Metropolitan Museum of Art
The Metropolitan Museum of Art of New York City, colloquially "the Met", is the largest art museum in the United States. With 6,953,927 visitors to its three locations in 2018, it was the third most visited art museum in the world, its permanent collection contains over two million works, divided among seventeen curatorial departments. The main building, on the eastern edge of Central Park along Museum Mile in Manhattan's Upper East Side is by area one of the world's largest art galleries. A much smaller second location, The Cloisters at Fort Tryon Park in Upper Manhattan, contains an extensive collection of art and artifacts from Medieval Europe. On March 18, 2016, the museum opened the Met Breuer museum at Madison Avenue on the Upper East Side; the permanent collection consists of works of art from classical antiquity and ancient Egypt and sculptures from nearly all the European masters, an extensive collection of American and modern art. The Met maintains extensive holdings of African, Oceanian and Islamic art.
The museum is home to encyclopedic collections of musical instruments and accessories, as well as antique weapons and armor from around the world. Several notable interiors, ranging from 1st-century Rome through modern American design, are installed in its galleries; the Metropolitan Museum of Art was founded in 1870 for the purposes of opening a museum to bring art and art education to the American people. It opened on February 20, 1872, was located at 681 Fifth Avenue; the Met's permanent collection is curated by seventeen separate departments, each with a specialized staff of curators and scholars, as well as six dedicated conservation departments and a Department of Scientific Research. The permanent collection includes works of art from classical antiquity and ancient Egypt and sculptures from nearly all the European masters, an extensive collection of American and modern art; the Met maintains extensive holdings of African, Oceanian and Islamic art. The museum is home to encyclopedic collections of musical instruments and accessories, antique weapons and armor from around the world.
A great number of period rooms, ranging from 1st-century Rome through modern American design, are permanently installed in the Met's galleries. In addition to its permanent exhibitions, the Met organizes and hosts large traveling shows throughout the year; the current chairman of the board, Daniel Brodsky, was elected in 2011 and became chairman three years after director Philippe de Montebello retired at the end of 2008. On March 1, 2017, the BBC reported that Daniel Weiss, the Met's president and COO, would temporarily act as CEO for the museum. Following the departure of Thomas P. Campbell as the Met's director and CEO on June 30, 2017, the search for a new director of the museum was assigned to the human resources firm Phillips Oppenheim to present a new candidate for the position "by the end of the fiscal year in June" of 2018; the next director will report to Weiss as the current president of the museum. In April 2018, Max Hollein was named director. Beginning in the late 19th century, the Met started acquiring ancient art and artifacts from the Near East.
From a few cuneiform tablets and seals, the Met's collection of Near Eastern art has grown to more than 7,000 pieces. Representing a history of the region beginning in the Neolithic Period and encompassing the fall of the Sasanian Empire and the end of Late Antiquity, the collection includes works from the Sumerian, Sasanian, Assyrian and Elamite cultures, as well as an extensive collection of unique Bronze Age objects; the highlights of the collection include a set of monumental stone lamassu, or guardian figures, from the Northwest Palace of the Assyrian king Ashurnasirpal II. Though the Met first acquired a group of Peruvian antiquities in 1882, the museum did not begin a concerted effort to collect works from Africa and the Americas until 1969, when American businessman and philanthropist Nelson A. Rockefeller donated his more than 3,000-piece collection to the museum. Today, the Met's collection contains more than 11,000 pieces from sub-Saharan Africa, the Pacific Islands, the Americas and is housed in the 40,000-square-foot Rockefeller Wing on the south end of the museum.
The collection ranges from 40,000-year-old indigenous Australian rock paintings, to a group of 15-foot-tall memorial poles carved by the Asmat people of New Guinea, to a priceless collection of ceremonial and personal objects from the Nigerian Court of Benin donated by Klaus Perls. The range of materials represented in the Africa and Americas collection is undoubtedly the widest of any department at the Met, including everything from precious metals to porcupine quills; the Met's Asian department holds a collection of Asian art, of more than 35,000 pieces, arguably the most comprehensive in the US. The collection dates back to the founding of the museum: many of the philanthropists who made the earliest gifts to the museum included Asian art in their collections. Today, an entire wing of the museum is dedicated to the Asian collection, spans 4,000 years of Asian art; every Asian civilization is represented in the Met's Asian department, the pieces on display include every type of decorative art, from painting and printmaking to sculpture and metalworking.
