Museum & Arts

(2024-07-12) , Jodidio, Philip.

Lausanne is an unexpected city, perched on a steep hillside overlooking Lac Leman (Lake Geneva). Archeologists have found traces of hearths and carved flint near the lake at Vidy that are 8,000 years old. More than 200 graves found near the lake date from between 4300 and 3300 BC, attesting to the presence of villages nearby. The same area, near Vidy, was later the location of a Roman military camp. Called Lousonna, it was built on the site of a Celtic Helvetian settlement, after the victory of Julius Caesar at Bibracte (58 BC). The Romans remained in the area until the beginning of the fifth century AD when western Switzerland came under Burgundian influence. The dominance of the Germanic Allamani tribes to the east explains the linguistic division of the country that still exists today. Not long after the eclipse of the Romans, the town became an episcopate at the end of the sixth century, presided over as of 1011 by a prince-bishop of the Holy Roman Empire supported by the kings of Burgundy. By the thirteenth century, Lausanne had approximately 9,000 inhabitants. The largest Gothic cathedral in Switzerland was consecrated there on October 20, 1275, by Pope Gregory X in the presence of Emperor Rudolf of Habsburg and remains today in slightly altered form in its original location. The Protestant Reformation in Switzerland began to take hold in Zurich under the leadership of Huldrych Zwingli in the 1520s, with Bern following in 1528. Bern, which signed alliances with Lausanne (1525) and Geneva (1526), embarked on an expansionist policy that led them to occupy Vaud in 1536, imposing Protestantism as the local religion and making the Cathedral Protestant. In the same year the forces of the Reformation and the Bernese army stripped the Cathedral of most of its decoration, including altars, statues, and paintings. Certain elements, such as the magnificent rose window (1231-35) and the so-called Painted Portal restored in 2014, both on the south side of the edifice, retain something of the splendor of the original building. The conversion of Lausanne and its Cathedral to Protestantism is more than a matter of historical detail. The austerity imposed by the Bernese and the continuing Protestantism of the Canton are an important element in understanding contemporary choices and the appearance of architecture in the city. After 1536, Catholic authorities were made to flee, and it was in 1613 that Fribourg became the seat of the bishop of Lausanne. Fribourg is still the seat of the Diocese of Lausanne, Geneva, and Fribourg, underlining the lasting conversion to Protestantism of Lausanne. Subsequent to the Revocation of the Edict of Nantes (1685), Lausanne and Geneva were places of refuge for the French Huguenots, and a seminary created by Antoine Court and Benjamin Du Plan in 1729 was active until 1808. In the context of revolt against the long domination of Bern, Lausanne became the capital of the Canton du Leman also known as the Pays de Vaud in 1798, as part of the Republique Helvetique created by Napoleon Bonaparte. Vaud became part of the Swiss Confederation on April 14, 1803. Particularly since the eighteenth century, Lausanne has been a place of predilection for a number of important cultural figures. Jean-Jacques Rousseau lived in the city from July to November 1730, while Voltaire sojourned at Montriond and Grand-Chene between 1755 and 1759. Edward Gibbon, author of The History of the Decline and Fall of the Roman Empire, completed his opus in Lausanne between 1783 and 1787. Percy Bysshe Shelley and George Gordon, Lord Byron came to Lausanne during a tour of the lake in June 1816, and Byron wrote the poem "The Prisoner of Chillon" at the Hotel de l’Ancre (now Hotel et Residence d'Angleterre) in Ouchy, on June 28. The Cathedral was the reason for the presence in Lausanne of Eugene Viollet-le-Duc, who was commissioned by the Conseil d'Etat Vaudois to restore the edifice in 1873. Still working on the project, he died in Lausanne in 1879.

(2023-02-14) , DK , Aliki Braine, Editorial Consultant , Duncan Turner, Senior Art Editor , Stephen Bere, Amy Child, Mark Lloyd, Project Art Editors , Hugo Wilkinson, Senior Editor , Anna Fischel, Ian Fitzgerald, Kathryn Hill, Natasha Kahn, Alice Nightingale, Editors , Michael Duffy, Managing Art Editor , Angeles Gavira Guerrero, Managing Editor , Saloni Singh, Managing Jackets Editor , Ed Burn, Vicky Clarke, Natalie Clay, Mark Clifton, Mark Ruffle, Gus Scott, Illustrators , Emily Kho, Editorial Assistant , Sophia MTT, Jacket Designer Development Manager , George Bray, Theodore Gordon, Alison Hand, Susie Hodge, Natasha Kahn, Contributors , Surabhi Wadhwa-Gandhi, Jackets Design , Priyanka Sharma, Senior Jackets Coordinator , Suhita Dharamjit, Senior Jacket Designer , Harish Aggarwal, Senior DTP Designer , Laura Andrews, Production Controller , Kavita Varma, Production Editor , Liz Wheeler, Associate Publishing Director , Karen Self, Art Director , Jonathan Metcalf, Publishing Director

The simplest, most visual explanation of art - ever How does perspective work? Why do some paintings make us feel certain ways? What is Impressionism and why is it important? Art can be daunting for beginners - but it doesn't have to be. With the help of this book you can see how art is made, learn about its different forms, and understand the ways artists convey messages. With clear, easy-to-understand graphics and packed with fascinating facts, How Art Works explains everything you need to know about art, from the basic tools and techniques to the meanings of great masterpieces.

