Are Studio Reconstructions in Museums "Dead"? Exploring the Paolozzi Studio in Edinburgh.

dc.rights.license	CC-BY-NC-ND
dc.contributor.advisor	Kisters, Dr. Sandra
dc.contributor.advisor	Boersma, Dr. Linda
dc.contributor.author	Campbell, M.B.J.
dc.date.accessioned	2015-03-17T18:00:31Z
dc.date.available	2015-03-17T18:00:31Z
dc.date.issued	2015
dc.identifier.uri	https://studenttheses.uu.nl/handle/20.500.12932/19541
dc.description.abstract	Painting was proclaimed as dead by the artist Paul Delaroche in 1839 following the invention of photography. The artist's studio was subseqauently described as "extinct" by the artist Daniel Buren in the 1970's. Will artist studio reconstructions such as that of Brancusi in Paris and Bacon in Dublin suffer the same judgment or will they continue to serve a purpose in creative and museale practice? The case of the reconstructed studio of Sir Eduardo Paolozzi (1924-2004) at the Scottish National Gallery of Modern Art is considered in detail to help answer this research question.
dc.description.sponsorship	Utrecht University
dc.format.extent	9672015
dc.format.mimetype	application/pdf
dc.language.iso	en
dc.title	Are Studio Reconstructions in Museums "Dead"? Exploring the Paolozzi Studio in Edinburgh.
dc.type.content	Bachelor Thesis
dc.rights.accessrights	Open Access
dc.subject.keywords	atelier, studio reconstructions, museum, Paolozzi, Brancusi, Bacon
dc.subject.courseuu	Kunstgeschiedenis