The department is well known for its comprehensive collection of Chinese calligraphy and painting, as well as for its Indian sculptures and Tibetan works, the arts of Burma and Thailand. All three ancient religions of India – Hinduism and Jainism – are well represented in these s
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
Integrated Authority File
The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used for documentation in libraries and also by archives and museums; the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero licence; the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, an approach to unambiguous identification of single elements. It comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format; the Integrated Authority File became operational in April 2012 and integrates the content of the following authority files, which have since been discontinued: Name Authority File Corporate Bodies Authority File Subject Headings Authority File Uniform Title File of the Deutsches Musikarchiv At the time of its introduction on 5 April 2012, the GND held 9,493,860 files, including 2,650,000 personalised names.
There are seven main types of GND entities: LIBRIS Virtual International Authority File Information pages about the GND from the German National Library Search via OGND Bereitstellung des ersten GND-Grundbestandes DNB, 19 April 2012 From Authority Control to Linked Authority Data Presentation given by Reinhold Heuvelmann to the ALA MARC Formats Interest Group, June 2012
Sir Joshua Reynolds was an English painter, specialising in portraits. John Russell said, he promoted the "Grand Style" in painting. He was a founder and first president of the Royal Academy of Arts, was knighted by George III in 1769. Reynolds was born in Plympton, Devon, on 16 July 1723 the third son of the Rev. Samuel Reynolds, master of the Plympton Free Grammar School in the town, his father had been a fellow of Balliol College, but did not send any of his sons to the university. One of his sisters was Mary Palmer, seven years his senior, author of Devonshire Dialogue, whose fondness for drawing is said to have had much influence on him when a boy. In 1740 she provided £60, half of the premium paid to Thomas Hudson the portrait-painter, for Joshua's pupilage, nine years advanced money for his expenses in Italy, his other siblings included Elizabeth Johnson. As a boy, he came under the influence of Zachariah Mudge, whose Platonistic philosophy stayed with him all his life. Reynolds made extracts in his commonplace book from Theophrastus, Seneca, Marcus Antonius, William Shakespeare, John Milton, Alexander Pope, John Dryden, Joseph Addison, Richard Steele, Aphra Behn, passages on art theory by Leonardo da Vinci, Charles Alphonse Du Fresnoy, André Félibien.
The work that came to have the most influential impact on Reynolds was Jonathan Richardson's An Essay on the Theory of Painting. Reynolds' annotated copy was lost for nearly two hundred years until it appeared in a Cambridge bookshop, inscribed with the signature ‘J. Reynolds Pictor’, is now in the collection of the Royal Academy of Arts, London. Having shown an early interest in art, Reynolds was apprenticed in 1740 to the fashionable London portrait painter Thomas Hudson, born in Devon. Hudson had a collection of Old Master drawings, including some by Guercino, of which Reynolds made copies. Although apprenticed to Hudson for four years, Reynolds remained with him only until summer 1743. Having left Hudson, Reynolds worked for some time as a portrait-painter in Plymouth Dock, he returned to London before the end of 1744, but following his father's death in late 1745 he shared a house in Plymouth Dock with his sisters. In 1749, Reynolds met Commodore Augustus Keppel, who invited him to join HMS Centurion, of which he had command, on a voyage to the Mediterranean.
While with the ship he visited Lisbon, Cadiz and Minorca. From Minorca he travelled to Livorno in Italy, to Rome, where he spent two years, studying the Old Masters and acquiring a taste for the "Grand Style". Lord Edgcumbe, who had known Reynolds as a boy and introduced him to Keppel, suggested he should study with Pompeo Batoni, the leading painter in Rome, but Reynolds replied that he had nothing to learn from him. While in Rome he suffered a severe cold, which left him deaf, and, as a result, he began to carry a small ear trumpet with which he is pictured. Reynolds travelled homeward overland via Florence, Bologna and Paris, he was accompanied by Giuseppe Marchi aged about 17. Apart from a brief interlude in 1770, Marchi remained in Reynolds' employment as a studio assistant for the rest of the artist's career. Following his arrival in England in October 1752, Reynolds spent three months in Devon, before establishing himself in London, where he remained for the rest of his life, he took rooms in St Martin's Lane, before moving to Great Newport Street, his sister Frances acted as his housekeeper.
