sábado, 8 de agosto de 2015

Taipei Palace Museum. Pinturas para apreciar. -- Admire the paintings

A pintura é um Wrangler montando um cavalo branco, liderado por um Chun preto ea linha de freio. Há Huizong (1082-1135) inscrição: "obras de arte. Han Gan, prestando homenagem Yubi" Huizong de acordo com o título, este Web autores devem ser Han Gan, é o Imperador (reinou 712-756), famoso período de pintura do cavalo. 

Do ponto de vista do estilo, Wrangler bochechas barba, alto e gordo, é a aparência bárbaro; cavalos cavalo vigoroso, é uma espécie de Regiões ocidentais. A forma, preto e branco de dois 马健硕 completo, vívido, mas a linha é fina e lisa pintada. Dinastia Tang poeta Du Fu, "Dan chumbo", tem um comentário indirecto discípulos Cao Ba Han Gan habilidades de pintura cavalo. "Mapa do Wrangler" retrata macho corpulento cavalo cavalo heróico. Figura desenho preto e branco de dois cavalos, um bolo e vestindo um véu oficial Qiu Xi, segurando uma put freio em espera. 



Esta figura linhas finas Emoção, assinale cavalo forma robusta, o corpo do cavalo escuro, com padrão de Judith Kam, mas mostra a sua aparência, as pessoas drapery densidade causou, estruturado, caneta calma, olhar vívido, puro é derivado de uma pintura no . Yuan Tang Hou imagem de "Kam", disse Han secar "carne cavalo da pintura lei Tingyun era ...... Quanto à infecção, e cor em prime." Dong Canção recipiente de vinho "Hirokawa Vídeos Postscript", disse, "Shi Chuan Han Gan que para cavalos, tempo obrigatória, orientação da superfície, em seguida, em forma de revestimento do osso." Esses registros da pintura "mapa Wrangler" pode ter refletido sobre. "mapa Wrangler" livros originais "nome pintado coleção Jane" em um quadro, deixou lá Huizong Zhao Ji de "Han Gan autêntica, homenageando Yubi" inscrição.

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Cinco Hu Atlas anel de caça (parte)
Hu anel, Fan Yang (Hebei Zhuoxian pessoa), ou para a montanha 后契丹 pessoas sobre a atividade entre 9-10 séculos. Especializou-se em homens que descrevem Khitan, onde detritos animais e prazeres da vida, são descritos como a melhor preparado. As peças retratam caçadores transportar cena de caça águia, o caráter do traje típico da Khitan. 


Quatro falcões em três cores diferentes podem ser Costin. Filial aves águia e falconidae, os bons caçadores vários tipos, que Costin foi o melhor, isto é, nas áreas Khitan de origem. Com boa caça cisne é conhecido. Cavalo parece que "rachar ouvido vomeronasal", a nuvem é uma maneira especial, no momento, de acordo com o Khitan (Liao e Jin) que criar cavalos: "...... que o nariz não está quebrado, não crack arrogante orelha perfurador de pulmão, os rumores sem tons audíveis som ....... "
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Dinastia Song (trecho)
Cui ao lado da gaivota de bambu branco
Cui Bai: China Dinastia Song do Norte pintor. Sub-palavra Ocidente. Datas desconhecidos, activas no Antepassado ao redor. Ho Leung (agora Fengyang) pessoas. Flores Trespassing bambu, penas, também mais do que o budismo pintura mural Antepassado populares sua apreciação, Art Academy Artes e Ciências prêmio, foi promovido após aguardando ordens. 


O bom desempenho de pintar flores na modalidade deserto outono e inverno pássaro Deus fez, especialmente bom derrotou a Holanda, Lu Yan e outra técnica meticulosa descrição, a imagem do real, viva e cheia de charme rústico situação Yat. Pássaro branco Cui quebrou a partir do início da dinastia Song 100 anos e está trabalhando para obter pai rico Huang Li Quan 黄家富 seu sistema pássaro padrão, novo vento aberto pintura Dinastia Song do Norte. Há "mapa dupla felicidade", "mapa pássaro frio", "bambu gaivota mapa" proferida.
"Bamboo mapa gaivota" desenhada Baiou orla contra o vento no outono, idéias e dicas de estilo são refletidas características Cui Bai.


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Canção Ye Xiao Yan, West Lake diagrama (parte)
As pessoas fazem pequena cena, cavalo classe bastante longe, em seguida, ele controla o mundo, mas não muito. Lago Oeste, em Hangzhou, província de Zhejiang, também chamado de Qiantang Lake, Sushi poema "Para o Ocidente do que o Ocidente," a sentença, porque o conhecido Lago Oeste, cercada por montanhas, há dois picos confronto entre norte e sul; Lago na União Soviética, Branco dois aterro, Jia Qing estações cenário para dez mundialmente famosa. 



Que esta descrição do livro de West Lake, rochas grande lei machado, focando caneta corante coza concisa tem charme, cenário e configuração de cor é destinado a ter bastante trabalho. Tal como "Lei Feng Sunset" após a borda montanhas com pouca luz corante Zhu Shi, crepúsculo brilho, o sol já estava se pondo. Todas as páginas e como eu estava, embora sutil, redondo limpo também multa.


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Dinastia Yuan
Huang Kung-wang nove Everest Tsui Figura
Pesado anel Aoyama com sinuosos rios claros, algumas aldeias espalhadas ao pé da montanha, como um mundo longe da agitação do mundo exterior pacífica. Esta é Huang Kung-wang para seu amigo poeta Yang Wei Zhen (-1.370), pintando convidado nova em Songjiang (agora Shanghai), perto da paisagem. Yuan Huang Kung-wang é um importante pintor de paisagens, ele e vários outros pintor amador, e em conjunto com a criar linhas de caligrafia pintou paisagens; subjetivos, atitude corações impressionista sentir reprodução natural das imagens. 



Sua motivação para pintar não mostrar para o público, mas para ter um interesse comum na pintura amigos confidente. Por exemplo, a pintura, pintando aqueles Yang Wei Zhen, a dinastia Yuan tarde, Zhejiang e Songjiang artes que admirava escritores, 1346--1348 anos, lecionou em casas particulares Songjiang para dar Huang Kung-wang presentes pintura depois de pintar o título de um poema mencionado aqui Jiufeng três ainda água de vista, que ele acha que volta para sua cidade natal de ferro Yaishan Kuaiji. 




Esta pintura, embora não colorida, mas a partir das rochas molhadas macias, vegetação cheia de vida ponto de vista, é pintado no cenário da primavera dois primeiros poema descreve.


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Durante a Dinastia Ming (trecho)
Qiu Ying Primavera casa eixo tarde
Caneta fina fina, composição e ordenada. Longe, à queima-roupa de retalhos. Crepúsculo, um passeio pedestre chega em casa tarde. Bata na porta que sabe o peso de quem segure convento piano, proprietário do cavalo, tudo explicar claramente. Alguns deles preso flores no pátio, e árvores verdes ao redor, em todos os lugares revelando primavera para a vida.


Qiu Ying (ca. 1494-1552), a palavra pai verdadeiro, o 10º Chau, as pessoas que vivem em Taicang Suzhou, bom em pintar paisagens, obras puro, mas não rígida, Decleor e impressionante pro, rico e gentil paisagem verde, Pessoas drapery fina e lisa. Qiu Ying é um dos pintores representativos da Dinastia Ming, e Shen Zhou, Wen Yin Zhengming e mais tarde ficou conhecido como o "brilhante 4", também conhecido como "The Four Portão Celestial". Shen Wen, Tang três, não só para desenhar a vitória, e acompanhado por inscrições verso, em azulejo, o Don, perto de Qiu, Qiu Ying em suas pinturas, geralmente só seção título. Qiu Ying longo ficar Suzhou. Primeiro como um pintor, mais tarde mudou para estudar pintura, professor Zhou Chen. Para vender pinturas para viver, Mogu qualificados, uma escola informal. 


Diagrama de pó de papel amarelo, colocar a caneta no papel espúrio. Bons números pintura, pássaros, paisagens, vista chão, a viagem e similares, são mais brilhantes tão belo. Seus grandes temas e puro estilo renascentista muito bem, foi adaptado às necessidades dos ricos proprietários de terras. Especialmente bom em retratos, gravar uma nova grade personalizada. Vídeos Feliz Li magro retrato, contemporâneo de professores. Pintando paisagens, como definir caneta verde Daqing Xiao Shu, humor Jane afastado, Artesanato em êxtase. Cópia de suas muitas pinturas do Sr. Chiu Ju, Zhao Canção pintura neve dura profunda.

