December 16, 2014

New additions to Artstor - Dec 2014

Now available: More than 24,000 additional images from the National Gallery of Art

John Singleton Copley, Watson and the Shark, 1778. Image: Courtesy of National Gallery of Art, Washington
John Singleton Copley, Watson and the Shark, 1778. Image: Courtesy of National Gallery of Art, Washington
Artstor and the National Gallery of Art in Washington, DC have released more than 24,000 images from the museum’s collection in the Digital Library.
This release includes vast numbers of works of art by some of the most important artists from the 13th to 19th centuries. A partial list includes 36 works by Hans Baldung Grien, 10 works by Giovanni Bellini, 176 works by William Blake, five works by Pierre Bonnard, six works by Botticelli, 39 works by François Boucher, four works by Bronzino, 13 works by Julia Margaret Cameron, 96 works by Mary Cassatt, 292 works by Paul Cezanne, nine works by John Constable, 17 works by John Singleton Copley, 91 works by Corot, four works by Correggio, nine works by Gustave Courbet, 85 works by Lucas Cranach the Elder, 998 works by Honoré Daumier, 25 works by Jacques-Louis David, 106 works by Edgar Degas, 58 works by Eugène Delacroix, 354 works by Albrecht Dürer, 54 works by Jean-Honoré Fragonard, 15 works by Thomas Gainsborough, 159 works by Paul Gauguin, 39 works by Théodore Gericault, 20 works by Vincent Van Gogh, 38 works by Francisco de Goya, seven works by El Greco, eight works by Frans Hals, 88 works by William Hogarth, 61 works by Hans Holbein the Younger, 55 works by Winslow Homer, 25 works by Jean-Auguste-Dominique Ingres, four works by Leonardo Da Vinci, four works by Fra Filippo Lippi, 58 works by Edouard Manet, 12 works by Jean-François Millet, 21 works by Claude Monet, 25 works by Berthe Morisot, 37 works by Edvard Munch, 23 works by Eadweard Muybridge, 19 works by Parmigianino, 108 works by Giovanni Battista Piranesi, 59 works by Camille Pissarro, 12 works by Raphael, 90 works by Odilon Redon, 366 works by Rembrandt van Rijn, 55 works by Auguste Renoir, 35 works by Auguste Rodin, 21 Peter Paul Rubens, seven works by John Singer Sargent, five works by Georges Seurat, 52 works by Giovanni Battista Tiepolo, twelve works by Jacopo Tintoretto, 12 works by Titian, 294 works by Henri de Toulouse-Lautrec, 115 works by William Turner, eight works by Félix Vallotton, nine works by Veronese, 62 works by Edouard Vuillard, 17 works by Antoine Watteau, and 545 works by James McNeill Whistler.
Artstor also makes available more than 700 images of European paintings, sculpture, and decorative arts from the Gallery’s Samuel H. Kress Collection, as well as two collections from its Department of Image Collections: the Clarence Ward Archive and the Foto Reali Archive. For more detailed information about this collection, visit the National Gallery of Art page in Artstor.
View the collection in the Digital Library or search the keyword anga.

Now available: Additional images from the Dallas Museum of Art in IAP

Jacques-Louis David, Apollo and Diana Attacking the Children of Niobe, 1772. Image © Dallas Museum of Art, Image and data from: Dallas Museum of Art
Jacques-Louis David, Apollo and Diana Attacking the Children of Niobe, 1772. Image © Dallas Museum of Art, Image and data from: Dallas Museum of Art
The Dallas Museum of Art has collaborated with Artstor to make 600 additional images from its permanent collection available in the Images for Academic Publishing (IAP) program.
The release includes works by artists as varied as Jean Paul Gaultier, Louis Comfort Tiffany, and Everett Spruce. This brings the museum’s current total of images in IAP to 730.
For more detailed information about this collection, visit the Dallas Museum of Art Collection page in Artstor.
The IAP program aims to offload the costs of museums delivering high-resolution image files to scholars for academic publications by providing high-quality TIFF image files free to both Artstor subscribers and non-subscribers alike. For more information, visit artstor.org/iap.

