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quinta-feira, 3 de março de 2016

Revival Arts of Bath, United Kingdom - Architecture and heritage, Decorative art, design, Fine art, History, Modern and contemporary art, Prehistory, Archaeology, Societies and civilisations,

At the workshop of Revival Arts of Bath, we continue a tradition that has been practised for centuries. The quest for discovery and the interest in themes of adventure, treasure and mystery and the unanswered questions of past civilizations, is as relevant today as it has always been. The Ancient worlds themselves were interested in learning from the past through archaeological discoveries but it was the powerful expansion of European nations in the 18th and 19th centuries that really opened up this world of exploration and expedition. They invested heavily and extensively in sending expeditions to Egypt, Greece, South America, India and China, the four corners of the globe. 

hese expeditions were tasked with exploration, discovery and deciphering the ancient worlds through the wealth of artifacts and treasures that they found. These rare finds were brought back by wealthy patrons and rulers who created museums and stores to house and display these extraordinary treasures. They went to extreme lengths, sometimes bringing back whole buildings. Another method of capturing the past on a colossal scale was to employ large teams of men to take full size plaster moulds of the discoveries that could not be moved.

The public interest in this world of discovery and representation was so intense that museums were constantly brimming with people in awe of these wonderful collections. This led to the establishment of a number of plaster casting workshops, of which the Gipsformerei of Berlin is a wonderful example, to replicate the finds for distribution and exchange to Museums and collectors around the world. 

This is where the skills of the master craftsman and mould makers were developed, and these skills, techniques and methods have not changed to this day. At the Revival Arts of Bath workshop we employ the same attention to quality and detail that the master mould makers of the 18th and 19th centuries used to such great effect. The skills of these historical mould makers and the workshops that employed them were integral to the distribution of knowledge and its inclusion within the culture of nations. 

The demand to own the representations of these pieces led the workshops and formaries to create small scale reproductions, allowing the public to have these remarkable artefacts from the ancient worlds in their own homes. They became interior design objects on a mass scale. The plaster cast had given the people access to these significant stories of the past. 

The Revival Arts of Bath collection celebrates this rich heritage and is proud to continue this work. At the workshop we produce castings of Egyptian discoveries, Classical and Roman treasures, extraordinary examples from the renaissance period as well as more contemporary pieces including our Art Deco range. All of our pieces are entirely produced in our workshop in Bath England and each piece is hand cast and finished by our team of craftsmen using traditional methods and the finest British Gypsum plaster. Our collections can be found in Museums, galleries and shops of some of the finest heritage organizations around the world. We have also undertaken bespoke commissions for many of these illustrious bodies.

Cultura e conhecimento são ingredientes essenciais para a sociedade.

A cultura é o único antídoto que existe contra a ausência de amor.

Vamos compartilhar.

Wisconsin Veterans Museum, United States

On behalf of the Wisconsin Department of Veterans Affairs and the Wisconsin Veterans Museum I wish to say thank you for visiting our website. Within the pages of this site you will find very valuable information and resources to assist you with learning about our state’s veterans and the sacrifices they made in times of war.

But please do not stop here. Whether you are a teacher, a student or a member of the general public, your learning experience is not complete until you explore the museum in person and see everything that it has to offer. 

The museum is much more than a building located on the capitol square in Madison, it is an educational package consisting of exhibits, living histories, informational programs and speakers, and much more. It is constantly evolving and improving to provide you with the ability to feel what it was like to serve in our nation’s wars and conflicts. It is only through your choice to immerse yourself in the entire experience that you will begin to understand and appreciate how our veterans felt. I challenge you to do so because the greatest thing you can do to thank our men and women who have served is to REMEMBER them. 

Veterans Museum Background: A Living Memorial
by Dr. Richard Zeitlin

When state legislators passed Chapter 125 Laws in 1901 few would have guessed how important that enactment was. The law mandated that state officials establish a memorial dedicated to commemorating Wisconsin’s role in the Civil War and “any subsequent war.” The law obligated the state to provide space for purchasing display equipment to exhibit war relics and to acquire additional artifacts. The state’s collection of Civil War battle flags would also be displayed in the memorial facility, and an area was set aside for a meeting room for ex-Civil War soldiers who belonged to the Grand Army of the Republic (G.A.R.)—an important veterans organization. The space was designated the G.A.R. Memorial Hall. 

A destructive fire gutted the State Capitol in 1904, consuming many of the Civil War relics and historical materials in the G.A.R. Memorial Hall. Legislators authorized the establishment of another G.A.R. Memorial Hall in 1909. When the new Capitol was completed, the G.A.R. Memorial Hall was dedicated. The Civil War battle flags, which had all been saved from the fire, were installed in the new room along with exhibits of artifacts. Exhibit space amounted to 2,640 square feet. 

