Table of contents

Foreword

1. The changing significance of the work of art in the museum

2. The museum, temple to the arts and sciences

3. The value of reproduction

4. Fictitious art

5. Real and virtual visits

6. The art of the fragment

7. The memory of the classical ideal

8. Imaginary anthology

9. The ultimate significance of art

References

Illustrations

Acknowledgments

 

References

 

(1) André Malraux, Le musée imaginaire, in Les voix du silence. Paris: Nouvelle Revue Française, Gallimard, 1951 (Museum Without Walls, translation S. Gilbert & F. Price, London: Secker & Warburg, 1967).

(2) Rembrandt by himself. National Gallery. London. June-September 1999.

(3) Rembrandt/Not Rembrandt in the Metropolitan Museum of Art: Aspects of Connoisseurship. (2 vol.) New York: Metropolitan Museum of Arts. 1995.

(4) Cox-Rearick, J. The Collections of Francis I: Royal Treasures. New York: H. Abrams, 1996.

(5) Pyenson, L. Servants of Nature: A History of Scientific Institutions, Enterprises and Sensibilities. New York: Norton, 1999.

(6) Plazy, G. & del Moral, J. M., Les chemins de Van Gogh, Paris: Ed. du Chêne, 1997.

(7) Guiart, J. Océanie, in L'univers de formes. Collection dirigée par André Malraux et Georges Salles. Paris: Gallimard, 1963.

(8) Jodido, Ph. Arts plastiques et architecture. Connaissance des arts, Paris: 560, avril, 1999.

(9) Nouwen, H. J. M. El regreso del hijo pródigo. Meditaciones ante un cuadro de Rembrandt. Madrid: PPC, 1999.

(10) Swan Jones, L. Art Information and the Internet. Arizona: Oryx Press, 1999.

 

 

Illustrations

 

Cover: pictographs, prehistoric cave Painted Hands. Rio Pinturas. Santa Cruz, Argentina.

Figure 1: color drawing of hands (and feet) by a two-year old girl child (1999).

Figure 2: engraving, Melencolia, Albrecht Dürer (1471-1582).

Figure 3: reproduction (untitled) of the cover of the Joconde database documenting thousands of works of art in France. It represents a mutilated torso (Hercules?) surrounded by elements for drawing, painting and engraving.

Figure 4: oil on canvas, The Return of the Prodigal Son, Rembrandt van Rijn (1606-1669), Hermitage, St. Petersburg.

 

 

 

 

Acknowledgments

 

To Percival J. Denham who helped me edit this work, and prepare the digital photographs, verify the links and correct the text.

To the University of San Andrés for giving me access to their library and electronic data.

 

 

Antonio M. Battro
Battro & Denham Consultants
Billinghurst 2574, first floor
Cl425DTZ Buenos Aires
Argentina
 
Tel.: 54 11 4473 5591
Fax: 54 11 4801 3725
e-mail: abattro@byd.com.ar
Site: http:/www.byd.com.ar

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