Procès-verbal de la première séance du Jury des arts : nommé par la Convention nationale, et assemblé dans une des salles du Museum, en vertu des décrets des 9 et 25 jours de brumaire, an II de la république française une et indivisible, pour juger les ouvrages de peinture, sculpture et architecture mis au concours pour obtenir le prix.

Final leaf blank.

[Codificación, ¿es mas conveniente establecer un código general, ó deberián hacerse por leyes sueltas las alteraciones...] : Discurso pronunciado ante el claustro de la Universidad Central en el acto solemne de recibir la investidura de Doctor /

Tesis de la Universidad Central (Madrid), Facultad de Derecho, leída el 25-06-1868.

¿Qué ley sigue la emisión de los billetes al portador en los bancos de circulación? ¿Es necesario que la fige (sic) el gobierno? : discurso leído en la Universidad Central ... en el solemne acto de recibir la investidura de Doctor en dicha Facultad y su sección de Derecho Administrativo /

Tesis de la Universidad Central (Madrid), Facultad de Derecho, leída el 25-06-1863.

The Magazine of art.

Published in London by La Belle Savage: July 1904.

Kunstsammlung bestehend aus Kupferstichen, Radierungen, Original-Handzeichnungen, colorirten Blättern in Wasser- und Deckfarben, seltenen und kostbaren Kunstwerken aus der Verlassenschaft Sr. Durchl. des Herrn Fürsten Carl zu Schwarzenberg ... : deren öffentliche Versteigerung Mittwochs den 25. October 1826 ... im rothen Collegio zu Leipzig statt finden soll.

The auction was probably conducted by J.A.G. Weigel.

The new Werner twentieth century edition of the Encyclopaedia Britannica a standard work of reference in art, literature, science, history, geography, commerce, biography, discovery and invention.

Vol. 30: Index.

Collection des mémoires sur l'art dramatique,

Vols. 1, 6, 8, 10 dated 1823; v. 2, 4, 11-14: 1822; v. 9: 1824; v. 3, 5: 1825.

Bulletin des commissions royales d'art et d'archéologie.

Contains a résumé of the proceedings of the "Commission royale des monuments," the "Commission du Musée royal de peinture et de sculpture," and the "Commission du Musée royal d'antiquités, d'armures et d'artillerie," and also other articles and notices concerning the art and archaeology of Belgium.

L'art de jouer et de gagner au jeu des échees rendu simple, facile, et mie à la portée de tout le mond au moyen de tableaux synoptiques, d'après les documens fournis par M. B***, habitué du Cafè de la Regence.

In folder, 25 cm.

Static and Dynamic Integrated Expert Systems: State of the Art, Problems and Trends

Systemized analysis of trends towards integration and hybridization in contemporary expert systems is conducted, and a particular class of applied expert systems, integrated expert systems, is considered. For this purpose, terminology, classification, and models, proposed by the author, are employed. As examples of integrated expert systems, Russian systems designed in this field and available to the majority of specialists are analyzed.

Miami Art Show, June 1, 1974

Dahlia Morgan with Charles Perry. In the late 1970s, FIU had an enrollment of less than 5,000 and two buildings made up the entire campus. Adjunct professor, at the time, Dahlia Morgan was asked to take over the art museum, which was then called the Visual Arts Gallery. During her long career with Florida International University, Dahlia Morgan transformed a modest student gallery on the Miami campus into an internationally celebrated art museum. In 1980, after teaching for five years in the visual arts department she accepted the directorship of the university’s Patricia & Phillip Frost Art Museum (formerly the Art Museum at FIU). As director and curator, Morgan instituted a lecture series, increased the frequency of exhibitions and developed numerous other programs including a student internship program. The Steven and Dorothea Green Critics’ Lecture Series was started by Morgan in 1981 and has now organized, hosted and presented over 100 lectures by internationally renowned artists, critics and scholars who include Pierre Rosenberg, former Director of the Louvre; Hilton Kramer, Art Critic; Helen Frankenthaler, American artist; and Michael Graves, architect and designer. In 1985 Morgan started the exhibition series “American Art Today,” which featured an annual examination of a specific subject or concept in American Art. Morgan curated and organized over 200 exhibitions during her directorship. Under Morgan, the Frost Art Museum grew to achieve local, national and international recognition as one of South Florida’s key cultural institutions. In 1999 the museum received accreditation from the American Association of Museums and in 2001 became an affiliate of the Smithsonian Institution. With the turn of the 21st Century the initiative to build a new facility took shape and in 2008, the new 46,000 square foot Patricia and Phillip Frost Art Museum opened to the public. Morgan is a four time National Endowment for the Arts Grants Panelist and member of the Art Basel Miami, Host Committee. She is listed in “Who’s Who in American Art” and in “Who’s Who of American Women.” Morgan’s largest accomplishment was seeing the completion of the 45,000 square foot Frost Art Museum built across from the Wertheim Performing Arts Center. Morgan’s fund raising techniques helped her raise over $12 million for its development. For 25 years, Morgan has served as director of FIU’s Frost Art Museum.