Now available: Additional field photography of Tibetan, Chinese, and Indian art and architecture by Rob Linrothe
artstor_logo_rgb2Artstor and Rob Linrothe are sharing an additional 3,000 images of Tibetan, Chinese, and Indian monuments and architecture in the Digital Library. Linrothe’s field photography collection has a strong focus on Tibetan sites, particularly petroglyphs, stupas, and monasteries in the Ladakh and Zangskar regions. Linrothe has also photographed the architecture and sculpture of monuments such as Borobudur in Indonesia and Sanchi in India.
View the collection in the Digital Library, or search keywords rob linrothe.
For more detailed information about this collection, visit the Rob Linrothe: Tibetan and Buddhist Art page in Artstor.

New agreement: University of Wisconsin-Milwaukee Art Collection

artstor_logo_rgbThe Artstor Digital Library and the University of Wisconsin-Milwaukee are collaborating to share 7,000 images of works from the UWM Art Collection.
The UWM Art Collection encompasses 7,600 objects – western and non-western art, ancient to contemporary. Areas of special strength include prints from the 15th to 20th century, Greek and Russian Icons, American folk art, and ethnographic collections of Africa and Oceania. The Blanche and Henry Rosenberg Collection of Modern Art is an impressive grouping of two- and three-dimensional works representing the major stylistic trends of the first half of the twentieth century. Notable artists featured in this collection of over 300 objects includes Jean Arp, Joan Miró, Henry Moore, Victor Vasarely, Alexander Calder, and Pablo Picasso. The Rogers Family Collection of Greek and Russian Icons represents a remarkable array of icons, many dating to the fifteenth and sixteenth centuries. The collection also consists of numerous liturgical objects, finely executed in gold, bronze, wood, and enamel, including reliquary and processional crosses, chalices, spoons, as well as secular pieces such as Byzantine coins and jewelry. The Emile H. Mathis II Print Collection is an expansive assemblage of 1,500 works on paper spanning 500 years of art history. The collection, which represents Mathis’ lifetime passion for fine art, includes excellent examples of 17th century etchings by Jacques Callot and Rembrandt van Rijn; 19th century French, British, and American printmakers including Francis Seymour Haden, James Abbott McNeill Whistler, and Henri de Toulouse-Lautrec; early 20th century prints by Kathe Kollwitz, Pablo Picasso, and Joan Miró; and extensive holdings of late 20th century American artists: Jasper Johns, Andy Warhol, Jim Dine, Claes Oldenburg, and Robert Rauschenberg. The African art collection provides an encyclopedic overview of 19th and early 20th century African art, with objects from nearly one hundred different cultural areas and twenty-three different countries.
The UWM Art Collection is housed in the UWM Art History Gallery and serves both the campus and greater Milwaukee community by providing access to the collection through exhibitions, research, and special programming. The gallery’s objective complements the University’s educational and outreach mission. As envisioned, both serve as pedagogical vehicles for enhancing art education at all levels, fostering interdepartmental and interdisciplinary relationships, and creating community partnerships.

The travels and travails of the Mona Lisa (from Artstor)


