& Welcome to the Fine Arts Print Collection website, a collaborative venture of the , and the . The Print Collection is part of the Fine Art Collection, owned by the Department of Art and managed by the Fairbanks Gallery at Oregon State University. Web and software support has been provided by the staff of the Valley Library. Use the Search or Browse features to view items in the collection. Throughout your search, you can get help with search functions by clicking the help link in the top navigation bar. Customize options for search results, My Favorites, Compare and Slideshow views. View, compare, delete and move collection items you have saved to My Favorites within CONTENTdm.
The Johnson Museum has one of the finest collections of art in New York State and is recognized as one of the most important university museums in the country. Spanning the history of art, the Museum's collections are especially strong in Asian art, nineteenth- and twentieth-century American art, and the graphic arts.
This website, dedicated to the work by women artists in the collections of Washington University, was developed in 2001-2002 with the support of a grant from the Sam Fox Arts Center at Washington University in Saint Louis. The project was developed in concert with a course, "L01-3631 Creative Women: Modern Artists and Writers," co-taught in the Spring of 2002 by Elizabeth C. Childs, Associate Professor of Art History and Archaeology, and Helen Power, Senior Lecturer in Women's Studies. Betha Whitlow, Curator of Visual Resources in the Department of Art History and Archaeology, supervised the design and implementation of the site in consultation with Professor Childs and Dr. Sabine Eckmann, Curator of the Mildred Lane Kemper Art Museum.
About FADIS FADIS (Fine Art Digital Imaging System) is a content management system designed for the teaching, studying and researching of art, architecture and visual culture. FADIS combines the digital management of electronic resources with a courseware system and provides an intuitive interface that reflects higher educational teaching needs. The goal of FADIS is the creation of a shared common repository amongst participating institutions. FADIS is currently free to any participating institution contributing content to the collection.
AGNES CHAMBERLIN In addition to the original paintings the Chamberlin digital collection also includes early editions of Canadian Wild Flowers and two editions of Studies of Plant Life. The story of how Canadian Wild Flowers came to be published is a fascinating one and throws considerable light on the state of publishing in Canada at the time, as well as on the determination and talent of Agnes herself. When her husband died in 1865 Agnes was left with very limited means, and set to work to supply illustrations for thirty of the flowers described in Mrs. Traill's manuscript, depicting them in ten groupings. Having secured five hundred subscribers for the work, she then found there was no lithographer in Toronto willing to undertake the printing.
Hollar was born in 1607, the son of an upper middle-class civic official. Very little is known about his early life, but he evidently learned the rudiments of his craft by age eighteen, left his native Prague at age twenty, and likely studied in Frankfurt under Matthaus Merian. His first book of etchings was published in 1635 in Cologne when Hollar was twenty-eight. The following year he came to the attention of the renowned art collector the Earl of Arundel who was making an official visit to the continent, and Hollar subsequently became a part of his household, settling in England early in 1637. He remained in England during the beginning of the English Civil War period, but left London for Antwerp in 1642, where he continued to work on a variety of projects.
Introduction The 19 th century was a period of expansion and development in Canadian history. The century brought unprecedented change, from the Union of Upper and Lower Canada and the Confederation of the Canadian colonies, to the establishment of the western provinces. Fortifications and other military structures were erected and roads and railway networks constructed, ushering in waves of immigration as colonization and settlement pushed westward. In its wake the face of the Canadian landscape was altered, and to some extent the vast wilderness was diminished. In the era before the camera, artists, surveyors and engineers preserved on paper and canvas a record of the landscape.
Soon after their appearance in the 1840's, stamps became the focus of collectors. They developed a life of their own, apart from their official role on letters and parcels. Canada's first stamp, the Three penny Beaver, designed by Sandford Fleming, was printed in 1851. Thirteen years later, Canada's first philatelic pamphlet, The Stamp Collector's Record, was published in Montreal, only a year after a similar one in England. Stamp collecting's appeal is universal. With a vast array of stamps available, collectors tend to narrow their scope to specific categories-concentrating for example on stamps with certain themes, or from particular countries. Governments try to tempt collectors (and generate revenue) by issuing a host of stamps and stamps sets.
Welcome! To St. Catherine University Digital Collections Use the Search or Browse features to view items in the collection Get help anytime by using the help link in the top navigation bar St. Catherine University Digital Collections serves as the online home for unique collections on campus. These resources are made readily accessible to students, faculty, and the general public. Current collections include visual and textual materials; other collections will be added as they become available.
The diverse collections of The Minneapolis Institute of Arts include thousands of works of art that were made for worship or religious ritual. Historically, people have lavished the finest materials and workmanship on those things that represented their most deeply held beliefs. The works of art included here were selected because they illustrate the main theological concepts of the world's major religions. The texts attempt to provide concise overviews and are intended to serve as comparative teaching resources. Each entry was reviewed by a knowledgeable practitioner and/or ordained clergy of that faith.
the archive The archive of the Jack Lenor Larsen textile company reveals time and again that the driving force behind this influential company has always been the principal that art need not be separated into high (or fine) art and low art (or craft). The Larsen Design Studio created modern, artistic fabrics for interior use, yet their innovations with handwovens, batiks and fabrics in scale with modern architecture have changed the industry. Artistic and technical explorations are the cornerstones that have kept the company on the front edge of the market for half a century. the web site Larsen: A Living Archive was created in conjunction with the exhibition Jack Lenor Larsen: The Company and The Cloth at The Minneapolis Institute of Arts.
Throughout the fall of 2004, paintings conservators Joan Gorman and David Marquis of the Midwest Art Conservation Center conducted a major conservation treatment of Guercino's Erminia and the Shepherds during public viewing hours. In 1999, the exhibition "Restoring a Masterwork" followed the process of conserving Giovanni Benedetto Castiglione's The Immaculate Conception with Saints Francis of Assisi and Anthony of Padua .