The purpose of this research is focusing and examining a background performing the cooperation between the different two sectors, libraries and museums, to the policy side in European Union, Britain, and France. The two sectors can be given the same role in an information technology policy of the eEurope action plan and MINERVA project of EU, and the cooperation is expected from Social Inclusion Policy in Britain as acomposition organizations of DCMS or Resource. In France, the two sectors will bear comprehensive cultural facilities by the Pompidou Center design before information policies. Although it could say on a policy that the cooperation between libraries and museums was strengthened, concrete cooperation in a working lebel still takes time.
South Korea is an advancing country on digitization and networking of cultural property information. Digitization of cultural property information is actively carried out by museums, which use national standard cultural property information inputting rules. On the other hand, the portal web-site for cultural property information is developed in order to network the digitized information. The documentation method in museums is similar to the one in libraries. In this sense, the documentation method is interesting. We should study the cultural property documentation in South Korea and compare it with the one in Western countries.
There are two categories of photos kept in museums. One is "Photos as Primary Materials" including works of noted photographers and pieces with historic values. The other is "Photos as Secondary Data" picturing cultural properties or museum specimens. "PaPMs" are righteously regarded as museum properties. In contrast, "PaSDs" are often put less importance and treated ambiguously. Museums these days are urged effective use of their resource, however, and PaSDs have gotten attention as another kind of museum properties. Regarding PaSDs as full-fledged "file photos", here we report our trial and error in arranging, archiving and utilizing them in Yokohama History Museum.
In this study I focus on the six hundred temporary exhibitions held for forty years by the Design Gallery 1953 of Matsuya Department Store in Tokyo. The aim of this paper is to examine the importance of the exhibition data which is composed of the images of the invitation postcards of each exhibition in order to study the history of modern design in Japan. We can employ the results shown in this study to make the social role of those exhibitions clear from the point of view of the Art Environment Support.
Revision of a paper developed as part of an independent study project at Indiana University, Spring 2003. Published in Art Documentation: Bulletin of the Art Libraries. Society on North America, vol.24, no.1, 2005, p.26-28.
Two books about Portuguese art were published in the nineteenth century in Paris. Atanazy Raczynski (1788-1874), a Prussian diplomat, compiled them based on many materials which he obtained in Lisbon, where he was posted. Les arts en Portugal (1846) consists of the letters which Raczynski sent to "Societe artistique et scientifique de Berlin" from Lisbon. In the following year, he published Dictionnaire historico-artistique du Portugal (1847) as a sequel. This contains names of Portuguese artists and of persons related to Portuguese art. Though they are frequently cited in basic dictionaries of art, such as U. Thieme und F. Becker (1907-50) and J. Turner (1996), they are hardly known in Japan. Therefore, the author would like to introduce and review them.