fonte: @edisonmariotti #edisonmariotti traduzido via google
Admirar as pinturas
Endereço Original: coleção Taipei Palace Museum de pinturas apreciar Autor: 980592369
Sui e Tang
Don Han Gan Wrangler Atlas (parte)

colaboração: Jane Yen




--in
Admire the paintings
Original Address: Taipei Palace Museum collection of paintings appreciate Author: 980592369
Sui and Tang
Don Han Gan Wrangler Atlas (part)
Painting is a Wrangler riding a white horse, led by a black Chun and brake line. There Huizong (1082-1135) inscription: ". Artworks Han Gan, paying homage Yubi" Huizong according to the title, this Web authors should be Han Gan, is the Emperor (reigned 712-756), famous period of painting Horse. Style point of view, Wrangler beard cheeks, high fat, is the barbarian appearance; horses vigorous horse, is a kind of Western Regions. The shape, black and white two full 马健硕, vivid, but the line is thin and smooth painted. Tang Dynasty poet Du Fu, "Dan lead," has an indirect comment disciples Cao Ba Han Gan horse painting skills. "Map of Wrangler" depicts male stout horse heroic horse. Figure black and white drawing of two horses, a bun and wearing a veil official Qiu Xi holding a brake put on hold. This figure fine lines Emotion, check horse robust, the body's dark horse, with standard Judith Kam, but shows its appearance, density drapery people caused, structured, calm pen, look vivid, pure is derived from a painting in . Yuan Tang Hou image "Kam," said Han dry "paint horse meat Tingyun law was ...... As for infection, and color on press." Dong Song wine container "Hirokawa videos postscript" said, "Gan Shi Chuan Han for horses, required time, surface orientation, and then shaped bone lining." These records paint "Wrangler map" may have reflected on. "Wrangler map" original books "name painted collection Jane" in a frame, there left Huizong Zhao Ji "Han Gan authentic, honoring Yubi" inscription.
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Five Hu Atlas hunting ring (part)
Hu ring, Fan Yang (Hebei Zhuoxian person), or mountain 后契丹 people about activity between 9-10 centuries. He specialized in men describing Khitan, where debris and animal pleasures of life, are described as the best prepared. The pieces portray hunters carry eagle hunting scene, the character of the typical costume of the Khitan. Four Hawks in three different colors can be Costin. Branch Eagle birds and falconidae, good hunters various types, which Costin was the best, i.e. in areas Khitan source. With good hunting swan is known. Horse looks like "crack vomeronasal heard," the cloud is a special way at the time, according to the Khitan (Liao and Jin) to create horses: "...... that the nose is not broken, do not arrogant crack Punch ear lung, rumors without audible tones sound ....... "
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Song Dynasty (excerpt)
Cui side of the bamboo to gull
Cui Bai: China Northern Song Dynasty painter. Sub-word West. Unknown dates, active in Ancestor around. Ho Leung (now Fengyang) people. Trespassing bamboo flowers, feathers, also more than Buddhism mural popular Ancestor your appreciation, Art Academy Arts and Sciences award, was promoted after waiting for orders. The good performance of painting flowers in the desert fall mode and bird God made winter, especially good defeated the Netherlands, Lu Yan and other meticulous technical description, the actual image, alive and full of rustic charm Yat situation. White Bird Cui broke from the beginning of the Song Dynasty 100 years and is working to get rich father Huang Li Quan 黄家富 their standard bird system, new wind open painting Northern Song Dynasty. There are "double happiness map", "cold bird map", "bamboo seagull map" made.
"Bamboo map Seagull" designed Baiou edge against the wind in autumn, ideas and style tips are reflected Cui Bai characteristics.
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Song Ye Xiao Yan, West Lake diagram (part)
People do little scene, horse class far enough, then it controls the world, but not much. West Lake in Hangzhou, Zhejiang Province, also called the Qiantang Lake, Sushi poem "For the West than the West," the sentence, because the well-known West Lake, surrounded by mountains, there are two peaks confrontation between North and South; Lake in the Soviet Union, White two embankment, Jia Qing seasons scene for ten world famous. This description of the book West Lake, rocks big ax law, focusing concise bake dye pen has charm, scenery and color setting is destined to have a lot of work. Such as "Lei Feng Sunset" after the border mountains with little dye light Zhu Shi, brightness twilight, the sun was setting. All pages and as I was, though subtle, round clean too fine.
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Yuan Dynasty
Huang Kung-wang nine Everest Tsui Figure
Heavy Aoyama ring with clear meandering rivers, some villages scattered at the foot of the mountain, like a world away from the bustle of the outside world peaceful. This is Huang Kung-wang to his friend poet Yang Wei Zhen (-1370), painting new guest in Songjiang (now Shanghai), near the countryside. Yuan Huang Kung-wang is an important landscape painter, he and several other amateur painter, and together with creating calligraphic lines painted landscapes; subjective, impressionistic attitude hearts feel natural reproduction of images. His motivation to paint not show to the public, but to have a common interest in painting confidant friends. For example, painting, painting those Yang Wei Zhen, the late Yuan Dynasty, Zhejiang and Songjiang arts admired writers, 1346--1348 years, he taught in private homes Songjiang to give Huang Kung-wang present painting after painting the title a poem mentioned here Jiufeng three still water of view, he thinks back to his hometown of iron Yaishan Kuaiji. This painting, though not colored, but from the soft wet rocks, vegetation full of life point of view, is painted in springtime scenery first two poem describes.
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During the Ming Dynasty (excerpt)
Qiu Ying spring home late axis
Fine, composition and ordered fine pen. Far, the patchwork close range. Twilight, a pedestrian promenade comes home late. Knock on the door who knows the weight of those who hold convent piano, horse owner, all clearly explained. Some of them stuck flowers in the yard, and green trees around, everywhere revealing spring into life.
Qiu Ying (ca. 1494-1552), the real father word, the 10th Chau, people living in Taicang Suzhou, good at painting landscapes, pure works, but not rigid, Decleor and impressive pro, rich and gentle green landscape, People thin, smooth drapery. Qiu Ying is one of the representative painters of the Ming Dynasty, and Shen Zhou, Wen Zhengming Yin and later became known as the "bright 4", also known as "The Four Heavenly Gate". Shen Wen, Tang three, not only to draw the victory, and accompanied by verse inscriptions, tiled, Don, near Qiu, Qiu Ying in his paintings, generally only section title. Qiu Ying long stay Suzhou. First as a painter, later he changed to study painting, professor Zhou Chen. To sell paintings to live, qualified Mogu, an informal school. Diagram of yellow paper dust, put pen to paper spurious. Good numbers painting, birds, landscapes, viewing ground, the trip and the like, are brighter so beautiful. His major themes and pure Renaissance style very well, was adapted to the needs of wealthy landowners. Especially good at portraits, record a new custom grid. Videos Happy Li slim portrait, contemporary teachers. Painting landscapes, setting green pen Daqing Xiao Shu, humor Jane away, Crafts ecstatic. Copy of his many paintings of Mr. Chiu Ju, Zhao Song painting deep hard snow.
--ch

藏畫欣賞
原文地址:台北故宮博物院藏畫欣賞作者:980592369
隋唐五代時期
唐 韓幹 牧馬圖冊(部分)
本幅畫一牧馬人騎白馬,牽一匹黑駿,並轡而行。上有宋徽宗( 1082 -1135 )題字:「韓幹真跡,丁亥御筆。」依徽宗之題,本幅作者應是韓幹,是唐玄宗( 712-756在位)時期的畫馬名家。從畫風來看,牧馬人兩腮鬍須,體格高大肥壯,是為胡人相貌;馬匹神駿雄健,屬來自西域之品種。在造形上,黑白二馬健碩豐滿,生動逼真,但在線條的描繪上卻是細緻流暢。唐代大詩人杜甫《丹青引》,曾間接評論曹霸的弟子韓幹畫馬的技巧。《牧馬圖》描繪駿馬肥碩雄駿馬的英姿。圖中畫黑白二馬,一奚官虯髻戴頭巾,手執韁緩行。此圖線條纖細遒勁,勾出馬的健壯體形,黑馬身配朱地花紋錦鞍,更示出其神采;人物衣紋疏密有致,結構嚴謹,用筆沉著,神采生動,純是從寫生中得來。元湯垕《畫鑑》說韓幹“畫馬得骨肉停勻法……至於傳染,色入兼素 ”。宋董卣《廣川畫跋》說;“世傳韓幹凡作馬,必考時日,面方位,然後定形骨毛色。”這些記載從這幅《牧馬圖》可得見其大概。《牧馬圖》原為《名繪集珍》冊中之一幀,左有宋徽宗趙佶的“韓幹真跡,丁亥御筆”題字。
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五代 胡環 出獵圖冊(部分)
胡環,范陽(河北涿縣人),或作山後契丹人,約活動於九、十世紀之間。精於描繪契丹之人馬,凡生活雜物及牲畜犬馬,都形容備盡。本幅描寫獵人攜鷹狩獵之情景,人物著典型契丹族之衣冠。四隻獵鷹中,三隻可能是不同花色的海東青。鷲鷹科及隼科之鳥類,善獵者有數種,其中以海東青為極品,產地即在契丹領域中。以善獵天鵝而聞名。馬匹似有「裂耳犁鼻」之狀,據云是當時契丹(遼金)人養育馬匹的特殊方式:「……謂鼻不破裂,則氣盛衝肺。耳不裂,則風傳而不聞音聲……」。
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宋朝時期(節選)
崔白 竹鷗圖軸
崔白:中國北宋畫家。字子西。生卒年不詳,活躍於宋神宗前後。濠梁(今安徽鳳陽)人。擅花竹、翎毛,亦長於佛道壁畫,其畫頗受宋神宗賞識,授圖畫院藝學,後升為待詔。所畫花鳥善於表現荒郊野外秋冬季節中花鳥的情態神致,尤精於敗荷、蘆雁等的描繪,手法細緻,形象真實,生動傳神,富於逸情野趣。崔白的花鳥畫打破了自宋初100年來由黃筌父子工致富麗的黃家富貴為標準的花鳥體制,開北宋宮廷繪畫之新風。有《雙喜圖》、《寒雀圖》、《竹鷗圖》等傳世。
《竹鷗圖》畫白鷗在秋季水邊逆風而行,構思及風格技巧都體現了崔白的特色。
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宋 葉肖岩 西湖十景圖(部分)
作人物小景,頗類馬遠,然其蹟世多不見也。西湖在浙江省杭州市城西,亦名錢塘湖,蘇軾詩有「欲把西湖比西子」之句,因又名西子湖,三面環山,有南北兩高峰對峙;湖中有蘇,白兩隄,四時風物清佳,以十景馳名於世。此冊即描寫西湖景色,山石以大斧劈法,著重烘染,用筆簡潔有韻緻,搆景設色取意頗工。如「雷峰夕照」之遠山後緣用淡硃稍加施染,霞光微露,已然夕陽西沉。餘諸頁亦如是,雖細微處,亦細潔圓潤。
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元朝時期
黃公望 九珠峰翠圖
重重青山環抱著清澈蜿蜒的溪流,山腳下散佈幾處村落,像是遠離世外塵囂的寧靜世界。這是黃公望為他的詩人朋友楊維禎(-1370),畫楊氏客居松江(今上海)附近的風光。黃公望是元代重要的山水畫家,他與其他幾位業餘畫家,共同創造以書法的線條描繪山水;以主觀的,寫意的態度再現心中感受的自然物象。他們作畫的動機不是為了向大眾展示,而是畫給有共同興趣的知己友人。例如這幅畫的受畫者楊維禎,是元代後期浙江與松江地區藝文人士景仰的文人,1346-1348年間,他在松江私人家中執教,得到黃公望的贈畫後,在畫上題一首詩,提到此地九峰三泖的景緻,令他遙想家鄉會稽的鐵崖山。此畫雖然不著色,但是從山石的鬆軟溼潤,草木的生意盎然來看,正是畫上兩首題詩所描述的春天的景色。
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明朝時期(節選)
仇英 春遊晚歸軸
用筆細膩精緻,構圖有序。遠、中、近景錯落有致。暮色蒼茫,一行人春遊晚歸。叩門者、挑擔者、抱琴的書僮、騎馬的主人,無不交代得清清楚楚。 院落裡探出的幾枝春花,以及周遭的樹木的嫩綠,處處透出春天的生機。
仇英(約公元1494-1552年),字實父,號十洲,江蘇太倉人,久居蘇州,擅畫山水人物,作品工整而不呆板,妍麗而不俗媚,青綠山水富麗而溫雅,人物衣紋精細而流暢。仇英是明代有代表性的畫家之一,與沈周,文徵明和唐寅被後世並稱為“明四家” ,亦稱“天門四傑”。沈、文、唐三家,不僅以畫取勝,且佐以詩句題跋,就畫格而言,唐,仇相接近,仇英在他的畫上,一般只題名款。仇英長期住蘇州。初為漆工,後改學畫,師周臣。以賣畫為生,精於摹古,不拘一家一派。粉圖黃紙,落筆亂真。善畫人物、鳥獸、山水、樓觀、舟車之類,皆秀雅鮮麗。他以廣泛的題材和工整細麗的風格,適應當時地主富商的需要。尤擅長人物畫,創歷史風俗的新格。畫風流麗纖巧,為當代人物畫的師範。畫山水,喜設大青綠色,用筆蕭疏,意境簡遠,工巧入神。他臨摹的古畫很多,對趙伯駒、趙松雪畫用功頗深。
 

