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Chernivtsi Regional Art Museum is an art museum located at 10 Center Square, Chernivts, in a historically significant Art Nouveau mansion. Founded the year of Ukrainian independence in 1991, the museum maintains a valuable collection of regional Ukrainian painting, with particular focus on the art of the historic region of Bukovyna.

History
The Chernivtsi Art Museum was created in 1988 from the art department of the Chernivtsi Regional Museum of Local Lore (Chernivtsi Museum of Local History). This collection, dating from 1900, formed the basis of the collection of the newly created institution.The museum opened in 1988 in Chernivtsi's then inactive Holy Spirit Cathedral.

In 1991, the museum was moved into the historic Bukovyna Savings Bank building in Chernivtsi's city center. The collection was enhanced and expanded replenished with transferred by the Directorate of Art Exhibitions of the Ministry of Culture of Ukraine, as well as charitable gifts to the museum from individual artists and patrons.

In 1996, after a large amount of restoration work, a permanent exhibition was opened, featuring the art and culture of the historic Bukovyna region and the decorative arts of the region of the 17th-20th centuries.

In 2011, a large-scale restoration of the interior stained-glass windows was undertaken.

Museum building
The building of the Chernivtsi Art Museum is a unique architectural monument of national significance, built in the tradition of the Vienna Secession in the Art Nouveau style for the Bukovyna Savings Bank (1900) according to the project of the architect Hubert Gessner together with Prokop Šupich (1870–1947). Construction — together with Robert Vitek (Robert Vitek, 1871–1945). The exterior design and interiors of the building, made during its construction, have generally not undergone significant changes over time, and are now part of the sightseeing tour.

Exterior and Facade
On the main facade, there is a risalit with a balcony on consoles and a luxurious Majolica panel above the balcony, tentatively credited to artist Joseph Adolph Liang and signed "J. Lan[g])" at the bottom of the panel. The work features a complex polychrome composition on a mythological theme, and has been interpreted as representing a parallel between the Roman Empire and the Austro-Hungarian Empire at the time of Franz Joseph I. The images of 12 gods depict the 12 most important provinces of the empire, personifying its essence. On the panel, the gods are arranged in picturesque groups according to the main principle of Art Nouveau: dynamic balance instead of mirror symmetry.

Two female sculptures are installed on the roof above the eaves. At the level of the windows of the second floor, the building is decorated with a frieze in the form of picturesquely scattered leaves, formerly covered with gilding. The doors of the central entrance are forged metal with floral ornaments and horizontal inserts incorporating the image of bees. On the pylons on both sides of the door are sculptures of two eagles, which seem to be guarding the entrance to the building.

Interior
The building has an extremely expressive interior. The lobby of the first floor is decorated with six majestic columns. At the beginning of the grand staircase are two pylons ending with male and female busts on figured pedestals. A wide staircase framed by wrought iron bars with floral and ornithomorphic ornaments leads from the first to the second and third floors. The staircases between the floors are decorated with large stained-glass windows with plant motifs — images of bright flowers and green leaves.

On one of the stained-glass windows on the third floor, the ancient coat of arms of Bukovyna is inscribed in plant motifs (the head of the coat of arms on a blue-red field framed by three hexagonal stars).

In the center of the second-floor lobby are four columns and a trapezoidal marble fireplace decorated with wrought copper with floral ornamentation. The space of the second and third floors is united by an oval opening, decorated with a relief ornament and forged bars, identical to those on the stairs. The contours of this slot are repeated in the oval picturesque ceiling on the ceiling of the third floor. This large allegorical composition on canvas with images of female figures and putti is somewhat different from the rest of the decor, stylistically approaching academic art. Its performance is attributed to the Ukrainian-Bukovynian artist Mykola Ivasyuk (1865–1937).

The color scheme and ornamentation of the walls, together with the doors, the mosaic polychrome floor, and the harmonious combination of master forging, stained glass and sculpture, create the impression of a complete work of art, expressing the main idea of the Art Nouveau style.

Collection
The collection includes about 12,000 exhibits of the main and research and auxiliary funds.