(2017) , Javier Molins (curator) , Vincent Borch (Photography) : Victor M. Arraez (Design)

Manolo Valdés. Six Monumental Sculptures. City of Arts and Science, Valencia. June - December 2017 The Hortensia Herrero Foundation has brought six sculptures of Manolo Valdés to the main lake of the City of Arts and Science whose titles are: “La Mariposa” (“The Butterfly”), “Los Aretes” (“The Earrings”), “La Diadema” (“The Headband”), “Mariposas” (“Butterflies”), “La doble imagen” (“The double image”), and “La pamela” (“Pamela – Picture Hat”). Valdés has created several large heads whose headdresses are made up of very different motifs, such as butterflies, geometric shapes, and a "pamela," or picture hat, as the sculptor takes his inspiration from the things that surround him and puts those things into works of art that are inspired by Spanish painting tradition and art history in general. In order to create these monumental sculptures of more than five meters in height, the artist used very different materials such as weathering steel, aluminum, cast iron, and marble – and some of his works were painted with a layer of epoxy paint. The exhibition can be seen from June 28 to December 10, 2017. One of the six monumental sculptures on display has been acquired by the Hortensia Herrero Foundation so that it may later be donated to the City of Valencia and placed at the Valencia Marina. The piece chosen via popular vote has been "La pamela".

(2023-01-03) , Michel Bohbot [and 3 others] , Gridthita Gaweewong , Apinya Poshyananda , Pratarn Teeratada

The book you are now holding takes an initial look at the current state of affairs on the Thai art scene. It provides an almost exhaustive panorama of the country's artists, galleries, collectors, great art events, chefs, choreographers, dancers, DJs, and designers at a certain point in time. It was directed by Francine Méoule-whose connections and knowledge on the artists, atmosphere, and networks of the country have been indispensable-and Christine Schreyer, who worked on the very first books ever published by Enrico Navarra, and who represents the gallery on this project with her trademark sharpness of wit.

(2024-02-16) , Bryna Bobick

As art museum educators become more involved in curatorial decisions and creating opportunities for community voices to be represented in the galleries of the museum, museum education is shifting from responding to works of art to developing authentic opportunities for engagement with their communities. Current research focuses on museum education experiences and the wide-reaching benefits of including these experiences into art education courses. As more universities add art museum education to their curricula, there is a need for a text to support the topic and offer examples of real-world museum education experiences. Engaging Communities Through Civic Engagement in Art Museum Education deepens knowledge on museum and art education and civic engagement and bridges the gap from theory to practice. The chapters focus on various sectors of this research, including diversity and inclusion in museum experiences, engaging communities through new techniques, and museum and university partnerships. As such, it includes coverage on timely topics that include programs and audience engagement with the LGBTQ+, refugee, disability, and senior communities; socially responsive museum pedagogy; and the use of student workers. This book is ideal for museum educators, museum directors, curators, professionals, practitioners, researchers, academicians, and students who are interested in updated knowledge and research in art education, curriculum development, and civic engagement.

(2021) , Deepak Chhabra

This book examines the authentication of authenticity in heritage tourism by using a resilient smart systems approach. It discusses the emerging trends in cultural tourism and outlines, in a detailed manner, their significance in negotiating authenticity in tourism experience. Authentication of authenticity is an evolving, less-researched field of inquiry in heritage tourism. This book advances research on this subject by exploring different authentication processes and scrutinizes their resilience in building transformative heritage tourism pathways. It offers a kaleidoscopic view of the manner authenticity has evolved over the last several decades by observing a broad spectrum of cultural expressions. The evolution and meaningfulness of negotiated authenticity is identified and discussed in the context of pre-, intra- and post-pandemic times. This book focuses on the moral and existentialist trajectories or authenticity and the notion of self-authentication. It proposes a smart resilient authentication model to delicately negotiate the objective and self-dimensions of authenticity in transformative times. Furthermore, by sharing examples of best practices, it offers unique insights on how authenticity is authenticated and mediated via digital platforms and artificial intelligence. This book offers novel perspectives on negotiated authenticity and its authentication in heritage tourism and will appeal to both practitioners and students/scholars in Heritage studies; Design and Innovation; Tourism Studies; Geography and Planning across North America, Europe, and East-Asian countries.