Archaeological Museum of Thessaloniki, Greece











The story of the Archaeological Museum of Thessaloniki is similar to the city's recent history. The Ephorate of Antiquities "by the General Directorate of Macedonia" was the first service to be founded, on November 1912, only a fortnight after the city was incorporated into the Greek State. Until 1925, all antiquities found in Macedonia were gathered at the Residency (Διοικητήριο the modern-day building of the Secretariat of Macedonia-Thrace) as well as the Ottoman Idadie School, which housed the Faculty of Philosophy of the Aristotle University. During World War I, the French Army (Armee Francaise d’ Orient) was gathering antiquities initially at Karabournaki and later on at Rotonda, while the British Army would gather the antiquities they uncovered at the White Tower.





                                                  







In 1925, the Yeni Cami, the new mosque, the centre of worship for the Donmeh population of the Ottoman-occupied Thessaloniki, was given to the Archaeological Service. The Yeni Cami would become the city's first Museum, as the inscription still in place on its facade indicates. In 1940 many antiquities, mainly sculptures, were buried in trenches in order to be protected from war raids. They were unearthed in 1951 and displayed for the first time in the main hall of the Archaeological Museum (Yeni Cami) in 1953.

In 1950 a large plot was designated for the erection of a new Museum, in the heart of the city, on Y.M.C.A. Square, next to the grounds of the International Fair. The project was assigned to Patroklos Karantinos, an notable Greek modernist architect.

The new Museum was inaugurated in 1962 in a grand ceremony, as part of the celebrations for the completion of 50 years since Thessaloniki's liberation, exhibiting the impressive finds from the Derveni tombs, which had been found in the same year. An exhibition of sculptures from the Archaic to the Roman era followed, designed by Giorgos Despinis, professor of Archaeology at the Aristotle University of Thessaloniki.



The marvellous finds of the Royal Tombs at Vergina revealed by professor Manolis Andronikos, which were transferred to the Museum for storage and conservation as soon as they were found, necessitated a new display pattern and required the construction of a building extension. In 1982 a new exhibition was designed to display the finds from the cemetery of Sindos. The ephor of antiquities, Aikaterini Despini was responsible for both the excavation and the exhibition. In 1985, with the completion of 2300 years since the foundation of Thessaloniki by Cassander in 315 BC, the then director of the Museum, Julia Vokotopoulou organised the first major exhibition dedicated to the city's history and archaeology.




In 1996 the first extensive exhibition on Prehistoric Macedonia took place at the Museum, below the Vergina Hall, at the new building extension (by Vogiatzis) completed in 1980. This exhibition was organised by the then director Dimitrios Grammenos and the archaeologist Maria Pappa. In 1998, when the Vergina finds were transferred back to their place of discovery to be displayed at a new museum that simulated the large burial mound of the Royal Tombs, a new exhibition was organised at the Museum of Thessaloniki, entitled "The Gold of Macedon" by Dimitrios Grammenos and the archaeologists Betina Tsigarida and Despina Ignatiadou, in order to fill the gap of the remarkable royal burial assemblages.



In 2002, through a Presidential Decree (164/2002), the Archaeological Museum of Thessaloniki became a separate Special Regional Service of the Ministry of Culture. At the dawn of the 21st century, modern museological needs led to an extensive renovation of the building. The Museum became accessible to the public again in 2004 with new permanent exhibitions. On September, 2006, the renovated Archaeological Museum was officially reopened with five new thematic exhibitions, under D.Grammenos and a large team of specialists. The new exhibitions, completely anthropocentric, bypassing the thread of time, has acquired a strong didactic character.



After a long period of work for the renovation of the exhibition, storage, preservation and management spaces, the Archaeological Museum of Thessaloniki opened for the public on September 2006. In the time before the opening, apart from the expansion of the building, the most important and vital part of our efforts was completed: the exhibitions of the museum were redesigned in a way that responds to the needs of the modern visitor.



It was our intention to shed light on the different sides of the culture that was created in Macedonia, mainly in Thessaloniki and the adjacent municipalities: from the beginning of prehistoric times up until the late antiquity, meaning the beginning of the Christian era.



We welcome you to visit the Museum. Immense yourself in the stories that it has to tell you, see and listen to how an object can “make” history. In addition, come to experience and enjoy all that a modern museum can offer: educational programs, exhibitions of ancient and modern culture, workshops, academic talks, seminars and recreational activities.




The Archaeological Museum of Thessaloniki is a space of culture and learning, open for everyone.


fonte: @edisonmarioti #edisonmariotti
http://www.amth.gr/en


colaboração Αφροδίτη Διαμαντοπούλου

MUSEUM OF ISLAMIC ART (MIA)

WORLD CLASS ISLAMIC ART




MIA’s masterpieces come from diverse societies - both secular and spiritual. Pieces in the collection are all connected by Islam, but many are non-religious in nature.

They are drawn from the treasure‐houses of princes and the personal homes of ordinary people. Each object tells a fascinating story about its origins, providing an experience that extends far beyond the physical gallery space.

Discover the beauty of Islamic art and realise its international influence. Plan your visit to MIA.



TRADITIONAL INSPIRATION, MODERN ARCHITECTURE

Designed by world-renowned architect I.M. Pei, the MIA building has become an icon. Standing apart on the waters of the Corniche, it draws influence from traditional Islamic architecture. The building is made from limestone, which captures hourly changes in light and shade.


The geometric patterns of the Islamic world adorn the inside space, making for a grand interior. A variety of textures and materials, including wood and stone, have created a unique environment for the museum’s stunning collections. With incredible views across the bay, it’s the foundation for Doha’s burgeoning cultural scene.


EXQUISITE TASTE

Nestled in the heart of the MIA is Alain Ducasse’s first restaurant in the Middle East. 'Idam' means 'generosity', and each dish is a celebration of local tastes, spices and ingredients. Philippe Starck’s unique decor creates a sophisticated atmosphere, overlooking Doha’s skyline from the top floor of the museum.

CULTURE IN THE PARK

Cultural activities spill out of the main building on to the adjacent park. The MIA park is a social place, with year-round activities, including film screenings, sports events, art workshops and extra exhibition features. Walk the promenade to view Richard Serra's iconic work, '7', enjoy the café, gift shop, and striking views over the city.


fonte: @edisonmariotti #edisonmariotti
http://www.qm.org.qa/en/project/museum-islamic-art-mia

Muzeum Śląska Opolskiego jest instytucją z ponad 100 letnią tradycją. -- Opole Silesia Museum is an institution with over 100 years of tradition. -- Opole Silesia Museum é uma instituição com mais de 100 anos de tradição.



Zostało założone w 1900 roku jako Muzeum Miejskie w Opolu (Städtisches Museum Oppeln). W 1950 roku zmieniono jego nazwę na Muzeum Śląska Opolskiego, pod którą funkcjonuje obecnie.

o_muzeum

Od początku istnienia Muzeum było placówką wielodziałową. Aktualnie tworzy ją siedem działów merytorycznych: Archeologiczny, Edukacji Muzealnej, Etnograficzny, Historyczny, Przyrody, Sztuki i Pracownia Konserwacji Zabytków.