The basis of the museum collection is Bukovynian art of the 17th–20th centuries.

The collection of icon painting of the 17th–20th centuries includes Bukovyna household images, icons on glass, valuable works of folk and professional icon painting.. Painters of the 18th-19th centuries, including German painter Eduard von Grützner and E. Buchevsky.

Current Status
During the museum's tenure, a significant number of exhibitions have been organized, and projects developed. Prior to February 2022, a series of annual openings were developed, including art actions and events for the enhancement of the cultural life of the city and the country.

The exhibition work of the Chernivtsi Art Museum is closely related to scientific and educational activities. Employees of the Chernivtsi Art Museum are the authors of numerous publications on art, including scientific publications, a number of catalogs and booklets about the work of Bukovyna artists.

These include


 * Tetyana Dugayeva, Iryna Mishchenko. Artists of Bukovyna. Encyclopedic reference book, volume 1. (1998)
 * Iryna Mishchenko. Eusebius of Lipetsk. Artist and personality. (2001)
 * Tatiana Dugaeva. Sculptor, doctor of medicine Opanas Shevchukevich. (2002)
 * Olena Guzhva. Augusta Kokhanovskaya. 1868–1927. Exhibition Catalogue. (2004)
 * I. Kitsul, V. Lyubkivska, O. Guzhva. Chernivetsk Art Museum. (2006)
 * I. Kitsul and V. Lyubkivska, text by O. Guzhva. Leon Kopelman. (2006)
 * I. F. Kitsul and P. B. Anikin. Semernia Oles Fedorovych. (2007)
 * V. Lyubkivska  Art museum of the beginning of the 21st century. and its role in shaping the modern cultural environment Materials of the international scientific and practical conference dedicated to the 20th anniversary of the Chernivtsi Regional Art Museum. (2008)
 * Tatiana Dugaeva. "Talents of Chernivtsi". 2008 [Archived 7 March 2021 at the Wayback Machine.]
 * Valentina Lyubkivska. Love Oak: Selected work. Catalogue (2009)
 * I. Kitsul, Larisa Kurushchak. Pilgrimage Icon "Holy City of Jerusalem" (restoration and research) (2010)

the Arts and Crafts Movement in Wales
Workmen at Hayes Pottery, Buckley, Wales (c. 1910)

The Arts and Crafts movement (c. 1880-1920), with its devotion to the local, gave spark to the development of conceptually independent and identifiable Welsh art. Two elements of the movement were particularly ammenable to the Welsh arts situation. First, the movement aspired to elevate the Applied Arts (pottery, architecture, furniture, etcetera) to the status of Fine Art. Second, the development of Romantic nationalism, which drew from the Arts and Crafts Movement via its "advocacy of indigenous design, traditional ways of making objects, and the use of local materials." In Wales, at least until World War I, a genuine craft tradition still existed. Local materials, stone or clay, continued to be used as a matter of course. Horace W. Elliot, an English gallerist, visited the Ewenny Pottery (which dated back to the 17th century) in 1885, to both find local pieces and encourage a style compatible with the movement. The pieces he brought back to London for the next twenty years revivified interest in Welsh pottery work. The heavy, salt glazes used for generations by local craftsmen had gone out of fashion, but the Arts and Crafts Movement brought new appreciation to their work. A key promoter of the Arts and Crafts movement in Wales was Owen Morgan Edwards. Edwards was a reforming politician dedicated to renewing Welsh pride by exposing its people to their own language and history. For Edwards, "There is nothing that Wales requires more than an education in the arts and crafts."--though Edwards was more inclined to resurrecting Welsh Nationalism than admiring glazes or rustic integrity.

In architecture, Clough Williams-Ellis sought to renew interest in ancient building, reviving "rammed earth" or pisé[1] construction in Britain.

Wood Island Park Train Station

Park Layout with trainline and Station at leftBoston, Massachusetts. East Boston Tunnel. Station under Old State House

1903 East Boston Harbor Tunnel

Through the Tunnel from East Boston

Wood Island Park

Wood Island Park was a 46-acre seaside park designed by Frederick Law Olmsted in East Boston, MA, and opened to the public in 1898.

