Royal Collection

In the painting The Music Lesson we set out gaze upon what is a young lady sitting at a piano with her teach next to her. If we look closely at what is supposedly the teacher we can notice that he slightly has his mouth open. Along the room there are various items that have great value. The tile floor is black and white marble. There is also a viola lying on the flood. On top of the table there is a white vase or pitcher that is sitting on top of a rug that is laying over the table. We can also see

Johannes Vermeer Date: 1662-1665 Provenance: This painting was painted in London, England. It was painted for a fellow named Jacob Dissius, and around 1742 it was acquired by King George the 3rd. Location: This painting was located in the Royal Collection in London. Later it was moved to the Buckingham Palace. Media: Vermeer painted this artwork by using oil paint. He painted this painting on a canvas. Dimensions: 29.4” x 25.2” Part Two: Description There is a young girl, who is wearing a

events the painting started getting sold and bought from person to person. Joseph Smith bought it from Giovanni’s wife. Giovanni’s family then sold it to King George III in 1762. Location: The first location this painting was located was in the royal collection in the Windsor castle outside of London. It was later moved to Buckingham palace and placed in the picture gallery. It was taken off display for future conservation. Media: Johannes Vermeer used oil paint on canvas

The Museum of Ancient Egyptian Art collections, including artifacts and objects relating to the different periods of ancient Egyptian history, starting from the prehistoric period until the Greek roman period. The museum maintains an information system consisting of all the records pertaining to the museum’s collection. The principle components of this system are as following: 1. Board of Trustees Records: The Board of Trustees Records reflect the activities of Museum of the Ancient Egyptian Art

The Dixie Speedway, which has been operating for almost forty years, has an interesting and rich history. It is as well known in Georgia as Coke ~a~Cola. It is one of the most well-known dirt track speedways in Georgia. It has been a great help to the Georgia economy. The Dixie Speedway has been known to produce some great racers. This essay will explain the beginnings of Dixie Speedway and some of the things it’s done to help Georgia. This is a history of Dixie Speedway. Dixie Speedway has been

the intro panel with the gift of Rufus Putnam and tombstone label and image of Putnam. It is important to note now – for lack of repetition – that all tombstone labels will accompany an image of the giver. Next will feature the Alden collection and the Spencer collection selections on the opposite side. The next case will feature the Stevens’ endowment, Memior of Zerah Colburn. Images of Lynn Johnson will take up the next two shelves, and Farfel will take up the last three shelves.] [Introduction

comparative Essay written by Thomas Brooks, Benjamin Dutton, Jasmine Smith and Megan Thomason. Collection displays inhibit the ideologies of a singular conceptual premise under the constraints of the viability and range within the institutions collection, whereas the tasks involved in composing a monographic show, including the original parameters of an institution͛s collection, result in further curatorial concerns (George 2015, 39). How does the curatorial rationale

selecting and placing the art artifacts in the exhibition designed. The role of the curator became more about “collaboration, innovation, and empowering the audience”. While maintaining knowledgeable of the subject mater is beneficial fir the museum collections and the arts. Which is only one part of today’s curator role. 2. How are audiences and the way they engage with art affecting the role of the curator? Due to the fact the audience became

Cultural relevance, understanding and education are the key areas that modern museums seem to be addressing seriously. As a public institution a museum must consider its role in society, the way culture is represented and displayed and most of all, how interpretation affects those not of museum training backgrounds, for example a visitor or patron. Some would argue that art, is an expression of a culture and its political and economic values (Hein 2006), while others would suggest that is the artifacts

‘old’ museum. Kiri Griffin – Collections Manager Job Description Kiri Griffin is currently the Collections Manager of Toitū; and as a member of the Toitū Otago Settlers Museum Management Team she oversees collections, conservation, and archives, whilst supporting the work of exhibitions, visitor experience, and communications and operations. Key responsibilities of the collections manager include managing the Museum 's collections team, developing and implementing collection policies and procedures to