W Opolu Muzeum posiada kilka obiektów wystawienniczych: barokowy gmach pojezuicki oraz nowy pawilon wystawowy tworzą Gmach Główny przy Małym Rynku 7. Tuż obok przy ul. św. Wojciecha 9 znajduje się Kamienica Czynszowa, a przy ul. Ozimskiej 10 w budynku dziewiętnastowiecznej karczmy mieści się Galeria Muzeum Śląska Opolskiego. W Górze św. Anny znajduje się oddział instytucji – Muzeum Czynu Powstańczego.

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Pierwsze idee utworzenia muzeum w Opolu pojawiły się pod koniec XIX wieku. 25 października 1897 roku pierwszy taki pomysł przedstawili na zebraniu Opolskich Filomatów burmistrz Artur Pagels i prawnik Paul Vogt. W opolskim muzeum zamierzano eksponować przedmioty z wykopalisk prowadzonych Groszowicach i Nowej Wsi Królewskiej, skarb znaleziony przy kopaniu kanalizacji i wodociągów oraz konkursowe projekty studni na nowobudowanym Friedrichsplatzu  (obecnie plac Daszyńskiego).
M-12Jesienią 1898 roku zwolnił się budynek po  wyższej szkole dziewcząt przy Ozimskiej 6 (wówczas: Malapanerstrasse), latem 1899 roku urządzono tam wystawę gipsowych modeli projektów studni dla Friedrichsplatzu. 4 listopada 1900 roku w tym właśnie budynku, w pomieszczeniach na piętrze, rozpoczęło działalność muzeum miejskie. Początki działalności były bardzo skromne, a wiadomość o powstaniu nowej placówki powoli rozchodziła się wśród mieszkańców. W muzeum pokazywano zabytki pozyskane z wykopalisk, eksponaty związane z historią miasta – plany, widoki, wyroby cechowe, rzemiosło artystyczne, przedmioty pochodzące z terytoriów kolonialnych oraz pamiątki związane historią pruskiej wojskowości. Muzeum było instytucją miejską, którą kierowało kuratorium. W pierwszych latach działalności placówki zasiadali w nim: profesor gimnazjum miejskiego Joseph Sprotte, miejski radca budowlany Paul Spiller oraz radca prawny Paul Vogt (zm. 1905). Oni właśnie wymieniani są jako osoby, które szczególnie przyczyniły się do powstania opolskiego muzeum.

Po kilku latach, w 1907 roku, muzeum miejskie zostało przeniesione do budynków byłej szkoły ewangelickiej w pomieszczeniach dawnego klasztoru franciszkanów (część dziś nieistniejąca). Mieściło się początkowo w trzech pomieszczeniach, ale od 1920 roku jedno z nich, w dodatku najlepsze do ekspozycji ze względu na oświetlenie, zostało zajęte na posterunek policji.

M-2Mimo, iż w budynkach poklasztornych, zarządzanych przez gminę ewangelicką, muzeum mieściło się prawie dwadzieścia lat, okres ten pozostaje dotąd najmniej rozpoznanym w dziejach tej instytucji. Nie był to zresztą dobry okres. Wiadomo, że od 1920 roku, od kiedy uszczuplono powierzchnię placówki, zbiory pozostawały niedostępne dla zwiedzających. W latach 20., w związku z decyzją o wyburzeniu części zabudowań poklasztornych, rozpoczęto poszukiwania nowego lokalu dla muzeum. Znaleziono go w oficynie przy ul. Gartenstrasse 12 (obecnie Sienkiewicza 20), w pomieszczeniach mieszczących niegdyś fabrykę cygar, dokąd przeniesiono muzeum w 1926 roku (otwarcie dla zwiedzających nastąpiło 16 lutego 1927 roku). Po raz pierwszy w swej historii muzeum opolskie otrzymało do dyspozycji, choć skromny, to jednak cały budynek, w którym można było pokazać zebrane dotychczas eksponaty.

W tym czasie zmienił się nieco sposób zarządzania muzeum.  Jako kierownik muzeum w dokumentach wymieniany jest Alfred Steinert, równocześnie archiwariusz miejski. Obie te funkcje sprawował aż do stycznia 1945 roku. Zlikwidowano kuratorium, w magistracie był natomiast urzędnik odpowiedzialny za muzeum, działała także kolegialna rada, złożona z pracowników, przedstawicieli miasta i zaproszonych członków.

Działalność muzeum opolskiego w tym okresie jest znana dość dobrze – zachowały się szczegółowe sprawozdania Steinerta od roku 1926 oraz dokumentacja fotograficzna. 2 grudnia 1930 roku w auli miejskiej szkoły zawodowej uroczyście świętowano jubileusz trzydziestolecia opolskiego muzeum. Spora była wówczas liczba muzealiów – dział archeologiczny liczył 300 eksponatów, kulturalno-historyczny 2000, a przyrodniczy aż 10 000.

M-3W 1932 roku nastąpiła ostatnia przeprowadzka opolskiego muzeum. Już dawno plany włodarzy miasta przewidywały udostępnienie zabytkowego gmachu dawnego kolegium jezuickiego przy Małym Rynku 7, uznawanego za najstarszy w mieście, na cele kulturalne, ale dopiero w 1932 r. zakończono jego remont i przeznaczono na bibliotekę (parter) i muzeum miejskie (piętro). Zbiory w nowych wnętrzach udostępniono publiczności 1 września 1932 roku. W dziesięciu salach wystawowych pokazywano ekspozycje trzech działów, pośrodku znajdowała się duża sala odczytowa z ekranem, epidiaskopami i pianinem. W 1934 roku muzeum przejęło od 63. pułku piechoty stacjonującego w Opolu izbę tradycji, która także udostępniona została zwiedzającym.

Polskie Muzeum Miejskie w Opolu zaczęło funkcjonować w czerwcu 1945 roku, w budynku przy Małym Rynku 7, czyli w ostatniej siedzibie Städtische Museum Oppeln. Inaczej, niż przed wojną, muzeum otrzymało teraz do dyspozycji cały budynek, łącznie z parterem, gdzie wcześniej mieściła się miejska biblioteka.

Od początku ważne stało się zatrudnienie zawodowego kustosza. Początkowo zakładano, że byłby to jednocześnie kierownik Muzeum i Biblioteki Miejskiej. W 1946 r. ówczesny prezydent Opola Wilhelm Szafarczyk zatrudnił w Muzeum jako stałego pracownika – kustosza Józefa Obuchowskiego. Posiadał on dyplom Uniwersytetu Jagiellońskiego z zakresu geografii i geologii; ponadto pracował w muzealnictwie w latach 1930 – 1939, czyli posiadał pełne przygotowanie, zarówno teoretyczne jak i praktyczne. Do tego czasu, czyli do czerwca 1946 roku formalną opiekę nad Muzeum sprawował dziennikarz Józef Preussner.

Muzeum było instytucją finansowaną przez miasto, które pokrywało wszystkie wydatki gospodarcze, natomiast Ministerstwo Kultury i Sztuki finansowało zakup muzealiów oraz partycypowało w kosztach remontów. Józef Obuchowski, w swym pierwszym sprawozdaniu z 8 lipca 1946 roku scharakteryzował stan muzeum w następujący sposób: „Muzeum jest całkiem nie uporządkowane, katalogów nie ma, w salach muzealnych nieład, wiele eksponatów zginęło (w tej liczbie cała numizmatyka) dużo szaf uszkodzonych, prawie wszystkie zamki wyłamane. To samo jest i w bibliotece oraz w pracowniach i kancelarii”. Oprócz stwierdzenia nieładu i braku ewidencji ocalałych eksponatów znajduje się w nim również krótki opis stanu zachowanych w Muzeum zbiorów: „Muzeum – działy: 1. Prehistoryczny – 2 sale, kilka eksponatów z paleolitu, sporo neolitu i brązu; 2. Historyczny – 2 sale, w tym cenne wykopaliska z grodziska opolskiego; 3. Przyrodniczy – 2 sale, dość bogaty, nie uporządkowany. Ptaki wymagają natychmiastowych zabiegów konserwujących, brak szaf; 4. Numizmatyczny, całkowicie wykradziony. Katalogów brak. Biblioteka. Duży księgozbiór. Książki wyłącznie niemieckie z różnych dziedzin wiedzy. Dawne katalogi niekompletne, kartoteki poniszczone, książki wszystkich działów pomieszane (…). Są też dzieła bardzo wartościowe (…). Pracownie i urządzenia pomocnicze konserwatorskie są, lecz dość zdewastowane. (…) Na skutek wojny cały ład i porządek w Muzeum i bibliotece zostały zniszczone, a przede wszystkim system inwentaryzacyjny (…)”. W swoich najbliższych planach Józef Obuchowski zawarł przede wszystkim: inwentaryzację zachowanego mienia, a także ustalenie profilu Muzeum.

sb-300x184Otwarcie Muzeum Miejskiego w Opolu nastąpiło 1 września 1946 roku. Z dniem 1 października 1947 roku do Muzeum został przyjęty Jerzy Kozubowski, który przed wojną ukończył „cztery lata prehistorii i cztery lata historii sztuki na Uniwersytecie Jagiellońskim”, po praktyce muzealnej w Toruniu. Pracował on tylko do końca 1948 roku, a potem objął kierownictwo Ogniska Kultury Plastycznej w Opolu. Pod koniec 1947 roku, obydwaj pracownicy merytoryczni Muzeum (Obuchowski i Kozubowski) włączyli się w prace Komitetu Badań Prehistorycznych w Opolu, który koncentrował się głównie na archeologicznych pracach wykopaliskowych na opolskim Ostrówku. Wyniki tych prac były jednym z głównych tematów w działalności naukowo – oświatowej Muzeum oraz podstawą planu rozbudowy Działu Prehistorycznego, który nie doszedł do skutku, gdyż ostatecznie prezentacją eksponatów zajął się Komitet Badań Prehistorycznych.

