward Penny, John Inigo Richards, Paul Sandby, Thomas Sandby, Dominic Serres, Peter Toms, William Tyler, Samuel Wale, Benjamin West, Richard Wilson, Joseph Wilton, Richard Yeo, Francesco Zuccarelli.
William Hoare and Johann Zoffany were added to this list by the King and are known as nominated members. Among the founder members were two women, a father and daughter, two sets of brothers; the Royal Academy was housed in cramped quarters in Pall Mall, although in 1771 it was given temporary accommodation for its library and schools in Old Somerset House a royal palace. In 1780 it was installed in purpose-built apartments in the first completed wing of New Somerset House, designed by Chambers, located in the Strand and designed by Chambers, the Academy's first treasurer; the Academy moved in 1837 to Trafalgar Square, where it occupied the east wing of the completed National Gallery. These premises soon proved too small to house both institutions. In 1868, 100 years after the Academy's foundation, it moved to Burlington House, where it remains. Burlington House is owned by the British Government, used rent-free by the Royal Academy; the first Royal Academy exhibition of contemporary art, open to all artists, opened on 25 April 1769 and ran until 27 May 1769.
136 works of art were shown and this exhibition, now known as the Royal Academy Summer Exhibition, has been staged annually without interruption to the present day. In 1870 the Academy expanded its exhibition programme to include a temporary annual loan exhibition of Old Masters, following the cessation of a similar annual exhibition at the British Institution; the range and frequency of these loan exhibitions have grown enormously since that time, making the Royal Academy a leading art exhibition institution of international importance. Britain's first public lectures on art were staged by the Royal Academy, as another way to fulfil its mission. Led by Reynolds, the first president, a program included lectures by Dr. William Hunter, John Flaxman, James Barry, Sir John Soane, J. M. W. Turner; the last three were all graduates of the RA School, which for a long time was the only established art school in the Royal Academy. In 2018, the Academy's 250th anniversary, the results of a major refurbishment were unveiled.
The project began on 1 January 2008 with the appointment of David Chipperfield Architects. Heritage Lottery
Robert Falcon Scott
Captain Robert Falcon Scott, was a British Royal Navy officer and explorer who led two expeditions to the Antarctic regions: the Discovery Expedition of 1901–1904 and the ill-fated Terra Nova Expedition of 1910–1913. On the first expedition, he set a new southern record by marching to latitude 82°S and discovered the Antarctic Plateau, on which the South Pole is located. On the second venture, Scott led a party of five which reached the South Pole on 17 January 1912, less than five weeks after Roald Amundsen's Norwegian expedition. A planned meeting with supporting dog teams from the base camp failed, despite Scott's written instructions, at a distance of 150 miles from their base camp and 12 miles from the next depot and his companions died; when Scott and his party's bodies were discovered, they had in their possession the first Antarctic fossils discovered. The fossils were determined to be from the Glossopteris tree and proved that Antarctica was once forested and joined to other continents.
Before his appointment to lead the Discovery Expedition, Scott had followed the career of a naval officer in the Royal Navy. In 1899, he had a chance encounter with Sir Clements Markham, the president of the Royal Geographical Society, thus learned of a planned Antarctic expedition, which he soon volunteered to lead. Having taken this step, his name became inseparably associated with the Antarctic, the field of work to which he remained committed during the final 12 years of his life. Following the news of his death, Scott became a celebrated hero, a status reflected by memorials erected across the UK. However, in the last decades of the 20th century, questions were raised about his competence and character. Commentators in the 21st century have regarded Scott more positively after assessing the temperature drop below −40 °C in March 1912 and after re-discovering Scott's written orders of October 1911, in which he had instructed the dog teams to meet and assist him on the return trip. Scott was born on 6 June 1868, the third of six children and elder son of John Edward, a brewer and magistrate, Hannah Scott of Stoke Damerel, near Devonport.
There were naval and military traditions in the family, Scott's grandfather and four uncles all having served in the army or navy. John Scott's prosperity came from the ownership of a small Plymouth brewery which he had inherited from his father and subsequently sold. Scott's early childhood years were spent in comfort, but some years when he was establishing his naval career, the family suffered serious financial misfortune. In accordance with the family's tradition and his younger brother Archie were predestined for careers in the armed services. Scott spent four years at a local day school before being sent to Stubbington House School in Hampshire, a cramming establishment that prepared candidates for the entrance examinations to the naval training ship HMS Britannia at Dartmouth. Having passed these exams Scott began his naval career as a 13-year-old cadet. In July 1883, Scott passed out of Britannia as a midshipman, seventh overall in a class of 26. By October, he was en route to South Africa to join HMS Boadicea, the flagship of the Cape squadron, the first of several ships on which he served during his midshipman years.
