Музеи мира - World museums

he placed ancient sculptures of medicean collection: shortly afterwards in

this side of the building Buontalenti started to erect the Tribune.

Francesco's successors increased more and more the medicean collection with

new acquisitions of paintings, sculptures, precious and rare object in

general; they were set not only at the Uffizi but also at Pitti Palace or

in other medicean palaces. The continuing growth of the granducal

collections in 17th century enriched the Uffizi: new rooms of the second

floor were arranged to display masterworks as in a museum and in the

meanwhile the Gallery could be visited on request by Florentine or foreign

persons. For this the Uffizi can be considered the first kind of modern

museum of the history. In 1737, with the death of Gian Gastone (born in

1671) the Medici dynasty ended and the family of Lorraine ascended the

throne of Tuscany. The last descendant of Medici family, the Palatine

Electrix Anna Maria Luisa, sister of Gian Gastone, made an important

agreement that secured for ever the city of Florence all the medicean art

treasures. It was so eliminated any risk of dispersion of this artistic

patrimony unique in the world. The Lorraine family, from Pietro Leopoldo to

Leopoldo II, enriched the whole collection, increasing it with important

masterpieces: many paintings and several hundred of drawings were bought,

many Florentine pictures were transferred to the Uffizi from Tuscan

monastries, after suppression of religious orders during the 19th century.

In 1860 at the formation of the Kingdom of Italy the Medici-Lorraine

collections became public property to all effects and purposes. At the end

of the 19th century a new arrangement of the Gallery caused the destruction

of the wonderful Medici Theatre, to make way to the first rooms of the east

corridor, before the Tribune

. In 1989 the State Archive that occupied the first floor of the Uffizi,

has been transferred in the new seat of Piazza Beccaria: the first floor

will be indeed arranged to double the Gallery's area, as planned in the

Nuovi Uffizi project. The first six rooms of this floor have beeen recently

restored; all the other rooms soon will be added to them, to make way to

the exhibition of many masterworks now conserved in the warehouses and

realize new arrangements for all needs of a museum of such importance.

The Museum of The Romanian Peasant

The Museum of The Romanian Peasant is part of the large family of European

Museums for Folk Arts and Traditions. It is a National Museum, functionning

under patronage of the Ministry of Culture. Owner of an impressive

collection of objects, even if otherwise poor - as far as the financial

means necessary to capitalize this collection are minimum -, placed in a

historical monument building, (new Romanian style), whose restauration

costs exceed by far the budget allocated by the Ministry of Culture, The

Museum of The Romanian Peasant in spite of all these, has managed to put in

practice a special type of muzeology. The original poetics developped in

relation to the object was certain one of the reason why the Museum was

awarded the EMYA - European Museum of the Year Award. One of the other

reasons, of equal importance, was the very assuming of the poverty; the

personalized style of display in the halls has a certain number of

extensions which sometime happen to go beyond the door of the Museum: that

is, not only openings, concerts and conferences, but also publications and

unconventional ideas, like the Missionary Museum or the Village School, for

instance.

The Hunt Museum

The Hunt Collection is an internationally important collection of original

works of art and antiquities. It is a personal one, formed by a couple who

judged each piece that they collected according to the standard of its

design, craftsmanship and artistic merit. These criteria they applied to

objects of all ages - from the Neolithic to the twentieth century.

One of the strengths of the Hunt Collection is its medieval material. Its

range covers objects commissioned and used by both ecclesiastical and lay

patrons, and includes statues in stone, bronze and wood, crucifixes, panel

paintings, metalwork, jewellery, enamels, ceramics and crystal. The

importance of the collection is such that some items are currently on loan

to the British Museum and the Victoria & Albert Museum in London, while

others have been shown in international exhibitions.

The links between the Hunt collection and other museums can be illustrated

by the fact that one fragment of the Beaufort, late 14th century armorial

tapestry, is on display in the Hunt Museum in Limerick, while other

fragments of the same tapestry are in the Metropolitan Museum of Art, New

York; the Rijksmuseum, Amsterdam; the Museum of Fine Arts, Boston and the

Burrell Collection, Glasgow.