W 1948 roku Muzeum przystąpiło do organizowania Działu Numizmatycznego. Początek zbiorom dał dar Tadeusza Kałkowskiego – dyrektora odbudowy Kolei Państwowych w Katowicach, który przekazał Muzeum 61 eksponatów numizmatycznych.

W 1949 roku podstawowe prace Muzeum koncentrowały się na gromadzeniu eksponatów i działalności wystawienniczej. Mimo usilnych starań nie udało się sprowadzić wówczas do Opola żadnej wystawy objazdowej. Dopiero w 1950 roku sprowadzono do Muzeum wystawę prezentującą wyniki badań na Ostrówku, pod tytułem „Śląsk w pradziejach Polski”. Gromadzenie zabytków etnograficznych było w tym czasie głównie zasługą dyrektora, który był jednocześnie wykładowcą geografii i geologii w jednym z opolskich liceów.

Koniec 1949 roku stanowi cezurę w stanie prawnym muzeów miejskich. Uchwałą komitetu ministrów do spraw kultury z dnia 6 października 1949 roku podjęto postanowienie o upaństwowieniu muzeów publicznych, należących do związków samorządu terytorialnego, stowarzyszeń i osób fizycznych. Miało to nastąpić do 30 grudnia 1949 roku. Akt przekazania zawiera szczegółowy opis nieruchomości położonej przy ul. Św. Wojciecha 7, w której znajdowało się 12 sal wystawowych, 4 pomieszczenia administracyjne, 1 sala wykładowa, 1 sala – pracownia, 2 halle i trzyizbowe mieszkanie oraz parterowe zabudowania gospodarcze. Muzeum posiadało 4650 zabytków i zespołów, zgromadzonych w następujących działach: etnograficznym, prehistorycznym, przyrodniczym, zabytków miejskich i numizmatycznym.Od 1950 roku muzeum przyjęło nazwę Muzeum Śląska Opolskiego. Rozszerzył się zakres kolekcjonerski, a placówka skupiająca się dotychczas przede wszystkim na dziejach miasta, miała objąć swym zasięgiem teren całego województwa.

W kwietniu 1957 roku Muzeum Śląska Opolskiego, zostało muzeum okręgowym, wychodząc spod dotychczasowej kurateli Muzeum Śląskiego we Wrocławiu i przejmując pieczę merytoryczną nad istniejącymi wówczas trzema pozostałymi muzeami województwa opolskiego: w Brzegu, Nysie i Raciborzu. W 1957 roku wykształcił się też nowy schemat organizacyjny muzeum, w dużej części zachowany do dziś. Placówka posiadała wówczas następujące działy merytoryczne: Archeologiczny, Etnograficzny, Historyczny, Sztuki, Przyrody, Naukowo-Oświatowy. Muzeum Śląska Opolskiego posiadało w tym czasie wiele oddziałów, które stopniowo usamodzielniły się, tworząc odrębne placówki muzealne, należące do opolskiego okręgu muzealnego. Były to: oddział w Kluczborku utworzony w 1959 roku, a samodzielny od 1962 r., w Prudniku (1957 r., samodzielny od 1969 r.), w Oleśnie (1960 r., samodzielny od 1975 r.).
Z Muzeum Śląska Opolskiego wydzieliło się także Muzeum Wsi Opolskiej, utworzone w 1961 r., a samodzielne od 1966 r. – jedyne w naszym województwie muzeum typu skansenowskiego. W 1964 roku otwarto dwa nowe oddziały MŚO – Muzeum Czynu Powstańczego w Leśnicy, pow. Strzelce Opolskie i Muzeum Martyrologii Jeńców Wojennych w Łambinowicach, pow. Niemodlin. Do obecnej siedziby w Górze św. Anny Muzeum Czynu Powstańczego zostało przeniesione w 1980 roku. W 1965 roku muzeum łambinowickie, już jako Centralne Muzeum Jeńców Wojennych w Łambinowicach-Opolu zostało podniesione do rangi placówki o zasięgu krajowym, działającym pod bezpośrednim zwierzchnictwem MKiS.

W 1964 roku podjęto starania, mające na celu przede wszystkim zapewnienie muzeum nowych pomieszczeń ekspozycyjnych, przejęcie prac organizacyjnych rezerwatu archeologicznego na Ostrówku oraz podjęto starania o ulokowanie muzealnej wystawy historycznej we wnętrzu Wieży Piastowskiej. W tym samym roku zorganizowano w muzeum Pracownię Dokumentacji Fotograficznej, a w 1967 roku rozpoczęto remont budynku przy Małym Rynku 7. W dniu 15 grudnia 1971 roku, pomimo trwających nadal robót remontowych, otwarto nową wystawę, która mieściła się w zaadaptowanych piwnicach, w trzech pomieszczeniach na parterze i w jednym pomieszczeniu na I piętrze. W jej organizacji wzięły udział wszystkie działy merytoryczne muzeum – archeologiczny, historyczny, etnograficzny oraz sztuki i rzemiosła artystycznego. W 1976 roku, wskutek nowego podziału administracyjnego państwa, odłączono od opolskiego okręgu muzealnego Muzeum w Raciborzu, który znalazł się w województwie katowickim i Muzeum im. Nikodema Jaronia w Oleśnie, przyłączonym do województwa częstochowskiego.

Z dniem 1 stycznia 1976 roku, na podstawie zarządzenia wojewody opolskiego przemianowano autonomiczne dotąd Muzeum Piastów Śląskich w Brzegu na oddział Muzeum Śląska Opolskiego. W tym samym czasie oddziałami MŚO zostały muzea społeczne w Grodkowie i Głogówku. Najpóźniej, bo w 1982 roku oddziałem (punktem muzealnym) MŚO zostało Muzeum Regionalne w Namysłowie, przekazane po 7 latach pod zarząd gminy Namysłów.

W 1980 roku Muzeum otrzymało kamienicę przy ul. Św. Wojciecha 13. Po zakończeniu, trwającego 8 lat remontu znalazły w niej swą siedzibę m.in. pracownie działów merytorycznych, zaś na drugim piętrze usytuowano sale wystaw czasowych. W 1988 roku Muzeum przejęło w użytkowanie od skarbu państwa pałac w Lewinie Brzeskim. Po kapitalnym remoncie miały się w nim mieścić głównie magazyny zbiorów. Jednak już w 1991 roku wstrzymano w nim wszelkie prace remontowe z uwagi na brak środków finansowych, a w 1994 roku pałac został zwrócony Skarbowi Państwa.

Jednym z ważnych elementów reformy samorządowej z 1990 roku było przekazanie samorządom gminnym kompetencji w zakresie prowadzenia instytucji kultury. Tym samym, gminy przejęły w zarządzanie większość działających na ich terenie muzeów. W województwie opolskim pod zarząd gminy trafiły dotychczasowe oddziały Muzeum Śląska Opolskiego – Muzeum im. Józefa Elsnera w Grodkowie, Muzeum w Głogówku oraz Punkt Muzealny w Namysłowie. Muzeum Śląska Opolskiego pozostało Muzeum państwowym do kolejnego etapu reformy samorządowej, która nastąpiła w 1999 roku, kiedy to organizatorami większości pozostałych instytucji państwowych stały się samorządowe województwa i powiaty. Muzeum Śląska Opolskiego wraz z jedynym, pozostałym w jego strukturze organizacyjnej oddziałem – Muzeum Czynu Powstańczego w Górze Św. Anny zostało placówką podległą samorządowi wojewódzkiemu.

W 1994 roku Muzeum przejęło i wyremontowało budynek przy ul. Ozimskiej 10 (wcześniej siedziba Biura Wystaw Artystycznych). W 2000 roku otwarto w nim Galerię Malarstwa Jana Cybisa. W 2005 roku Muzeum otrzymało na własność kamienicę przy ul. Św. Wojciecha 9, w której urządzono ekspozycje XIX – XX w. wnętrz mieszczańskich.

W latach 2005 – 2008 zrealizowano projekt „Mons Universitatis”, polegający na remoncie i rozbudowie Muzeum. W jego ramach zmodernizowano i zaadaptowano wnętrza wspomnianej już zabytkowej kamienicy mieszczańskiej, przeprowadzono remont budynku administracyjnego przy ul. Św. Wojciecha 13, przebudowano i wyremontowano kamienicę przy Małym Rynku 7, a także wybudowano nowy pawilon wystawienniczy. W efekcie, zdecydowanemu powiększeniu uległa powierzchnia wystawiennicza Muzeum.

Otwarcie Muzeum po remoncie i rozbudowie nastąpiło w październiku 2008 roku. Wówczas udostępniono zwiedzającym trzy stałe ekspozycje Galeria malarstwa polskiego XIX-XX w., Ceramika górnośląska i W kręgu farmacji. W 2009 roku otwarto stałą wystawę archeologiczną Pradzieje i wczesne średniowiecze Opolszczyzny, a w następnym roku stałą wystawę historyczną Opole – gród, miasto stolica regionu.
Więcej: Joanna Filipczyk, Ewa Matuszczyk, Muzeum w Opolu 1900 – 2010, „Opolski Rocznik Muzealny”, t. XVIII: 2011, cz. 1, s. 9 – 32.


fonte: @edisonmariotti #edisonmariotti 





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Opole Silesia Museum is an institution with over 100 years of tradition.

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It was founded in 1900 as the Municipal Museum in Opole (Städtisches Museum Oppeln). In 1950, its name was changed to the Museum of Opole Silesia, under which currently operates.

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Since its inception, the Museum was the institution of multiple departments. Currently, it is formed by seven thematic divisions: Archeology, Museum Education, Ethnography, History, Nature, Art and Heritage Conservation Workshop.