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Leonardo da Vinci, Mona Lisa, 1503-1506, Musée du Louvre. Image and original data provided by Erich Lessing Culture and Fine Arts Archives/ART RESOURCE, N.Y.; artres.com
In 2012, 150,000 people signed a petition asking the Louvre to return Leonardo Da Vinci’s Mona Lisa to its “home city” of Florence, Italy. Not surprisingly, the Louvre declined. The Mona Lisa has done its share of traveling in the past 500 years, and more often than not it has proven nerve racking.
Before we get to the travel stories, let’s look at Florence’s claim. Leonardo da Vincidid start painting the Mona Lisa in 1503 or 1504 in the Italian city, but in 1516 he was invited by King François I to work in France, and scholars believe he finished the painting there, and there it has remained. After Leonardo’s death, the king bought the Mona Lisa and exhibited it at the Palace of Fontainebleau, its home for more than 100 years, until Louis XIV took it to the Palace of Versailles.
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John Vanderlyn, The Palace and Gardens of Versailles, 1818-19. Image © The Metropolitan Museum of Art
After the French Revolution the Mona Lisa moved to its new home at the Louvre—after a slight detour: Napoleon borrowed the painting to decorate his bedroom in the Tuileries Palace for four years. In 1804, Mona Lisa finally was finally exhibited at the Louvre’s Grand Gallery. (Take a close look at the Samuel Morse painting below to see how the Mona Lisa looked installed in 1833.)
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[CLICK FOR CLOSE-UP] Samuel Finley Breese Morse, Exhibition gallery of the Louvre, 1833. The Carnegie Arts of the United States Collection, data from University of Georgia Libraries.
Since then, the painting has only left the Louvre for brief periods. The Mona Lisa spent time in an arsenal during the Franco-Prussian War, and it bounced around among a few locations during World War II, but it’s always returned. Its most alarming absence was when it went missing in 1911—the only painting ever to have been stolen from the museum—and was gone for two years. A former employee was finally caught trying to sell it to the Uffizi Gallery in, yes, Florence. The authorities took advantage of the situation and exhibited the painting at the Uffizi and in Rome before returning it to the Louvre.
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Pierre Lescot, Palais du Louvre, Cour Carrée, façade, distant view, 1546-1578. Image and original data provided by Erich Lessing Culture and Fine Arts Archives/ART RESOURCE, N.Y.; artres.com
Things were pretty calm for the next few decades until 1956, when not one but two people attacked the painting. A man threw acid at it during an exhibition at a museum in Montauban, France, and another lobbed a rock at it when it was back in the Louvre.
So it’s no surprise reaction was so strong six years later when First Lady Jacqueline Kennedy asked André Malraux, the French minister for cultural affairs, if the Mona Lisa could be exhibited in the United States.
As Aleksandr Gelfand writes in the Metropolitan Museum’s blog, a group of curators at the Louvre threatened to resign if the loan was approved, and the newspaper Le Figaro ran an editorial asking the American people to refuse the painting. But Malraux agreed to the First Lady’s request, and Mona Lisa headed to the National Gallery in Washington, DC.
Gelfand outlines the many security measures that were taken: the painting was shipped in a custom-made, temperature-controlled case within a fireproof and watertight container, and was kept under constant watch by security guards and museum officials. The ocean liner carrying the Mona Lisa was accompanied by the United States Coast Guard as it entered New York Harbor, where local, state, and federal security officials were waiting to greet it. The painting was transferred to an air-conditioned van and all traffic along the route to Washington was stopped; the procession drove through red traffic lights the entire way. Two marines were posted at its sides during its exhibition at the National Gallery, where the crowds were so great that, according to The New Yorker, viewers only got to see the Mona Lisa for four seconds each.
When the painting returned to New York to be exhibited at the Metropolitan Museum, it was kept in a safe in one of the museum’s Western European Arts storerooms, where it remained under continuous observation until its exhibition.
The Metropolitan Museum of Art, exterior, during the exhibition, The Mona Lisa by Leonardo da Vinci, February 7- March 4, 1963; view facing south showing crowds lined up on Fifth Avenue and on the front steps of the Museum.  Image © The Metropolitan Museum of Art
The Metropolitan Museum of Art, exterior, during the exhibition, The Mona Lisa by Leonardo da Vinci, February 7- March 4, 1963; view facing south showing crowds lined up on Fifth Avenue and on the front steps of the Museum. Image © The Metropolitan Museum of Art
In a colorful memoir, former Metropolitan Museum Director Thomas Hoving, then a curator in the medieval department, claimed that while in storage, “one of the fire sprinklers in the ceiling broke its glass ampoule and the masterpiece… [was] rained upon.” But Hoving added that the thick glass covering over the painting protected it, and, “The rainstorm was never mentioned to the outside world”—except in his book, of course.
Be that as it may, the painting was exhibited behind bulletproof glass, flanked by two museum guards, and watched by detectives from behind. More than one million visitors saw the masterpiece. A week after the exhibition closed, the painting was safely back home in the Louvre.
The last time the Mona Lisa was on loan it travelled to the Tokyo National Museum and to Moscow’s Pushkin Museum of Fine Arts, both in 1974. More than 1.5 million people saw the painting in Tokyo, to this day a record for a Japanese museum. The Japanese were the first to exhibit the painting protected by a triplex glass box. Good thing, too, because one of the many visitors tried to spray red paint on it.
While it’s true that staying at the Louvre doesn’t guarantee peace—in 2009 a woman threw a terracotta mug at the Mona Lisa that shattered against the glass enclosure—all things considered, there’s no place like home.