Miami Art Show, June 1, 1974

In the late 1970s, FIU had an enrollment of less than 5,000 and two buildings made up the entire campus. Adjunct professor, at the time, Dahlia Morgan was asked to take over the art museum, which was then called the Visual Arts Gallery. During her long career with Florida International University, Dahlia Morgan transformed a modest student gallery on the Miami campus into an internationally celebrated art museum. In 1980, after teaching for five years in the visual arts department she accepted the directorship of the university’s Patricia & Phillip Frost Art Museum (formerly the Art Museum at FIU). As director and curator, Morgan instituted a lecture series, increased the frequency of exhibitions and developed numerous other programs including a student internship program. The Steven and Dorothea Green Critics’ Lecture Series was started by Morgan in 1981 and has now organized, hosted and presented over 100 lectures by internationally renowned artists, critics and scholars who include Pierre Rosenberg, former Director of the Louvre; Hilton Kramer, Art Critic; Helen Frankenthaler, American artist; and Michael Graves, architect and designer. In 1985 Morgan started the exhibition series “American Art Today,” which featured an annual examination of a specific subject or concept in American Art. Morgan curated and organized over 200 exhibitions during her directorship. Under Morgan, the Frost Art Museum grew to achieve local, national and international recognition as one of South Florida’s key cultural institutions. In 1999 the museum received accreditation from the American Association of Museums and in 2001 became an affiliate of the Smithsonian Institution. With the turn of the 21st Century the initiative to build a new facility took shape and in 2008, the new 46,000 square foot Patricia and Phillip Frost Art Museum opened to the public. Morgan is a four time National Endowment for the Arts Grants Panelist and member of the Art Basel Miami, Host Committee. She is listed in “Who’s Who in American Art” and in “Who’s Who of American Women.” Morgan’s largest accomplishment was seeing the completion of the 45,000 square foot Frost Art Museum built across from the Wertheim Performing Arts Center. Morgan’s fund raising techniques helped her raise over $12 million for its development. For 25 years, Morgan has served as director of FIU’s Frost Art Museum.

Miami Art Show, June 1, 1974

In the late 1970s, FIU had an enrollment of less than 5,000 and two buildings made up the entire campus. Adjunct professor, at the time, Dahlia Morgan was asked to take over the art museum, which was then called the Visual Arts Gallery. During her long career with Florida International University, Dahlia Morgan transformed a modest student gallery on the Miami campus into an internationally celebrated art museum. In 1980, after teaching for five years in the visual arts department she accepted the directorship of the university’s Patricia & Phillip Frost Art Museum (formerly the Art Museum at FIU). As director and curator, Morgan instituted a lecture series, increased the frequency of exhibitions and developed numerous other programs including a student internship program. The Steven and Dorothea Green Critics’ Lecture Series was started by Morgan in 1981 and has now organized, hosted and presented over 100 lectures by internationally renowned artists, critics and scholars who include Pierre Rosenberg, former Director of the Louvre; Hilton Kramer, Art Critic; Helen Frankenthaler, American artist; and Michael Graves, architect and designer. In 1985 Morgan started the exhibition series “American Art Today,” which featured an annual examination of a specific subject or concept in American Art. Morgan curated and organized over 200 exhibitions during her directorship. Under Morgan, the Frost Art Museum grew to achieve local, national and international recognition as one of South Florida’s key cultural institutions. In 1999 the museum received accreditation from the American Association of Museums and in 2001 became an affiliate of the Smithsonian Institution. With the turn of the 21st Century the initiative to build a new facility took shape and in 2008, the new 46,000 square foot Patricia and Phillip Frost Art Museum opened to the public. Morgan is a four time National Endowment for the Arts Grants Panelist and member of the Art Basel Miami, Host Committee. She is listed in “Who’s Who in American Art” and in “Who’s Who of American Women.” Morgan’s largest accomplishment was seeing the completion of the 45,000 square foot Frost Art Museum built across from the Wertheim Performing Arts Center. Morgan’s fund raising techniques helped her raise over $12 million for its development. For 25 years, Morgan has served as director of FIU’s Frost Art Museum.

Imitating art – estratégia inovadora de educação médica: identificando desafios e possibilidades

Este estudo de caráter qualitativo, com base em metodologia pesquisa – ação, procurou descrever características funcionais da estratégia de ensino „Imitating Art”, construída com base em métodos de dramatização, solução de problemas e tempestade cerebral e alicerçada no processo de ensino de arte do conhecer, apreciar e fazer arte. Participaram da pesquisa 96 alunos do ensino em saúde com idade média de 21 anos. Com o objetivo de desenhar as características funcionais da estratégia, a mesma foi planejada, descrita, modificada e avaliada em 4 etapas: experimentação, metodização, adequação e replicação. Cada etapa foi verificada a partir de avaliação observacional pelos docentes envolvidos e análise de conteúdo sobre as respostas dos alunos participantes, em instrumento de avaliação próprio. Da fase experimental participaram 14 alunos dos quais 100 % aprovaram a estratégia. A análise de conteúdo mostrou Identificação de ferramentas cognitivas e afetivas (30,6%), características da atividade (22,2%), e mediação de trabalho em grupo (16,7%). A observação identificou ativo trabalho atitudinal em uma dinâmica de grupo criativa. Na fase de metodização participaram 31 alunos, dos quais 96,9% aprovaram a estratégia. Na análise de conteúdo, as ideias mais presentes foram, dificuldades encontradas pelos participantes (28%), identificação de ferramentas cognitivas e afetivas (17,6%), Implicação da estratégia no cotidiano profissional (13,2%) e mediação do trabalho em grupo (13,2%). Na fase de Adequação, participaram 32 alunos, dos quais 90,7% demonstraram aprovação da estratégia. A avaliação dos participantes evidenciou como mais importante a mediação do trabalho em grupo (29,6%), identificação de ferramentas cognitivas e afetivas (21,3%) e características da atividade (19,7%). A fase de replicação teve 19 alunos, dos quais 100% aprovaram a estratégia e cuja avaliação demonstrou principalmente dificuldades encontradas pelo participante (27,8%), mediação do trabalho em grupo (25%) e Habilidade criativa da atividade (22,2%). A avaliação bidimensional mostrou que se constitui como uma estratégia de abordagem ativa e colaborativa, podendo ser usada como instrumento linear de diagnóstico e incremento de competências atitudinais tais como criatividade e trabalho em grupo.