In Opole museum has several exhibition buildings: the baroque Jesuit building and a new exhibition pavilion form the Main Building at the Small Market 7. Right next to the street. St. Wojciech 9 is a tenement house and street. Ozimskiej 10 in the building of nineteenth-century inn is situated Gallery of the Museum of Opole Silesia. In the Saint. Anna is a branch of the institution - the Museum of Insurrection.

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The first ideas of creation of a museum in Opole appeared in the late nineteenth century. October 25, 1897, the first such idea presented at a meeting of Opole Philomath Mayor Arthur Pagels and lawyer Paul Vogt. In the Opole museum was intended to expose objects from excavations conducted Groszowice and New Village Royal, a treasure found by digging sewers and water mains and wells competition on the newly built projects Friedrichsplatzu (now Square Daszyńskiego).
M-12Jesienią 1,898 years slowed the building of the high school girls at Ozimskiej 6 (then: Malapanerstrasse) in the summer of 1899 years has an exhibition of plaster models wells for the Friedrichsplatzu projects. November 4, 1900 year in this very building, the rooms on the floor, began operations municipal museum. The beginnings were very modest activity and the message about the creation of the new facility was spread slowly among residents. The museum was shown monuments obtained from excavations, exhibits related to the history of the city - plans, views, guild goods, arts and crafts, objects from colonial territories and memorabilia related to the history of the Prussian military. The museum was a municipal institution, which is guided by the board of trustees. In the early years of the establishment they sat in it: middle school professor Joseph Sprotte urban, urban construction adviser Paul Spiller and legal counsel Paul Vogt (d. 1905). They just are mentioned as those who particularly contributed to the creation of Opole museum.

After a few years, in 1907, the town museum was moved to the buildings of the former Evangelical school in the rooms of the former Franciscan monastery (now part non-existent). Initially it housed in three rooms, but since 1920 one of them, in addition to the best exposure due to the lighting, was taken to the police station.

M-2Mimo that in the post-monastery buildings, managed by the Evangelical community, a museum housed almost twenty years, this period is yet least recognized in the history of this institution. This was not a good time. It is known that since 1920, since when uszczuplono surface facility, stock remained inaccessible to the public. In the 20s, in connection with the decision to demolish part of the post-monastery buildings, the search began for a new location for the museum. He was found in an annexe at ul. Gartenstrasse 12 (now Sienkiewicz 20), in areas falling once the cigar factory, where the museum moved in 1926 (opening to the public took place February 16, 1927 year). For the first time in its history, the museum received at the disposal of Opole, though modest, however, the entire building, which could be collected so far show exhibits.

At that time, it changed somewhat for the management of the museum. As manager of the museum is mentioned in the documents Alfred Steinert, city archivist at the same time. Both of these functions he held until January 1945. Cancelled board of trustees, the magistrate was while official responsible for the museum, also operated collegial council, made up of employees, representatives of the city and invited members.

Opole museum activity in this period is known quite well - preserved Steinert detailed reports from 1926 and photographic documentation. December 2, 1930 in the auditorium of urban vocational school solemnly celebrated the thirtieth anniversary of Opole museum. A large number of exhibits was then - counted archaeological section 300 of exhibits, cultural and historical 2000, and nature until 10 000.

M-3W last 1932 years there has been a move Opole museum. It has long rulers of the city plans to provide access to the historic building of the former Jesuit college at the Little Market Square 7, which is considered the oldest in the city, for cultural purposes, but only in 1932. Completed its renovation and allocated to the library (ground floor) and the City Museum (first floor). Collections in the new interiors shown to the public September 1, 1932 year. In ten exhibition halls exhibitions were shown three divisions, in the middle was a large lecture hall with TV, epidiaskopami and piano. In 1934 the museum took over from the 63rd Infantry Regiment stationed in Opole Chamber of tradition, which also was made available to the public.

Polish Municipal Museum in Opole became operational in June 1945, in a building at the Little Square 7, which is the last seat of the Städtische Museum Oppeln. Unlike before the war, the museum received now available to the entire building, including the ground floor, where previously housed the town library.

From the beginning, it became important to hire a professional custodian of. Initially it was assumed that it would be both the manager and the Museum of the City Library. In 1946,. Then president of Opole Wilhelm Szafarczyk hired at the Museum as a permanent employee - custodian of Joseph Obuchowski. It had graduated from Jagiellonian University geography and geology; also he worked in museums in the years 1930 - 1939, which had a full preparation, both theoretical and practical. Until that time, ie until June 1946 years formal custody of the Museum held the journalist Joseph Preussner.

The museum was an institution funded by the city, which covered all business expenses, while the Ministry of Culture financed the purchase of exhibits and partycypowało in the cost of repairs. Joseph Obuchowski, in his first report dated July 8, 1946 years described the condition of the museum as follows: "The museum is not quite tidy, directories do not exist, in the halls of the museum disorder, many exhibits were killed (in this number all of numismatics) a lot of cabinets damaged, almost all the locks broken. The same is and library as well as in laboratories and law ". In addition to finding confusion and a lack records of survivors exhibits it is also a short description of the collections preserved at the Museum, "Museum - sections: 1. Prehistoric - 2 meeting, several exhibits from the Paleolithic, Neolithic and Bronze much; 2. History - 2 meeting, including the valuable excavations from the settlement of Opole; 3. Life Sciences - 2 meeting, fairly rich, not orderly. Birds require immediate maintenance operations, lack of closets; 4. Numismatics, totally stolen. Lack directories. Library. A large collection of books. Books only German in various fields of knowledge. The old catalogs incomplete, incomplete or broken records, books of all departments messed up (...). There are also works very valuable (...). Laboratories and auxiliary equipment maintenance, but are quite devastated. (...) As a result of the war the whole law and order in the museum and library were destroyed, and most of all inventory system (...) ". In his immediate plans Obuchowski concluded Joseph above all: an inventory of preserved property, as well as to determine the profile of the Museum.

sb-300x184Otwarcie Municipal Museum in Opole took place on 1 September 1946. With effect from 1 October 1947, the Museum was adopted Jerzy Kozubowski that before the war he graduated from "four years four years of prehistory and history of art at the Jagiellonian University", the museum practice in Torun. He worked only until the end of 1948, and then became the director of the Focus Cultural Arts in Opole. At the end of 1947, both employees of the Museum (Obuchowski and Kozubowski) joined in the work of Prehistoric Research Committee in Opole, which focused mainly on archaeological excavations at the Opole Ostrówek. The results of this work were one of the main topics in the business and scientific - educational foundation of the Museum and the Department of Prehistoric expansion plan, which did not take place, because ultimately the presentation of the exhibits took care of Prehistoric Research Committee.

In 1948, the Museum has acceded to organize the Numismatic Department. The beginning of harvest gave the gift of Tadeusz Kalkowski - Director of National Railway reconstruction in Katowice, which passed 61 exhibits numismatic museum.

In 1949, the basic work of the Museum focused on the collection of exhibits and exhibition activities. Despite strenuous efforts we have failed to bring then to Opole any exhibition. Only in 1950 it was brought to the museum exhibition presenting the results of research on Ostrówek, under the title "Polish Silesia in prehistory." Collection of historical ethnographical was at that time mainly thanks to the director, who was also a lecturer in geography and geology in one of the Opole high schools.

The end of 1949 years is a turning point in the legal city museums. Resolution of the Committee of Ministers for Cultural Affairs dated 6 October 1949 the decision was taken to nationalize public museums belonging to the union local governments, associations and individuals. This was to take place by 30 December 1949 year. The act of transfer contains a detailed description of the property located at ul. St. Wojciech 7, in which there were 12 exhibition rooms, 4 administrative rooms, 1 classroom, 1 room - studio, 2 halls and trzyizbowe ground-floor apartment and outbuildings. The Museum sights and 4650 teams gathered in the following divisions: ethnographic, prehistoric, natural, historic city and numizmatycznym.Od 1950 years the museum was named the Museum of Opole Silesia. Expanded the scope collector, and the facility so far focused primarily on the history of the city, he was to encompass the area around the province.

In April 1957, the Museum of Opole Silesia, was the museum district, starting from the current guardianship of the Silesian Museum in Wroclaw and taking charge of the merits of the existing three other museums, the Opole province: in Brzeg, Nysa and Raciborzu. In 1957, he also developed a new organizational chart museum, in large part preserved to this day. The facility had the following substantive sections: Archaeological, Ethnographic, History, Art, Nature, Scientific and Educational. Museum of Opole Silesia at that time had many branches, which gradually usamodzielniły, creating separate museums belonging to the Museum of Opole district. These were: a branch in Kluczbork established in 1959 and independent since 1962., In Prudnik (1957 r., Independent since 1969.), In Oleśno (1960 r., Independent since 1975.).
From the Museum of Opole Silesia also it evolved Opole Village Museum, established in 1961., And in 1966 alone. - The only museum in our province skansenowskiego type. In 1964, he opened two new branches MSO - Insurrection Museum in Foresters, pow. Strzelce Opole and Museum of Martyrdom of Prisoners of War in Łambinowice, pow. Niemodlin. To the current premises in Mount St. Anna Insurrection Museum was moved in 1980. In 1965, the museum łambinowickie, as a Central Museum of Prisoners of War in Łambinowice-Opole was raised to the status of a national institution, operating under the direct authority of the MKiS.