Legislators assigned control of the G.A.R. Memorial Hall to the newly created Wisconsin Department of Veterans Affairs in 1945, directing the agency to “catalog, restore, conserve, preserve, safeguard, procure additions to the collections, and to display such collections as to make it instructive and attractive to visitors to the State Capitol.” The Wisconsin Department of Veterans Affairs opposed a 1955 attempt by certain legislators to absorb the G.A.R. Memorial Hall space and transfer its display function as well as its collections to the Wisconsin Historical Society. Two years later, a new enactment further cemented the Department of Veterans Affairs’ tenure on the Capitol space by prohibiting alterations in the status of established veteran’s memorials. 

Exhibits at the G.A.R. Memorial Hall were significantly improved during the mid-1960s when Veterans Affairs Secretary John Moses, a World War II tank commander, received legislative approval to upgrade the museum displays. Moses hired a professional curator and a staff assistant in 1970 as the exhibit function of the G.A.R. Hall became the main activity of the memorial. Historical artifacts were systematically catalogued. The American Association of Museums accredited the G.A.R. Memorial Hall Museum. Attendance figures reflected the popularity of the museum as visitation averaged 80,000 per year for over a decade, the highest attendance of all Madison museums.

Yet the issue of space needs within the Capitol remained an unsettling point, and one which ultimately prevented the museum from working on improving its physical presence by modernizing. A well-developed modernization plan was rejected by the Legislature in 1979. Another attempt to have the G.A.R. Museum move out of the Capitol to an unspecified location began.

When John Maurer became Secretary of the Wisconsin Department of Veterans Affairs in 1985, an agreement was quickly reached with legislative leaders and the Governor whereby the G.A.R. Museum would ask to leave the Capitol in order to acquire sufficient development space to exhibit the contributions made by Wisconsin veterans in the twentieth century as well as in the nineteenth. The museum would, thus, cease to be primarily focused on the Civil War and would become an inclusive facility memorializing events of other eras. The new space would be adjacent to the Capitol and the development would allow for state-of-the-art exhibits.

Governor Tommy Thompson approved the acquisition of space adjacent to the Capitol in late 1989 and construction began in July 1990, after state legislative review and approval by the city of Madison. The building shell was completed in December. Work began on the museum interior and exhibit fixtures in 1991. Some 20,000 square feet of space was available for the displays, gift store, artifact storage, museum offices, and mechanicals. Ten thousand square feet were set aside for exhibits, ranging from the Civil War to the Persian Gulf. The state’s best known exhibit design team was contracted to produce the displays. A committee of historical experts offered advice as displays took shape.

Raymond Boland became the Secretary of the Wisconsin Department of Veterans Affairs in early 1992. Colonel Boland, a Vietnam veteran, infused the project with energy and strongly promoted the museum among the veteran’s community. The intensity of development work during Secretary Boland’s first year in office was remarkable for its level of concentration on the successful outcome of the project. The establishment of a June 6, 1993 Grand Opening date forced progress and encouraged an on-time completion. The Grand Opening event drew 7,716 spectators, after a tremendous publicity campaign which involved the Governor’s office as well as legislative leaders, the department Secretary and his office, an outpouring of support from veterans groups, the attention of a diverse group of media personalities, and Jesse Brown-Secretary of the Federal Veterans Administration.

Since opening, the Wisconsin Veterans Museum has averaged more than 90,000 visitors per year. Over 3,000 objects are on display in a very modern exhibit environment. Continued growth in visitors is anticipated, particularly as an outreach effort is underway to advertise the facility. The unique characteristics of the old museum-its legislatively established mission to recognize the role of Wisconsin citizen-soldiers in the Civil War and “any subsequent war,” its fortuitous administrative position as part of a dynamic state agency, its programmatic link to some of the important events of history, its impressive and long established collection of historical materials, the emotional association with Wisconsin’s tradition of service to the nation, and the high regard accorded to veterans by a grateful citizenry continue to be embodied in this living memorial

Cultura e conhecimento são ingredientes essenciais para a sociedade.

A cultura é o único antídoto que existe contra a ausência de amor.

Vamos compartilhar.

Zuckerman Museum of Art, United States

Housed within the Department of Museums, Archives and Rare Books at Kennesaw State University, the Bernard A. Zuckerman Museum of Art encourages the exchange of ideas and artful thinking to inspire visitors and engage them with the vibrant arts community of our region.