It was taken by eminent domain in the 1960s to expand Logan International Airport, and leveled by Massport in 1969 to extend Runwa15R/33L.

Wood Island Park, ca 1900

Neptune Road, ca 1973

when the agency took control of a parcel of land at the northwest side of the expanding airfield, a parcel that included Frederick Law Olmsted's 46-acre Wood Island Park. Designed by Olmsted and opened in 1898, Wood Island Park was a mature, 46 acre park with an extensive slice of harbor waterfront, accessed by a tall parkway avenue of elm trees.

The park was a recreational area for a neighborhood with, "fewer park and recreation facilities than other neighborhood in the city." The decision was made for it to be "taken" in 1969 to make way for expansion of Runway 15R/33L at Logan. Outside of the park's main gateway on Neptune Road parkway, abutting residents, formerly, with the convenient park access, owners on the "most prestigious street in East Boston," found themselves bought out of their homes and forced to relocate. Public opposition came to a head following the morning of April 23rd, when Massport Head, Edward J. King sent an unannounced crew to start work. "It was like a military operation." a witness recalled. "They came in with 36 men with chainsaws and massacred 36 trees in five minutes." In the days that followed, residents lay down in the streets to block bulldozers and supply trucks from reaching the construction zone. "In one day Wood Island Park was graded to the level of the existing runway.".

Reaction

Reaction to this movement, as to the Pre-Raphaelites in England, has been mixed. It can be seen as overly sentimental or unrealistically, nostalgic, treating its subjects in a way "later associated with Hollywood costume dramas. To its proponents, the archaic details were regarded as a rallying cry for a new, localized nationalism, purged of classical (or neo-classical) and Roman influence. The small size of many of the canvases was considered a reference to Northern, primitive painting, devoid of Italian influence. To others, the small canvas sizes represent the artworks' insignificance and lack of vigor. All the brass, gilding, carving and inlaid historical detail of the headboards of the world could not redeam these objects from insignificance.

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Dorothy Miriam Cavalier Yanik (1928–2015)[1] was an American artist and arts educator, known for her printmaking, fiber arts, and painting. She taught at Carnegie Mellon University (CMU) in Pittsburgh.[2]

About Dorothy Miriam Cavalier was born on 3rd of February 1928 in Baltimore, Maryland.[1] In 1960, Yanik took private weaving lessons from Anni Albers.[3] She studied under Josef Albers at Yale University, and earned a B.F.A. degree in 1963.[4] In 1975, she received her M.F.A. degree from Hoffberger School of Painting at Maryland Institute College of Art (MICA).[5] She married architect and professor, John Yanik.[1] Yanik's work was included in a 2018 book Anni Albers[6] and the 2017 book On Weaving: New Expanded Edition[7] and in related 2018 art exhibition at the Tate museum.[8]

She taught at Philadelphia College of Art (1965–1967), Catholic University of America (1977–1978), Trinity Washington University (1973–1979), American University (1975–1982), and Arizona State University at Tempe (1982–1984).[4]

She died on the 27th of May 2015 at her home in Bethesda, Maryland.[1]

References "Obituary Yanik". Legacy.com. The Washington Post. May 30, 2015. Lewis, Jo Ann (1986-05-17). "Galleries". The Washington Post. "Anni Albers Teaching". Albers Foundation. 2012. Heller, Jules; Heller, Nancy G. (2013). "North American Women Artists of the Twentieth Century: A Biographical Dictionary". Routledge. p. 594. ISBN 9781135638825. Retrieved 2020-03-15. "Masters Thesis Collection, Yanik". MICA. Retrieved 2020-03-16. Coxon, Ann; Fer, Briony; Müller-Schareck, Maria (2018). Anni Albers. Yale University Press. ISBN 9780300237252. Albers, Anni; Fox Weber, Nicholas. On Weaving: New Expanded Edition. Princeton University Press. p. 253. ISBN 9780691177854. "Anni Albers, Large Print Guide". Tate. 2018.