In 1964, efforts have been aimed at ensuring the new museum exhibition rooms, the acquisition of the organizational work on Ostrówek archaeological reserve, and efforts were made to locate the museum at the historical exhibition in the interior of the Piast Tower. In the same year it was held at the Museum of Photographic Documentation Workshop, and in 1967 began the renovation of the building at the Small Market 7. On 15 December 1971, despite the renovation works are still ongoing, opened a new exhibition, which is housed in converted cellars, in three rooms on the ground floor and one room on the first floor. In its organization to involve all departments of the museum - archaeological, historical, ethnographic and art and handicraft. In 1976, as a result of new administrative division of the state, disconnected from the Opole district museum Museum in Racibórz, who found himself in Katowice province and Gulbenkian Museum. Nicodemus Jaroń in Oleśno, attached to the province of Czestochowa.

On January 1, 1976, on the basis of an order of the Opole province governor has renamed autonomous Silesian Piast Dynasty Museum in Brzeg branch of the Museum of Opole Silesia. At the same time troops were MSO social museums in Grodkow and Głogówek. At the latest, because in 1982 a branch (point museum) MSO is the Regional Museum in Namysłów, passed after 7 years under the management of the municipality Namysłów.

In 1980 the Museum received a tenement house at ul. St. Wojciech 13. At the end, lasting eight years in the renovation were among his seat studios thematic divisions, and located on the second floor temporary exhibition rooms. In 1988 the museum took over the operation from the treasury palace in Lewin Brzeski. After a major refurbishment were to lie mainly in its warehouses harvest. However, already in 1991 it stopped any repair work due to lack of funds, and in 1994 the palace was returned to the Treasury.

One important element of the local government reform of 1990 was to give local governments the municipal competence in the conduct of cultural institutions. Thus, the municipality took over the management of most active within their territory museums. In the Opole province under the administration of the municipality existing divisions hit Opole Silesia Museum - Museum. Elsner in Grodkow Głogówek Museum and Museum in Namysłów point. Museum of Opole Silesia remained a state museum to the next stage of local government reform, which occurred in 1999, when the organizers of most other state institutions have become the government of the province and districts. Museum of Opole Silesia with only one remaining in the organizational structure of the branch - Insurrection Museum in Mount St.. Anna was institution subordinate to the voivodship self-government.

In 1994 the museum took over and wyremontowało building at ul. Ozimskiej 10 (former headquarters of the Bureau of Art Exhibitions). In 2000, it opened in Jan Cybis Painting Gallery. In 2005 the Museum received the property of the tenement house at ul. St. Wojciech 9, which is decorated exhibitions XIX - XX century. Bourgeois interiors.

In the years 2005 - 2008 implemented the project "Mons Universitatis", consisting in the renovation and expansion of the Museum. Within its framework was modernized and adapted into said already historic tenement house, was renovated administrative building at ul. St. Wojciech 13, rebuilt and renovated tenement house at the Little Square 7, and built a new exhibition pavilion. As a result, the determined was larger exhibition area of ​​the Museum.

Opening of the Museum after renovation and expansion took place in October 2008. Then opened to the public three permanent exhibitions gallery of Polish painting twentieth century., Ceramics Upper Silesia and in the circle of pharmacy. In 2009 we opened a permanent exhibition of archaeological Prehistory and Early Middle Ages Opole region, and the following year historical exhibition Opole - city, the region's capital city.
More: Joanna Filipczyk, Eve Matuszczyk, the Museum of Opole 1900 - 2010, "Vintage Museum of Opole", Vol. XVIII: 2011 pcs. 1, p. 9 - 32.


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Opole Silesia Museum é uma instituição com mais de 100 anos de tradição.

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Foi fundada em 1900, como o Museu Municipal em Opole (Städtisches Museum Oppeln). Em 1950, seu nome foi mudado para o Museu de Opole Silesia, sob o qual opera atualmente.

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Desde a sua criação, o Museu foi a instituição de vários departamentos. Atualmente, é formado por sete divisões temáticas: Arqueologia, Museu Educação, Etnografia, História, Natureza, Arte e Património Oficina de Conservação.

No museu Opole tem vários edifícios de exposição: o edifício barroco jesuíta e um novo pavilhão de exposições formar o Edifício Principal no mercado de pequenas 7. Mesmo ao lado da rua. St. Wojciech 9 é uma casa de moradia e de rua. Ozimskiej 10 no edifício do século XIX pousada está situada Galeria do Museu de Opole Silésia. No Santo. Anna é uma filial da instituição - o Museu da Insurreição.