He achieved success and was prolific. Lord Edgecumbe recommended the Duke of Devonshire and Duke of Grafton to sit for him, other peers followed, including the Duke of Cumberland, third son of George II, in whose portrait, according to Nicholas Penny "bulk is brilliantly converted into power". In 1760 Reynolds moved into a large house, with space to show his works and accommodate his assistants, on the west side of Leicester Fields. Alongside ambitious full-length portraits, Reynolds painted large numbers of smaller works. In the late 1750s, at the height of the social season, he received five or six sitters a day, each for an hour. By 1761 Reynolds could command a fee of 80 guineas for a full-length portrait; the clothing of Reynolds' sitters was painted by either one of his pupils, his studio assistant Giuseppe Marchi, or the specialist drapery painter Peter Toms. James Northcote, his pupil, wrote of this arrangement that "the imitation of particular stuffs is not the work of genius, but is to be acquired by practice, this was what his pupils could do by care and time more than he himself chose to bestow.
Lay figures were used to model the clothes. Reynolds adapted the poses of his subjects from the works of earlier artists, a practice mocked by Nathaniel Hone in a painting called The Conjuror submitted to the Royal Academy exhibition of 1775, now in the collection of the National Gallery of Ireland, it shows a figure representing, though not resembling, seated in front of a cascade of prints from which Reynolds had borrowed with varying degrees of subtlety. Although not known principally for his landscapes, Reynolds did paint in this genre, he had an excellent vantage from his house, Wick House, on Richmond Hill, painted the view in about 1780. Reynolds was recognized for his portraits of children, he emphasized the innocence and natural grace of children. His 1788 portrait, Age of Innocence, is his best known character study of a c
A knight is a man granted an honorary title of knighthood by a monarch, bishop or other political or religious leader for service to the monarch or a Christian church in a military capacity. In Europe, knighthood was conferred upon mounted warriors. During the High Middle Ages, knighthood was considered a class of lower nobility. By the Late Middle Ages, the rank had become associated with the ideals of chivalry, a code of conduct for the perfect courtly Christian warrior. A knight was a vassal who served as an elite fighter, a bodyguard or a mercenary for a lord, with payment in the form of land holdings; the lords trusted the knights. Knighthood in the Middle Ages was linked with horsemanship from its origins in the 12th century until its final flowering as a fashion among the high nobility in the Duchy of Burgundy in the 15th century; this linkage is reflected in the etymology of chivalry and related terms. The special prestige accorded to mounted warriors in Christendom finds a parallel in the furusiyya in the Muslim world, the Greek hippeis and Roman eques of classical antiquity.
In the late medieval period, new methods of warfare began to render classical knights in armour obsolete, but the titles remained in many nations. The ideals of chivalry were popularized in medieval literature the literary cycles known as the Matter of France, relating to the legendary companions of Charlemagne and his men-at-arms, the paladins, the Matter of Britain, relating to the legend of King Arthur and his Round Table. Today, a number of orders of knighthood continue to exist in Christian Churches, as well as in several Christian countries and their former territories, such as the Roman Catholic Order of the Holy Sepulchre and Order of Malta, the Protestant Order of Saint John, as well as the English Order of the Garter, the Swedish Royal Order of the Seraphim, the Royal Norwegian Order of St. Olav; each of these orders has its own criteria for eligibility, but knighthood is granted by a head of state, monarch, or prelate to selected persons to recognise some meritorious achievement, as in the British honours system for service to the Church or country.
The modern female equivalent in the United Kingdom is Dame. The word knight, from Old English cniht, is a cognate of the German word Knecht; this meaning, of unknown origin, is common among West Germanic languages. Middle High German had the phrase guoter kneht, which meant knight; the meaning of cniht changed over time from its original meaning of "boy" to "household retainer". Ælfric's homily of St. Swithun describes a mounted retainer as a cniht. While cnihtas might have fought alongside their lords, their role as household servants features more prominently in the Anglo-Saxon texts. In several Anglo-Saxon wills cnihtas are left either money or lands. In his will, King Æthelstan leaves his cniht, eight hides of land. A rādcniht, "riding-servant", was a servant on horseback. A narrowing of the generic meaning "servant" to "military follower of a king or other superior" is visible by 1100; the specific military sense of a knight as a mounted warrior in the heavy cavalry emerges only in the Hundred Years' War.