Besides the medieval, there is a wealth of other material ranging from

Egyptian, Greek and Roman items through to the 19th century metalwork and

ceramics. There is also an important collection of Irish archaeological

material ranging from Neolithic flints, through Bronze Age gold, the unique

8th century Antrim Cross, hand pins, pennanular brooches, down to penal

crucifixes of the 18th and 19th century. Irish decorative arts are

represented too in a range of items including Irish delft, Belleek

porcelain, 18th century Dublin tapestries as well as ecclesiastical and

domestic silver.

The Museum Jean Tinguely

Dedicated to the life and work of Swiss artist Jean Tinquely, who died in

1991, the Museum is located in Solitude Park, on the right bank of the

Rhine. The Museum was erected as a gift to the city and region of Basel by

F. Hoffmann-La Roche LTD to mark the company's 100th anniversary in 1996.

It was designed and built by Swiss architect Mario Botta and has been open

to the public since 3 Ocober 1996.

The Museum's collection consists mainly of works generously donated by the

artist's widow, Niki de Saint Phalle, and works from the holdings of F.

Hoffmann-La Roche Ltd.

The Museum exhibits works spanning three and a half decades in the artist's

life. Viewed in their broader context, they mirror artistic developments in

the second half of this century.

On the gallery level the Museum offers a chronological presentation of

works from the 1950s, 60s, 70s and 80s. The contrasts between the various

rooms-like those in the artist's life-are striking.

In the 1950s Tinquely's works, often executed in black-and-white, possessed

a stark, spare quality and were characterized by tremendous clarity. In

1959 his mйta-matic drawing machines appeared, marking an important

renewal.

1960 was the year of Tinquely's huge international success with his self-

destructing Homage to New York. But the artist's style was changing

rapidly. He now began working with arc-welded scrap iron, and his

sculptures became more provocative and comical.

Following the completion of Eureka for the Expo 64 in Lausanne, his works

became more 'sculpture-like' in the classical sense of the word. Works from

this period are often all black and are apt to strike the viewer as

abstract objects rather than as 'found' ones.

The 1980s were characterized by large-scale projects, among others the

large altars. The altar-piece Lola, characteristic of this period, can be

seen in the Museum.

The next two rooms contain the monumental work Mengele - Dance of Death, a

reflection on the inevitability of death.

In the large hall, monumental sculptures such as Grosse Mйta Maxi-Maxi

Utopia, Fatamorgana and Agricultural Platform are displayed.

The National Palace Museum

In Taipei is the National Palace Museum, in which is preserved and enormous

amount of art and artifact from all of China's 6,000-year history. The

National Palace Museum collection was originally the Imperial collection

until Chiang liberated it. It was then moved several times until finally

the Communists started causing trouble; then the whole thing was shipped to

Taiwan. This is probably a good thing, since otherwise it would have been

destroyed in the cultural revolution.

The Semitic Museum

The Semitic Museum was founded in 1898, and moved into its present location

in 1903. It originally was the home of the Department of Near Eastern

Languages and Civilizations, a departmental library, a repository for

research collections, a public educational institute, and a center for

archaeological exploration. Among the Museum's early achievements are the

first scientific excavations in the Holy Land (at Samaria in 1907-1912) and

important excavations at Nuzi and the Sinai, where the earliest alphabet

was found. During World War II, the Museum was taken over by the Navy and

closed to the public.

In the 1970s, it resumed its academic activities, and today is again home

to the Department of Near Eastern Languages and Civilizations and to the

University's collections of Near Eastern archaeological artifacts. These

artifacts comprise over 40,000 items, including pottery, cylinder seals,

sculpture, coins and cuneiform tablets. Most are from museum-sponsored

excavations in Iraq, Jordan, Israel, Egypt, Cyprus, and Tunisia. The Museum

is dedicated to the use of these collections for teaching, research and

publication of Near Eastern archaeology, history, and culture.

Tareq Rajab Museum

The Museum was built up and run privately by the Rajab family. It was

opened to the general public in 1980. The Museum is divided into two main

sections of Islamic Art:

SECTION A

This Section deals with calligraphy, pottery, metalwork, glass, wood,

ivory and jade carvings of the Islamic world. Early calligraphy is

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