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As primeiras idéias de criação de um museu em Opole apareceu no final do século XIX. 25 de outubro de 1897, o primeiro tal idéia apresentada em uma reunião de Opole Philomath prefeito Arthur Pagels e advogado Paul Vogt. No museu Opole foi destinado a expor objetos de escavações realizadas Groszowice e New Village Real, um tesouro encontrado por cavando esgotos e rede de água e poços de concorrência sobre os projetos recém-construídos Friedrichsplatzu (agora Square Daszyńskiego).
M-12Jesienią 1.898 anos desacelerou a construção das meninas do ensino médio na Ozimskiej 6 (então: Malapanerstrasse) no verão de 1899 anos tem uma exposição de modelos de gesso poços para os projetos Friedrichsplatzu. 04 de novembro de 1900 ano neste mesmo edifício, os quartos no chão, começou a operar museu municipal. Os inícios foram atividade muito modesto ea mensagem sobre a criação da nova unidade foi espalhado lentamente entre os moradores. O museu foi mostrado monumentos obtidos a partir de escavações, exposições relacionadas com a história da cidade - planos, pontos de vista, bens guilda, artes e ofícios, objetos a partir de territórios coloniais e recordações relacionadas com a história do militar prussiano. O museu foi uma instituição municipal, que é guiado pelo conselho de curadores. Nos primeiros anos do estabelecimento se sentaram nele: professor de escola secundária Joseph Sprotte urbano, construção urbana conselheiro Paul Spiller e assessores jurídicos Paul Vogt (1905 d.). Eles apenas são mencionados como aqueles que particularmente contribuiu para a criação do museu de Opole.
Depois de alguns anos, em 1907, o museu da cidade foi transferida para os edifícios da antiga escola evangélica nos quartos do antigo mosteiro franciscano (agora parte inexistente). Inicialmente, alojados em três quartos, mas desde 1920 um deles, além do melhor exposição devido à iluminação, foi levado para a delegacia de polícia.
M-2Mimo que nos edifícios pós-monastério, geridos pela comunidade evangélica, um museu instalado quase vinte anos, este período é ainda menos reconhecido na história desta instituição. Este não foi um bom tempo. Sabe-se que desde 1920, desde quando uszczuplono instalação de superfície, estoque permaneceu inacessível ao público. Na década de 20, em conexão com a decisão de demolir parte dos edifícios pós-mosteiro, a busca começou para uma nova localização para o museu. Ele foi encontrado em um anexo na ul. Gartenstrasse 12 (agora Sienkiewicz 20), em áreas que caem uma vez que a fábrica de charutos, onde o museu mudou-se em 1926 (abertura ao público ocorreu 16 de fevereiro de 1927 ano). Pela primeira vez em sua história, o museu recebeu à disposição de Opole, embora modesto, no entanto, todo o edifício, o que poderia ser recolhidos até agora mostram exposições.
Naquela época, ele mudou um pouco para a gestão do museu. Como gerente do museu é mencionado nos documentos Alfred Steinert, arquivista da cidade ao mesmo tempo. Ambas as funções que ocupou até janeiro 1945. Cancelado conselho de curadores, o magistrado era enquanto o funcionário responsável pelo museu, também operado conselho colegial, composta por funcionários, representantes da cidade e convidou membros.
Atividade museu Opole neste período é conhecido muito bem - preservado Steinert relatórios detalhados de 1926 e documentação fotográfica. 02 de dezembro de 1930, no auditório da escola profissional urbano solenemente comemorado o trigésimo aniversário do museu Opole. Um grande número de exposições era então - contou seção arqueológico de 300 exposições, culturais e históricas de 2000, ea natureza até 10 000.
M-3W passado 1.932 anos tem havido um movimento museu Opole. Ele tem longas governantes dos planos municipais para obter acesso ao edifício histórico do antigo colégio jesuíta na Praça Pequena Mercado 7, que é considerado o mais antigo da cidade, para fins culturais, mas apenas em 1932. concluídas a sua renovação e alocados para a biblioteca (piso térreo) e do Museu da Cidade (primeiro andar). Coleções dos novos interiores mostrados ao público 01 de setembro de 1932 Ano Europeu. Em dez salas de exposições exposições foram mostradas três divisões, no meio havia um grande salão de leitura com TV, epidiaskopami e piano. Em 1934 o museu assumiu a partir do 63o regimento de infantaria postado em Opole Câmara de tradição, que também foi disponibilizado ao público.
Polonês Museu Municipal em Opole se tornou operacional em junho de 1945, num edifício no Little Square 7, que é o último assento da Städtische Museum Oppeln. Ao contrário de antes da guerra, o museu recebeu agora disponível para todo o edifício, incluindo o piso térreo, onde anteriormente abrigava a biblioteca da cidade.
Desde o início, tornou-se importante a contratação de um profissional de custodiante. Inicialmente pensava-se que seria o gerente e do Museu da Biblioteca Municipal. Em 1946 ,. Então presidente da Opole Wilhelm Szafarczyk contratado no museu como um empregado permanente - custodiante de Joseph Obuchowski. Ele se formou na Universidade Jagiellonian geografia e geologia; Também trabalhou em museus nos anos 1930 - 1939, que tiveram uma preparação completa, teórica e prática. Até essa altura, a guarda ou seja, até Junho de 1946 anos formal do Museu segurou o jornalista Joseph Preussner.
O museu foi uma instituição financiada pela cidade, que cobria todas as despesas comerciais, enquanto o Ministério da Cultura financiou a compra de exposições e partycypowało no custo dos reparos. Joseph Obuchowski, no seu primeiro relatório de 8 de julho, 1946 anos descreveu a condição do museu da seguinte forma: "O museu não é bem arrumado, diretórios não existem, nos salões do transtorno museu, muitas exibições foram mortos (neste número todos numismática) um monte de armários danificado, quase todas as fechaduras quebrado. O mesmo é e biblioteca, bem como em laboratórios e direito ". Além de encontrar confusão e uma falta de registros sobreviventes exposições, é também uma breve descrição das coleções preservadas no Museu, "Museum - seções: 1. Pré-Histórica - 2 reunião, várias exposições desde o Paleolítico, Neolítico e Bronze muito; 2. História - 2 de reuniões, incluindo as escavações valiosos da liquidação de Opole; 3. Ciências da Vida - 2 salas de reuniões, bastante rico, não ordenada. Aves exigem operações de manutenção imediata, falta de armários; 4. Numismática, totalmente roubado. Diretórios falta. Biblioteca. Uma grande coleção de livros. Livros só alemãs em vários campos do conhecimento. Os antigos catálogos incompleto, registros incompletos ou quebrados, livros de todos os departamentos confuso (...). Há também funciona muito valiosa (...). Laboratórios e manutenção de equipamentos auxiliares, mas são bastante devastada. (...) Como resultado da guerra toda a lei ea ordem no museu e biblioteca foram destruídos, e acima de tudo sistema de inventário (...) ". Em seus planos imediatos Obuchowski concluiu Joseph acima de tudo: um inventário de propriedade preservado, bem como para determinar o perfil do Museu.
sb-300x184Otwarcie Museu Municipal em Opole teve lugar no dia 01 de setembro de 1946. Com efeitos desde 1 de Outubro de 1947, o Museu foi adoptado Jerzy Kozubowski que antes da guerra ele se formou "quatro anos, quatro anos da pré-história e história da arte na Universidade Jagiellonian", a prática museu em Torun. Ele trabalhou somente até o final de 1948, e, em seguida, tornou-se o director das Artes Culturais Foco em Opole. No final de 1947, tanto os funcionários do Museu (Obuchowski e Kozubowski) juntou-se o trabalho do Comité de Investigação Pré-Histórica em Opole, que se concentrou principalmente em escavações arqueológicas no Opole Ostrówek. Os resultados deste trabalho foram um dos principais tópicos na empresa e científica - fundação educacional do Museu e do Departamento do plano de expansão pré-histórico, o que não ocorreu, porque em última análise, a apresentação das exposições teve o cuidado de o Comité de Investigação Pré-Histórica.
Em 1948, o Museu tenha aderido à organização do Departamento de Numismática. O início da colheita deu o dom de Tadeusz Kalkowski - Diretor de reconstrução National Railway em Katowice, que passou 61 exposições museu de numismática.
Em 1949, o trabalho básico do Museu focada na coleção de exposições e atividades de exposições. Apesar dos esforços extenuantes não conseguimos trazer em seguida, para Opole qualquer exposição. Só em 1950 foi trazido para a exposição do museu apresentando os resultados de pesquisas sobre Ostrówek, sob o título "Silésia polonesa na pré-história." Coleção de etnográfico histórico era naquele tempo principalmente graças ao diretor, que também era um professor de geografia e geologia em uma das escolas de ensino médio Opole.
O final de 1949 anos é um ponto de viragem nos museus da cidade legais. Resolução do Comité de Ministros dos Assuntos Culturais de 6 de Outubro de 1949, a decisão foi tomada para nacionalizar museus públicos que pertencem à União os governos locais, associações e indivíduos. Esta foi a ter lugar até 30 de Dezembro 1949 anos. O ato de transferência contém uma descrição detalhada do imóvel localizado na ul. St. Wojciech 7, em que havia 12 salas de exposições, quatro salas administrativas, uma sala de aula, 1 sala - estúdio, dois salões e trzyizbowe rés-do-chão e dependências. Os pontos turísticos Museu e 4.650 equipes se reuniram nas seguintes divisões: etnográfico, pré-histórico, natural e histórica cidade e numizmatycznym.Od 1950 anos do museu foi nomeado o Museu de Opole Silésia. Ampliado o coletor âmbito, e com a instalação até agora focado principalmente na história da cidade, ele foi para abranger a área ao redor da província.
Em abril de 1957, o Museu de Opole Silesia, foi a área dos museus, a partir da atual tutela do Museu Silesian em Wroclaw e tomar conta dos méritos dos outros três museus existentes, a província de Opole: em Brzeg, Nysa e Raciborzu. Em 1957, ele também desenvolveu um novo museu organograma, em grande parte, preservada até hoje. A instalação teve as seguintes seções substantivas: arqueológicos, etnográficos, história, arte, natureza, Científica e Educacional. Museu de Opole Silesia na época tinha muitos ramos, que gradualmente usamodzielniły, criando museus separados pertencentes ao Museu do distrito de Opole. Estes foram: uma filial em Kluczbork criada em 1959 e independente desde 1962., Em Prudnik (1957 r, independente desde 1969..), Em Olesno (1960 r, independente desde 1975..).
Do Museu de Opole Silesia também evoluiu Opole Village Museum, fundado em 1961. E em 1966 sozinho -. O único museu em nossa província skansenowskiego tipo. Em 1964, ele abriu duas novas agências MSO - Museu revolta em Foresters, prisioneiro de guerra. Strzelce Opole e Museu do Martírio dos prisioneiros de guerra em Łambinowice, prisioneiro de guerra. Niemodlin. Para as actuais instalações em Mount St. Anna Insurreição Museu foi transferido em 1980. Em 1965, a łambinowickie museu, como Museu Central dos Prisioneiros de Guerra em Łambinowice-Opole foi elevado ao status de uma instituição nacional, que opera sob a autoridade directa dos MKIS.
Em 1964, os esforços foram destinadas a garantir as novas salas de exposição do museu, a aquisição do trabalho de organização em Ostrówek reserva arqueológica, e foram feitos esforços para localizar o museu na exposição histórica no interior da Torre Piast. No mesmo ano em que foi realizada no Museu da Oficina de Documentação Fotográfica, e em 1967 começou a renovação do edifício, no mercado de pequenas 7. Em 15 de dezembro de 1971, apesar das obras de remodelação estão ainda em curso, abriu uma nova exposição, que está alojado em caves convertidas, em três salas no no piso térreo e um quarto no primeiro andar. Na sua organização para envolver todos os departamentos do museu - arqueológicos, históricos, etnográficos e arte e artesanato. Em 1976, como resultado da nova divisão administrativa do estado, desconectado do Museu museu distrito de Opole em Racibórz, que encontrou-se na província de Katowice e Museu Gulbenkian. Nicodemos Jaron em Olesno, anexado à província de Czestochowa.
Em 1 de Janeiro de 1976, com base em uma ordem do governador da província de Opole renomeou autónoma Silésia Piast Dinastia Museum em Brzeg filial do Museu de Opole Silésia. Ao mesmo tempo, as tropas foram MSO museus sociais em Grodków e Głogówek. O mais tardar, porque em 1982 um ramo (museu ponto) MSO é o Museu Regional em Namysłów, passou depois de 7 anos, sob a gestão do município Namysłów.
Em 1980, o Museu recebeu uma casa de moradia em ul. St. Wojciech 13. No final, com duração de oito anos na renovação estavam entre seu assento estúdios divisões temáticas, e localizado no segundo andar salas de exposições temporárias. Em 1988 o museu assumiu a operação do palácio tesouraria em Lewin Brzeski. Depois de uma grande reforma foram mentir principalmente na sua colheita armazéns. No entanto, já em 1991 ele parou de qualquer trabalho de reparação devido à falta de fundos, e em 1994, o palácio foi devolvido ao Tesouro.
Um elemento importante da reforma do governo local de 1990 foi de dar aos governos locais a competência municipal na condução das instituições culturais. Assim, o município assumiu a gestão de mais ativo dentro de seus museus território. Na província de Opole, sob a administração do município divisões existentes bater Opole Silesia Museum - Museum. Elsner em Grodków Głogówek Museum e Museum no ponto Namysłów. Museu de Opole Silésia permaneceu um museu do estado para a próxima fase da reforma do governo local, o que ocorreu em 1999, quando os organizadores da maioria das outras instituições estatais tornaram-se o governo da província e distritos. Museu de Opole Silesia com apenas um remanescente na estrutura organizativa da sucursal - Museu revolta em Mount St .. Anna estava instituição subordinada ao voivodship auto-governo.
Em 1994 o museu assumiu e wyremontowało construção na ul. Ozimskiej 10 (antiga sede do Bureau of Art Exhibitions). Em 2000, foi inaugurado janeiro Cybis Painting Gallery. Em 2005, o Museu recebeu a propriedade da casa de moradia na ul. St. Wojciech 9, que é decorado exposições XIX - interiores século XX Bourgeois..
Nos anos 2005 - 2008 implementou o projeto "Mons Universitatis", que consiste na renovação e ampliação do Museu. Dentro de sua estrutura foi modernizada e adaptada para o disse já histórica casa de moradia, foi renovado edifício administrativo na ul. St. Wojciech 13, reconstruído e renovado edifício na Praça Pequena 7, e construiu um novo pavilhão de exposições. Como resultado, a área de exposição foi determinada maior do Museu.
Abertura do museu após a renovação e expansão ocorreu em outubro de 2008. Em seguida, abriu ao público galeria três exposições permanentes de pintura polaco do século XX., Cerâmica Alta Silésia e no círculo de farmácia. Em 2009, abriu uma exposição permanente da Pré-história arqueológica e região precoce Idade Média Opole, e no ano seguinte exposição histórica Opole - cidade, capital da região.
Mais: Joanna Filipczyk, Eve Matuszczyk, o Museu de Opole 1900 - 2010 ", Museu do vintage de Opole", Vol XVIII: 2011 pcs.. . 1, p 9-32.