The Zuckerman Museum of Art presents significant works from Kennesaw State University's permanent collection while regularly exhibiting contemporary works of various media by local and nationally-recognized artists. The ZMA serves as a center for the enrichment of the arts, arts education and professional development. Through the creation of uniquely curated exhibitions, community outreach, workshops and programming the museum acts as a bridge between the campus and the community while also providing dedicated exhibitions for the KSU students and faculty in the ZMA's satellite gallery.

The Bernard A. Zuckerman Museum of Art unites Kennesaw State University's permanent collection and the campus galleries program, which was founded in 1984 by Roberta Griffin, professor emerita. Bernard A. Zuckerman, an industry leader and supporter of the arts in Atlanta, began the initiative to build a stand-alone art museum at the University with a pledge of $2 million in 2010. The pledge was then matched with an additional $1 million from community donors and is supported by the KSU Foundation.

On March 1, 2014, the new building opened on the main campus of the University. As part of the greater KSU Arts District, the Zuckerman Museum of Art and its satellite spaces serve as a conduit between Kennesaw State and the greater community. The new building also provides a state-of -the-art home and research facility for the growing KSU permanent collection.

Cultura e conhecimento são ingredientes essenciais para a sociedade.

A cultura é o único antídoto que existe contra a ausência de amor.

Vamos compartilhar.

Museo Zorrilla, poesía, letras, Montevideo, Uruguai.

Esta fue la casa de verano del poeta Juan Zorrilla de San Martín; erigida en 1904 y ampliada en 1921. El visitante podrá apreciar mobiliario, pertenencias y documentos que aportan un ilustrativo recorrido por la vida y época del "Poeta de la Patria".

Cinco años después de la muerte de Juan Zorrilla de San Martín (3 de noviembre de 1931) la casa pasa a ser propiedad del Estado y se convierte en Museo; abre sus puertas al público el 3 de noviembre de 1943. El 7 de agosto de 1975 la Casa de Juan Zorrilla de San Martín es declarada patrimonio cultural.

El Museo cuenta con una sala de exhibiciones anexa -construida en el año 2001 con financiación del sector privado- en la que se desarrollan exposiciones temporales, ciclos de conciertos, lecturas y actividades relacionadas y coproducidas con otras áreas del Ministerio de Educación y Cultura.

Cultura e conhecimento são ingredientes essenciais para a sociedade.

A cultura é o único antídoto que existe contra a ausência de amor.

Vamos compartilhar.

Museo Arturo Michelena, Caracas, Venezuela.

El Museo Arturo Michelena se inaugura el 16 de junio de 1963 y es declarado Monumento Histórico Nacional el 31 de marzo de 1977. 

La sede del MAM es el antiguo taller del laureado artista venezolano, ubicado en una de las más importantes zonas coloniales de la capital venezolana, espacio donado por su viuda doña Lastenia Tello de Michelena, para resguardar sus obras y objetos personales. 

Esta casa museo rinde homenaje a uno de los más importantes artistas de nuestro país, a través de una exposición permanente de sus obras y las de otros artistas venezolanos. 

El Museo Arturo Michelena de Caracas es un lugar dedicado a las obras de uno de los pintores venezolanos más reconocidos, Arturo Michelena. Se encuentra ubicado en la esquina de Urapal en la Parroquia La Pastora del Municipio Libertador. El museo está dedicado a la exhibición, conservación y aprendizaje del legado del arte contemporáneo de Michelena.

La vara rota (1892). Arturo Michelena. 

Museo Arturo Michelena. La Pastora, Caracas. Venezuela.

El museo abrió sus puertas el 16 de junio de 1963 después que Lastenia Tello esposa de Michelena donara al Estado la casa colonial que alguna vez sirviera de estudio y habitación para el pintor. Lastenia Tello se encargó de reunir obras, documentos, cuadros, bocetos y objetos de éste además del mobiliario de la casa para convertirla en museo. También hay exhibición permanente de obras de otros pintores venezolanos.

Sede del Museo Arturo Michelena en La Pastora.

El 31 de marzo de 1977 fue declarado Monumento Histórico Nacional.2En la década de los noventa el museo se expandió al adquirir otra casa cercana para establecer la casa de los talleres donde se imparten clases para niños y jóvenes. El Museo estuvo a cargo del Consejo Nacional de la Cultura, el cual decidió emprender en 2004 la restauración de la casa de dos niveles que data de finales del siglo XVIII.

Cultura e conhecimento são ingredientes essenciais para a sociedade.

A cultura é o único antídoto que existe contra a ausência de amor.

Vamos compartilhar.