While stationed in St Kitts, West Indies, on HMS Rover, he had his first encounter with Clements Markham Secretary of the Royal Geographical Society, who would loom large in Scott's career. On this occasion, 1 March 1887, Markham observed Midshipman Scott's cutter winning that morning's race across the bay. Markham's habit was to "collect" young naval officers with a view to their undertaking polar exploration work in the future, he was impressed by Scott's intelligence and charm, the 18-year-old midshipman was duly noted. In March 1888 Scott passed his examinations for sub-lieutenant, with four first class certificates out of five, his career progressed smoothly, with service on various ships and promotion to lieutenant in 1889. In 1891, after a long spell in foreign waters, he applied for the two-year torpedo training course on HMS Vernon, an important career step, he graduated with first class certificates in practical examinations. A small blot occurred in the summer of 1893 when, while commanding a torpedo boat, Scott ran it aground, a mishap which earned him a mild rebuke.
During the research for his dual biography of Scott and Roald Amundsen, polar historian Roland Huntford investigated a possible scandal in Scott's early naval career, related to the period 1889–90 when Scott was a lieutenant on HMS Amphion. According to Huntford, Scott "disappears from naval records" for eight months, from mid-August 1889 until 26 March 1890. Huntford hints at involvement with a married American woman, a cover-up, protection by senior officers. Biographer David Crane is unable to clarify further, he rejects the notion of protection by senior officers on the grounds that Scott was not important or well-connected enough to warrant this. Documents that may have offered explanations are missing from Admiralty records. In 1894, while serving as torpedo officer on the depot ship HMS Vulcan, Scott learned of the financial calamity that had overtaken his family. John Scott, having sold the brewery and invested the proceeds unwisely, had lost all his capital and was now bankrupt. At the age of 63, in poor health, he was forced to take a job as a brewery manager and move his family to Shepton Mallet, Somerset.
Three years while Robert was serving with the Channel squadron flagship HMS Majestic, John Scott died of heart disease, creating a fresh family crisis. Hannah Scott and her two unmarried daughters now relied on the
Art UK is a registered charity in the United Kingdom known as the Public Catalogue Foundation. It was founded for the project, completed between 2003 and 2012, of obtaining sufficient rights to enable the public to see images of all the 210,000 oil paintings in public ownership in the United Kingdom; the paintings were made accessible through a series of affordable book catalogues by county. The same images and information were placed on a website in partnership with the BBC called Your Paintings, hosted as part of the BBC website; the renaming in 2016 coincided with the transfer of the website to a stand-alone site. Works by some 40,000 painters held in over 3,000 collections are now on the website. Future plans include a similar project to cover sculptures in public collections, which will begin in 2017. From June 2016 museums and other organisations will be able to upload images of their watercolour paintings and prints to the Art UK website; the catalogues and website allow readers to see an illustration in colour, short description of every painting in the UK's national collections.
This information has significant educational benefits and constitutes the building blocks for art historical research. Revenue from catalogue sales made by collections is dedicated to the conservation and restoration of oil paintings in their care. Coverage includes national and local museums and council collections, paintings in universities, bishop's palaces of the Church of England, the properties owned by the National Trust, some other private institutions such as the colleges of Oxford and Cambridge universities; the collections of bodies such as Arts Council England, English Heritage and the Government Art Collection are included. However the Royal Collection is not included. Art UK receives funding from other sources. Of the 210,000 oil paintings in public ownership in the UK, around 80% are not on public view. Many are held in storage or civic buildings without routine public access. At the same time, many of these collections have incomplete cataloguing records. Since 2003, The Public Catalogue Foundation has been working to rectify this through a series of colour catalogues.
Before these were completed it was clear that a website was the best way to reach the wider public, a key aim of the project, so a combined approach was adopted. The Oil Paintings in Public Ownership book series is published by The PCF on a collection or county-by-county basis; each volume brings together all the oil and tempera paintings in a county's museum collections, together with paintings held in civic buildings such as town halls, universities and fire stations. Each county catalogue contains a colour photograph and basic information about each painting. All paintings are reproduced regardless of condition; the PCF’s first catalogue was published in June 2004, the series is now complete in 85 volumes. The Public Catalogue Foundation worked with the BBC to put all of the UK's publicly owned oil paintings online. In January 2009 a partnership with the BBC was announced with the aim to place the entire catalogue of publicly owned oil paintings online by 2012. On 4 October 2012 it was announced that the project had photographed every painting that it intended to and all 210,000 would shortly be available.
A section of the BBC website, Your Paintings, was launched in 2011. The PCF completed the digitisation of the entire national collection and celebrated their success in February 2013. An innovative crowdsourcing project, Your Paintings Tagger went online in 2011, to generate the metadata necessary to make Your Paintings searchable; the high-quality digital files, have not been made available to the public, paintings on the BBC site can only be'saved' as a'personal collection' on the site, not downloaded. In March 2013 the BBC revealed that an unknown painting by Anthony van Dyck had been discovered because of the Your Paintings website; the painting of Olivia, wife of Endymion Porter, had been discovered on-line and although it was thought it to be in the style of the Van Dyck, experts now agreed that the painting was an unknown original. Olivia, the subject of the painting, who died in 1663, was a lady-in-waiting to queen consort Henrietta Maria, she had married Endymion Porter, a patron of Anthony van Dyck.