December 11, 2014

JSTOR Update - December 2014


JSTOR UPDATE | DECEMBER 11, 2014

Multidisciplinary and Discipline-Specific Collections at JSTOR
The following is a list of JSTOR content updates. More detailed information about titles and collections, along with delimited lists, may be accessed from the Archive Collections page. For the full list of content updates, please visit our website here.

New Titles 
The Arthur Miller Journal (Arts & Sciences XIII)
Coverage: Vol. 1, No. 1 (Spring, 2006) - Vol. 3, No. 2 (Fall, 2008)
Moving Wall: 5 years
Publisher: Penn State University Press
ISSN: 1558-8831

The Cormac McCarthy Journal (Arts & Sciences XIII)
Coverage: Vol. 1, No. 1 (Spring, 2001) - Vol. 6 (Autumn, 2008)
Moving Wall: 5 years
Publisher: Penn State University Press
ISSN: 2333-3073 

New Titles 
No. 20/21 (September, 1992) – No. 26/27 (September, 1994);
No. 32/33 (September, 1997) – No. 64/65 (October, 2013) 
Moving Wall: 5 years
Publisher: Penn State University Press
ISSN: 2372-1901
E-ISSN: 2372-191X 

For the full list of November 21 Release updates, please visit our website here.

For the full list of October 1 Release updates, please visit our website here.

Latest Research in ERIC


A Wider Lens: The Latest Research in ERIC on Broadening the Scope of Educator Evaluation Systems
In the past, educator evaluation systems provided limited information on successful teaching and learning. Evaluation systems are now including a wide range of ways to measure how educators impact students.  The Institute of Education Sciences has released several studies this year that explore these changes and provide information about how states and districts are evaluating teachers and principals. The full text of these peer-reviewed studies can be found in ERIC. This research can help answer the following questions:
For even more research on teacher evaluation, see ERIC's growing collection of peer-reviewed, full-text resources. Currently, there are more than 80 full-text articles and reports published in the last 5 years on this topic.

December 09, 2014

New Cambridge Companion Online now available

Access to these resources is made possible by a generous donation from the Trinity Western University Graduate Student Association.

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The Cambridge companion to Sufism / edited by Lloyd Ridgeon.




Sufism, the mystical or aesthetic doctrine in Islam, has occupied a very specific place in the Islamic tradition, with its own history, literature and devotional practices. Its development began in the seventh century, almost immediately after the early conquests, and spread throughout the Islamic world. The Cambridge Companion to Sufism traces its evolution from the formative period to the present, addressing specific themes along the way within the context of the times. In section discussing the early period, the devotional practices of the earliest Sufis are considered. The section on the medieval period, when Sufism was at its height, examines Sufi doctrines, different forms of mysticism and the antinomian expressions of Sufism. The section on the modern period explains the controversies that surrounded Sufism, the changes that took place in the colonial period and how Sufism transformed into a transnational movement in the twentieth century. This inimitable volume sheds light on a multifaceted and alternative aspect of Islamic history and religion.

Part I. The Early Period: 1. Origins and early Sufism / Christopher Melchert -- 2. Early Pious, Mystic Sufi women / Laury Silvers -- 3. Sufi rituals, beliefs, and hermeneutics / Erik S. Ohlander -- 4. Morality in early Sufi literature / Saeko Yazaki -- Part II. Medieval Sufism: 5. Antinomian Sufis / Ahmet T. Karamustafa -- 6. Mysticism in medieval Sufism / Lloyd Ridgeon -- 7. Sufism's religion of love, from Rābi'a to Ibn 'Arabī / Leonard Lewisohn -- -- Part III. Sufism in the Modern Age: 8. Nana Asma'u: nineteenth-century West African Sufi / Beverly Mack -- 9. Sufism and colonialism / Knut S. Vikør -- 10. Sufism in the West / Ron Geaves -- 11. Sufism in the age of globalisation / Itzchak Weismann -- 12. Transnationalism and regional cults / Pnina Werbner.

Click here to read this ebook title (authentication required)

December 03, 2014

Value of Academic Libraries: A Comprehensive Research Review and Report (ACRL)


The ACRL publication Value of Academic Libraries: A Comprehensive Research Review and Report is a review of the quantitative and qualitative literature, methodologies and best practices currently in place for demonstrating the value of academic libraries, developed for ACRL by Megan Oakleaf of the iSchool at Syracuse University. The primary objective of this comprehensive review is to provide academic librarians with a clearer understanding of what research about the performance of academic libraries already exists, where gaps in this research occur, and to identify the most promising best practices and measures correlated to performance.