The verb "to knight" appears around 1300. An Equestrian was a member of the second highest social class in the Roman Republic and early Roman Empire; this class is translated as "knight". In the Roman Empire, the classical Latin word for horse, was replaced in common parlance by the vulgar Latin caballus, sometimes thought to derive from Gaulish caballos. From caballus arose terms in the various Romance languages cognate with the English cavalier: Italian cavaliere, Spanish caballero, French chevalier, Portuguese cavaleiro, Romanian cavaler; the Germanic languages have terms cognate with the English rider: German Ritter, Dutch and Scandinavian ridder. These words are derived from Germanic rīdan, "to ride", in turn derived from the Proto-Indo-European root reidh-. In ancient Rome there was a knightly class Ordo Equestris; some portions of the armies of Germanic peoples who occupied Europe from the 3rd century AD onward had been mounted, some armies, such as those of the Ostrogoths, were cavalry.
However, it was the Franks who fielded armies composed of large masses of infantry, with an infantry elite, the comitatus, which rode to battle on horseback rather than marching on foot. When the armies of the Frankish ruler Charles Martel defeated the Umayyad Arab invasion at the Battle of Tours in 732, the Frankish forces were still infantry armies, with elites riding to battle but dismounting to fight. In the Early Medieval period any well-equipped horseman could be described as a knight, or miles in Latin; the first knights appeared during the reign of Charlemagne in the 8th century. As the Carolingian Age progressed, the Franks were on the attack, larger numbers of warriors took to their horses to ride with the Emperor in his wide-ranging campaigns of conquest. At about this time the Franks remained on horseback to fight on the battlefield as true cavalry rather than mounted in
Royal Birmingham Society of Artists
The Royal Birmingham Society of Artists or RBSA is an art society, based in the Jewellery Quarter in Birmingham, where it owns and operates an art gallery, the RBSA Gallery, on Brook Street, just off St Paul's Square. It is both a registered charity, a registered company; the RBSA was established as the Birmingham Society of Artists in 1821, though it can trace its origins back further to the life drawing academy opened by Samuel Lines, Moses Haughton, Vincent Barber and Charles Barber in Peck Lane in 1809. From this group was founded the Birmingham Academy of Arts in 1814, whose first exhibition was held that year. A gallery and set of offices for the Birmingham Society of Arts was built behind a fine neo-classical portico in New Street by architect Thomas Rickman in 1829. In 1868 the RBSA adopted its current name; the RBSA was to become a influential body in the Victorian period within the Pre-Raphaelite and Arts and Crafts movements. Its members included some of the most significant figures in English art, presidents during the period included artists of the stature of Edward Burne-Jones, William Morris, John Everett Millais and Lord Leighton.
Members of the Royal Birmingham Society of Artists are entitled to use the post-nominal letters RBSA. One of principal aims of the Society from its foundation had been to continue the educational activities pioneered by Lines; this work was carried out by the society itself, but in 1843 the Birmingham School of Art was founded as a separate institution, falling under municipal control from 1877. Increasing financial pressure in the early years of the 20th century led to the society's landmark New Street building being demolished and rebuilt as part of a commercial redevelopment, in 2000 the society left the site relocating to a converted warehouse near St Paul's Square in the Jewellery Quarter; this is now known as the RBSA Gallery, was opened by Charles, Prince of Wales, on 12 April 2000. The two bronze plaques on its exterior, made in 1919, are the earliest known Birmingham works of William Bloye the society's president and Professor of Sculpture. In 2014, the gallery celebrated its bicentenary since its first exhibition.
This was marked by an exhibition from the 8 October -15 November, called A Place For Art, exploring the gallery's 200-year history of displaying works of contemporary art. Many of the Society's presidents were notable artists, they include: 1842 – 1849: Sir Martin Archer Shee, PRA 1850 – 1865: Sir Charles Lock Eastlake, PRA 1866 – 1878: Sir Francis Grant, PRA 1879 – 1880: Sir Frederick Leighton, Bart. PRA 1881 – 1882: Sir John Everett Millais, Bart. PRA 1883 – 1884: Lawrence Alma-Tadema, RA 1885 – 1886: Sir Edward Burne-Jones, Bart. 1887 – 1888: George Frederick Watts, RA 1889 – 1890: Sir Frederick Leighton, Bart. PRA 1891 – 1892: William Quiller Orchardson, RA 1893 – 1894: Professor Hubert von Herkomer, RA 1895 – 1896: Lawrence Alma-Tadema, RA 1897 – 1898: Sir Edward Poynter, PRA 1899 – 1900: Sir William Blake Richmond, KCB, DCL, RA 1901 – 1902: Edwin Abbey, RA 1903 – 1904: Valentine Cameron Prinsep, RA 1905 – 1906: Sir Aston Webb, RA 1907 – 1908: Sir Ernest Waterlow, RA, PRWS 1909: Edward John Gregory, RA, PRI 1910 – 1914: Sir George Frampton, RA, LLD, FSA 1915 – 1924: Alfred Drury, RA 1925 – 1926: Frank Brangwyn, RA 1927 – 1931: William John Wainwright, RWS 1931 – 1935: J.
