All Things Visual: The University of Chicago Visual Resources Center

 The Balboa Park Online Commons features more than 20,000 images of unique materials from 7 San Diego museums: the Mingei International Museum, the Museum of Photographic Arts, the San Diego Air and Space Museum, the San Diego Museum of Art, the San Diego Museum of Man, the San Diego Natural History Museum, and the Timken Museum of Art.

This unified digital collection allows users to keyword search to retrieve results across institutions or to browse by museum, “featured sets” (thematic groupings of objects), or by user sets. Users can create their own set or collection of objects by creating an account on the website, and there is also a feature to download a PDF of the object record.

For more information, check out the Balboa Park Online Commons.

Via PetaPixel

Just in time for this great weather, Curbed Chicago and the Chicago Public Art Group have created a Google Map identifying great examples of public art underneath Chicago’s overpasses. The map includes several murals that are in Hyde Park, so happy exploring!

For more information about public art resources, see our post about the Public Art Archive.

Via Curbed

In 2009, the Tate published The Tate Guide to Modern Art Terms and followed it with an iPad and iPhone app released in March 2012. The app defines more than 300 terms pertaining to modern art themes, movements, media, and art practices, and many definitions are illustrated with artwork examples.

The app interface allows users to search for terms or browse by image gallery or category. Users can also create a list of “favorite” art terms.

To learn more about the Tate Guide to Modern Art Terms, check out the iTunes App Store, the Tate, or visit the VRC to try it on our iPad. You can also browse the physical copy in the Regenstein reference section.

With the conclusion of an eight-year long research project, Vincent van Gogh has been in the news quite a bit recently. In 2005, the van Gogh museum teamed up with Shell and the Netherland’s Cultural Heritage Agency to research the materials, tools, techniques, and working processes of the artist. The website for the research project, Van Gogh’s Studio Practice, describes contains blog posts about how the researchers approached their work and describes the aims of their research. The results of the project were not earth-shattering, but the small surprises they discovered do deepen our understanding of van Gogh’s works and his psyche. The most talked about new discovery is the fact that The Bedroom was originally painted with violet walls, but since the red pigment of the paint faded, we know the work as having blue walls.

The new exhibition at the van Gogh Museum benefits from results of this lengthy research project, and is called Van Gogh at Work (May 1, 2013–January 12, 2014). The show will contain 200 works by van Gogh as well as some contemporary artists, as well as archival materials such as letters, sketchbooks, and the artist’s palette and paint tubes. The show will also include a digital re-creation of The Bedroom to show how it would have looked with the original violet walls.

The Van Gogh Museum also has a web portal for van Gogh’s letters (written and received) that contains facsimiles, transcriptions, and detailed object information of some 900 letters and 25 miscellaneous loose sheets or drafts. You can browse the collection by period, correspondent, place, or limit your results to letters that contain sketches. Simple and advanced search features are also available. The website also contains a wealth of contextual essays, biographical information, and research tools including the publication history of van Gogh’s letters, a chronology, and detailed bibliographies of the individual letters. A few years ago, the Van Gogh Museum in Amsterdam released an app called Yours, Vincent: The Letters of Vincent Van Gogh, which contains digitized versions of van Gogh’s letters, sketches, and paintings as well as audio and video contextual clips.

Via ArtNews and the New York Times. For more information about van Gogh’s archival presence, visit Vincent van Gogh, The Letters or the Yours, Vincent app. You can always stop by the VRC to check it out, too!

Image: Vincent van Gogh. Self-portrait with a Straw Hat (verso: The Potato Peeler), probably 1887. The Metropolitan Museum of Art, 67.187.70a. Image © The Metropolitan Museum of Art.

ARTstor recently added a feature to save searches within the  ARTstor Digital Library. The theory behind this feature is that with ARTstor’s growing collections of content, it’s highly likely that additional results for your search parameters will become available in the future. By saving your search, you can quickly get an updated pool of results when you run it again.