A Culture Show TV programme noted that the painting had not been published and it was the Your Paintings website that had allowed this attribution. Art UK collaborates in making the BBC Four television series Britain's Lost Masterpieces. In 2016 Your Paintings was moved to a new dedicated website for Art UK, which will in time feature a much wider range of artworks; the earlier catalogues published are listed below. Oil paintings in public ownership in West Yorkshire: Leeds, The Public Catalogue Foundation, Lucy Ellis, 2004, ISBN 9781904931003 Oil Paintings in Public Ownership in Kent, The Public Catalogue Foundation, 2004 ISBN 9781904931027 Oil paintings in public ownership in West Sussex, The Public Catalogue Foundation, 2005, ISBN 9781904931041 Oil paintings in public ownership in London: The Slade School of Fine Art & University College London Art Collections, The Public Catalogue Foundation, 2005, ISBN 9781904931065 Oil paintings in public ownership in East Sussex, The Public Catalogue Foundation, 2005, ISBN 9781904931089 Oil paintings in public ownership in Suffolk, T
WorldCat is a union catalog that itemizes the collections of 72,000 libraries in 170 countries and territories that participate in the Online Computer Library Center global cooperative. It is operated by Inc.. The subscribing member libraries collectively maintain WorldCat's database, the world's largest bibliographic database. OCLC makes WorldCat itself available free to libraries, but the catalog is the foundation for other subscription OCLC services. OCLC was founded in 1967 under the leadership of Fred Kilgour; that same year, OCLC began to develop the union catalog technology that would evolve into WorldCat. In 2003, OCLC began the "Open WorldCat" pilot program, making abbreviated records from a subset of WorldCat available to partner web sites and booksellers, to increase the accessibility of its subscribing member libraries' collections. In 2006, it became possible to search WorldCat directly at its website. In 2007, WorldCat Identities began providing pages for 20 million "identities", predominantly authors and persons who are the subjects of published titles.
In December 2017, WorldCat contained over 400 million bibliographic records in 491 languages, representing over 2.6 billion physical and digital library assets, the WorldCat persons dataset included over 100 million people. WorldCat operates on a batch processing model rather than a real-time model; that is, WorldCat records are synchronized at intermittent intervals with the underlying library catalogs instead of real-time or every day. Consequently: WorldCat shows that a particular item is owned by a particular library but does not provide that library's call number. WorldCat does not indicate whether or not an item is borrowed, undergoing restoration or repair, or moved to storage not directly accessible to patrons. Furthermore, WorldCat does not show whether or not a library owns multiple copies of a particular title; as an alternative, WorldCat allows participating institutions to add direct links from WorldCat to their own catalog entries for a particular item, which enables the user to determine its real-time status.
However, this still requires users to open multiple Web pages, each pointing to a different online public access catalog with its own distinctive user interface design, until they can locate a catalog entry that shows the item is available at a particular library. Copac Faceted Application of Subject Terminology Library and Archives Canada Open Library Research Libraries UK Blackman, Cathy. "WorldCat and SkyRiver: a comparison of record quantity and fullness". Library Resources & Technical Services. 58: 178–186. Doi:10.5860/lrts.58n3.178. Breeding, Marshall. "Library services platforms: a maturing genre of products". Library Technology Reports. 51: 1–38. Doi:10.5860/ltr.51n4. Matthews, Joseph R.. "An environmental scan of OCLC alternatives: a management perspective". Public Library Quarterly. 35: 175–187. Doi:10.1080/01616846.2016.1210440. McKenzie, Elizabeth. OCLC changes its rules for use of records in WorldCat: library community pushback through blogs and cultures of resistance. Boston: Suffolk University Law School.
Research paper 12-06. What the OCLC online union catalog means to me: a collection of essays. Dublin, Ohio: OCLC. 1997. ISBN 1556532237. OCLC 37492023. Wilson, Kristen. "The knowledge base at the center of the universe". Library Technology Reports. 52: 1–35. Doi:10.5860/ltr.52n6. "WorldCat data licensing". Oclc.org. Retrieved 2018-12-31. See also: "Data licenses & attribution". Oclc.org. Retrieved 2018-12-31. Information about licensing of WorldCat records and some other OCLC data. Official website "WorldCat". Oclc.org. Retrieved 2018-12-31. Information on the OCLC website about WorldCat. "Bibliographic Formats and Standards". Oclc.org. Retrieved 2018-12-31. "WorldCat Identities". Worldcat.org. Retrieved 2018-12-31