V. Jelley 1935 – 1939: Edward S. Harper 1939 – 1945: Joseph Southall 1945 – 1948: Charles Wheeler, RA 1948 – 1950: William Bloye, FRBS 1950 – 1952: Bernard Fleetwood-Walker, ARA, RWS, ROI, RP, NEAC 1952 – 1953: Henry Rushbury, RA, RWS, RE 1953 – 1955: Harold Holden, RWS, ARCA 1956 – 1958: Holland W. Hobbiss, FRIBA 1958 – 1960: Leonard Ward, RI, ARCamA 1960 – 1962: Herbert Jackson, FRIBA 1962 – 1964: George Monkhouse, FCIS 1964 – 1966: C. Harry Adams, SSI 1966 – 1971: Douglas Perry 1971 – 1973: Jack Metson 1973 – 1974: Bruce Hurn 1974 – 1978: James Priddey 1978 – 1980: Joan Elizabeth Woollard 1980 – 1983: Peter Gross 1983 – 1987: W. Alex Jackson 1987 – 1992: C. A. Sawbridge 1992 – 1995: Ernest Horton 1995 – 2001: Marylane Barfield 2001 – 2003: Roger Forbes 2003 – 2005: Roy Winter 2005 – 2008: Michele White 2008 – 2012: John Scott Martin 2012: Robert Neil The RBSA continues its core activities today as an independent society promoting artists in the Birmingham area and exhibiting their work.
It runs a series of demonstrations, as well as adult and family friendly workshops and school programmes. The Society has a permanent collection of over 600 works, including pieces by illustrious figures from its past such as David Cox and Edward Burne-Jones. Artists can apply to become'Associates', subject to majority vote by existing members. Active associates may apply to become'members', again subject to a majority vote. Category:Members and Associates of the Royal Birmingham Society of Artists The Making of Birmingham: Being a History of the Rise and Growth of the Midland Metropolis, Robert K. Dent, Published by J. L. Allday, 1894 Buildings of Engla
National Library of the Czech Republic
The National Library of the Czech Republic is the central library of the Czech Republic. It is directed by the Ministry of Culture; the library's main building is located in the historical Clementinum building in Prague, where half of its books are kept. The other half of the collection is stored in the district of Hostivař; the National Library is the biggest library in the Czech Republic, in its funds there are around 6 million documents. The library has around 60,000 registered readers; as well as Czech texts, the library stores older material from Turkey and India. The library houses books for Charles University in Prague; the library won international recognition in 2005 as it received the inaugural Jikji Prize from UNESCO via the Memory of the World Programme for its efforts in digitising old texts. The project, which commenced in 1992, involved the digitisation of 1,700 documents in its first 13 years; the most precious medieval manuscripts preserved in the National Library are the Codex Vyssegradensis and the Passional of Abbes Kunigunde.
In 2006 the Czech parliament approved funding for the construction of a new library building on Letna plain, between Hradčanská metro station and Sparta Prague's football ground, Letná stadium. In March 2007, following a request for tender, Czech architect Jan Kaplický was selected by a jury to undertake the project, with a projected completion date of 2011. In 2007 the project was delayed following objections regarding its proposed location from government officials including Prague Mayor Pavel Bém and President Václav Klaus. Plans for the building had still not been decided in February 2008, with the matter being referred to the Office for the Protection of Competition in order to determine if the tender had been won fairly. In 2008, Minister of Culture Václav Jehlička announced the end of the project, following a ruling from the European Commission that the tender process had not been carried out legally; the library was affected by the 2002 European floods, with some documents moved to upper levels to avoid the excess water.
Over 4,000 books were removed from the library in July 2011 following flooding in parts of the main building. There was a fire at the library in December 2012. List of national and state libraries Official website