In order to use this feature, you must be logged into your ARTstor account.  For more information on creating an ARTstor account, click here. ARTstor describes how to save your searches:

After you perform a search, you will see an option to Save this search in the upper right of the thumbnail page of search results. Click on it, then click Save and enter a name for your saved search. You can save up to 30 searches.

To run a saved search record, click My saved searches near the search box on the front page of the Digital Library or on a search results page.

Done with a particular saved search? To delete it, click on My saved searches, then click on the X next to the search you want to delete. You’ll see a prompt asking if you want to delete it; click Yes and you’re finished.

Via ARTstor Blog

The Art of the Sublime is a research module that explores the concept of the sublime during several artistic movements, including the Baroque, the Romantic, the Victorian, and the modern. The project contains essays and case studies, illustrated by works of art from the Tate’s collection as well as literary examples. More about the project:

In 2008 Tate initiated a project to explore the history and current relevance of the sublime, particularly as reflected in Tate’s collection of historic and modern works of art. Supported by the Arts and Humanities Research Council, the project embraced a range of activities and outputs, including an exhibition and display at Tate Britain, conferences and specially made films.

To explore the project, visit the Art of the Sublime.

The Pitt Rivers Museum at the University of Oxford has recently released Reel to Real, a digital collection pertaining to sound and video from ethnomusicology research. “The content of the recordings ranges from spirits singing in the rainforests of the Central African Republic to children’s songs and games in playgrounds throughout Europe.”

The website features playlists of curated material along with archival photographs taken at the same time the recordings were made.

To learn more, explore the Reel to Real collection.

Maya painters used a blue paint that proved to be very durable—its hue remains vivid today—on murals, ceramics, and in their codices and manuscripts. While the ingredients of the blue paint have been known for years, scientists in Spain recently discovered that the method of preparation “cooked” the mixture of pigments and clay to stabilize the paint.

Scientists have long known the two chief ingredients of the intense blue pigment: indigo, a plant dye that’s used today to color denim; and palygorskite, a type of clay. But how the Maya cooked up the unfading paint remained a mystery. Now Spanish researchers report that they found traces of another pigment in Maya Blue, which they say gives clues about how the color was made.

“We detected a second pigment in the samples, dehydroindigo, which must have formed through oxidation of the indigo when it underwent exposure to the heat that is required to prepare Maya Blue,” Antonio Doménech, a researcher from the University of Valencia, said in a statement.

The VRC is often adding new groups Mayan and Mesoamerican images to our LUNA database, so be sure to check it out our resources for murals, pottery, and more!

Via A Blog About History and LiveScience.

Image credit: Bonampak Murals. Copy. 692. Harvard University. Peabody Museum. ©Kathleen Cohen. Copy by Antonio Teleda in 1948.

The James McNeill Whistler collection (1863–1906, ca. 1940) at the Smithsonian Institution’s Archives of American Art is now available online, having been digitized in its entirety in 2012.

The 307 images online include various documents pertaining to the career of Whistler, who was born in the US but worked in London. There are:

39 items from Whistler to various recipients, including 25 letters, 9 telegraphs, 3 invitations, one thank you card and a postcard. The collection also contains 4 letters from others, 7 catalogs of Whistler exhibitions, a note from the back of Whistler’s painting The Beach at Selsey Bill, and a 1906 copy of Wilde v. Whistler: being an acromonious correspondence on art between Oscar Wilde and James A. McNeill Whistler, a pamphlet containing letters originally published in London newspapers between 1885 and 1890.

Several of the items in the collection are signed with Whistler’s butterfly mark. To view digital images from the archive, or to find out more, visit the James McNeill Whistler Collection.

Image source: James McNeill Whistler collection, 1863-1906, circa 1940. Archives of American Art, Smithsonian Institution.

Princeton University’s Index of Christian Art recently added a new collection to its Additional Resources section, an image collection called “The Lois Drewer Calendar of Saints in Byzantine Manuscripts and Frescos.”

This collection joins 12 others that include a variety of topics and media, including manuscripts, decorative arts, and paintings.

For more information, visit the Index of Christian Art and their Additional Resources.