December 02, 2014

Collaborative Agreement Among Gale, part of Cengage Learning, and Three Universities in British Columbia Provides Provincial-Wide Access to Research Materials

BC Residents Can Search Historical Materials via "Points to the Past" Initiative





FARMINGTON HILLS, Mich.Dec. 1, 2014 /PRNewswire/ -- British Columbia's 4.6 million residents now have free perpetual access to leading Gale research databases – nearly 200 million pages of digital historical content – as part of a unique agreement arranged by the University of Victoria Libraries, University of British Columbia Library, and Simon Fraser University Library.
"The Points to the Past initiative expands access to a wealth of historical content for students, faculty, and the general public, enabling us to facilitate life-long learning and to contribute to a better-informed society," said Jonathan Bengtson, University Librarian for theUniversity of Victoria.
Through their local public, academic, school, or museum library, residents of British Columbia can access all Gale Digital Collections databases including digitized versions of periodicals such as The Economist, The Financial Times and Associated Press content, as well as digitized materials from The Smithsonian Institution, the world's largest museum and research complex. In addition, residents will be able to explore the North American story through Indigenous Peoples: North America, as well as make new discoveries with access to Nineteenth Century Collections Online and Eighteenth Century Collections Online, often considered essential resources for the modern academic researcher. All of the materials will be delivered via Gale's Artemis: Primary Sources platform, which means the collections are cross-searchable and leverage advanced research features such as graphing and search visualization tools.
"We believe in engaging learners of all kinds and this agreement enables us to offer a wealth of material to residents - whether the K-12 student, the university scholar or the local historian – and we expect it will lead to new research discoveries and life-long learning," saidPaul Gazzolo, senior vice president and general manager for Gale.
To learn about the creation of the Gale Digital Collections products, please visit http://solutions.cengage.com/gdc/videos/. To access these resources, please visit the Points to the Past website - http://pointstothepast.ca/.
About the University of Victoria LibrariesUniversity of Victoria Libraries (uvic.ca/library) is the second largest in British Columbia being composed of three libraries, the William C. Mearns Center for Learning - McPherson Library, the Diana M. Priestly Law Library, and the Curriculum Library. UVic Libraries support the learning, teaching and research needs of the university community. UVic Libraries' combined collections include over 2.1 million books and growing digital collections. The Libraries' collections of special and unique materials include the largest collection of transgender archival materials in the world, internationally recognized holdings in Modernist British, American, French and Anglo-Irish literature, and one of the largest military oral collections in Canada.
About The University of British Columbia LibraryUBC Library advances research, learning and teaching excellence by connecting communities within and beyond the University of British Columbia to the world's knowledge. The Library, a high-ranking member of the Association of Research Libraries (ARL), has 15 branches and divisions, and is the largest academic library in British Columbia. Its collections include more than seven million volumes, over 1.8 million e-books, and  more than 920,000 maps, audio, video and graphic materials. The Library provides access to expanding digital resources and houses an on-site digitization centre. For more information, visit www.library.ubc.ca or follow the Library @ubclibrary.
About Simon Fraser University LibraryThe Simon Fraser University Library (www.lib.sfu.ca) supports the research, teaching and learning endeavours of the university community. The Library houses a print collection of 2.7 million volumes and 6000 journal subscriptions across its three locations inBurnabySurrey and Vancouver. The Library's rapidly growing electronic collection includes 64,000 journal subscriptions, over 600,000 ebooks, close to 5 million digital files and the Research Data Library's expansive collection of maps and datasets. Special Collections and Rare Books (housed in the Burnaby location) is home to a broad range of unique and rare content, including book arts, print culture, Canadian editorial cartoons and British Columbia literary, social and political material.
About Cengage Learning and GaleCengage Learning is a leading educational content, technology and services company, empowering educators and driving learner engagement through personalized services and course-driven digital solutions that bridge from the library to the classroom. Gale, part of Cengage Learning, serves the world's information and education needs through its vast and dynamic content pools, which are used by students and consumers in their libraries, schools and on the Internet. It is best known for the accuracy, breadth and convenience of its data, addressing all types of information needs – from homework help to health questions to business profiles – in a variety of formats. For more information, visit www.cengage.com or www.gale.cengage.com.