Beginning with the last decades of the 20th century it has been an unprecedented tendency to create outposts of big museums abroad. The opening of the Hermitage-Guggenheim Exhibition Centre in Las Vegas and the decision of creating a filial branch of the Louvre in Abu-Dhabi in 2012 can serve as an illustrative example of this phenomenon.
The purpose of the present Master Thesis is to show that despite political, economic and linguistic diversities that exist between the Netherlands and Russia, strong cultural ties and cross-cultural dialogues have remained since the 18th century and are
flourishing nowadays. I will demonstrate what has been done in practice in order to strengthen international cross-cultural bonds and to introduce foreign cultural heritage abroad in particular.
The aim of the Master Thesis is to study the examples of museum models in the 21st century illustrated by the case study of the Hermitage Amsterdam Complex and the Guggenheim Bilbao Museum “satellite” museums. Taking into account the importance
and special significance of the latter, the choice of that particular case study seems rational and illustrative. I will present the motives and goals of “expansion” tendencies
of large art museums in the Netherlands and in Spain. I will elaborate on difference in motives beyond the opening of museums’ outposts by Russian and by American museums in the European Union. What are the crucial steps the museum authorities
tend to undertake in order to safeguard and promote the art Europe-wide?
I will point out how art mobility is connected to the present area of globalization. In my Master Thesis I will explore the following question: “Can the creation of museum “satellites” abroad be seen as the future model of museums’ development?”
In order to address this question the present paper is structured around four chapters. In the beginning of the Master Thesis I explore the notion of European museum and important features of Russian and Dutch cultural policies. Further on, I narrow down
my research of art mobility by using the case of museum “satellites” created by the Hermitage and Guggenheim networks. Finally, I describe main principles of museum
expansion under the challenges of modern times in order to identify possible museum models.
Table of Contents
Introduction
Master Thesis Outline
Chapter One
1.1 Dutch cultural memory in St. Petersburg and reception of European cultural traditions in St. Petersburg
1.2 History of Dutch art collecting tradition in the Hermitage
1.3 Dutch art collecting practices in the 20th century
Conclusion
Chapter Two
2.1 Development of the museum phenomenon as a forum of knowledge
2.2 Overview of the cultural policies in post-Soviet Russia
2.3. Overview of the cultural policies in the Netherlands
2.4 Dutch – Russian mutual cultural projects
Conclusion
Chapter Three
3.1 Cross-cultural transfers and new types of collection exchange
3.2 The “Hermitage Amsterdam” Exhibition Centre
3.3 The Guggenheim Museum Bilbao
Conclusion
Chapter Four
4.1 Mission and modern concepts of art museums in the 21st century
4.2 Museum network as a possible model of museums development in the 21st century: the “Bilbao effect”
4.3 The Hermitage Museum in the 21st century and the motives for the restoration of the Rijksmuseum Amsterdam
4.4 Digitalization of art collections in the context of globalization and hybrid cultural expressions
Conclusion
Objectives and Themes
The primary objective of this thesis is to examine the emergence of museum "satellites" or outposts as a potential future model for museum development in the 21st century. It investigates how large art institutions, such as the Hermitage and the Guggenheim, facilitate cultural exchange, strengthen international bonds, and address the challenges of globalization through the expansion of their networks. The research aims to answer whether the establishment of these international branches serves as a viable, sustainable framework for modern museum management and cultural diplomacy.
- Evolution of the art museum phenomenon and its missions in the modern era.
- Comparative analysis of museum policies and cultural cooperation between Russia and the Netherlands.
- Case studies on the "satellite" models of the Hermitage Amsterdam and the Guggenheim Museum Bilbao.
- The impact of digitalization, globalization, and cross-cultural transfers on museum strategies.
- Role of corporate patronage and public-private partnerships in supporting international museum projects.
Excerpt from the Book
1.1. Dutch cultural memory in St. Petersburg and reception of European cultural traditions in St. Petersburg
The beginning of the 21st century has witnessed a great interest by Russian people in reconsidering their rich cultural traditions and in rediscovering their cultural heritage. The isolation of national history during the Soviet epoch showed that the country’s history cannot be regarded without in-depth consideration of the cultural channels circulating between Western and Central Europe and Russia. “Cultural expansion” of the Russian art and the country’s exposure to the world in 1991 after the final collapse of the Soviet Union has witnessed a great number of cross-cultural exchanges and has contributed to a considerable improvement in scholarly exchanges. In their turn, Western specialists, who had devoted their work to other fields than Russian history, began to show an interest to Russia as they realized its importance for European history.
First of all, it seems necessary to define the term “cultural memory” in order to begin the discussion. According to Jan Assmann, “cultural memory is characterized by its distance from the everyday […] (transcendence). Cultural memory has its fixed point; its horizon does not change with the passing of time. These fixed points are fateful events of the past, whose memory is maintained through cultural formation (texts, rites, monuments) and institutional communication (recitation, practice, observance)”. In turn, most historians understand “collective memories” as “collectively shared representations of the past”. “Collective memories originate from shared communications about the meaning of the past that are anchored in the life-worlds of individual who partake in the communal life of the respective collective. Wulf Kansteiner marks: “As such, collective memories are based in a society and its inventory of signs and symbols”. Memory seems to reside not in perceiving consciousness but “in the material”: in the practices and institutions of social and psychic life, which function within us, but, strangely, do not seem to require either our participation or our explicit allegiance”.
Summary of Chapters
Chapter One: This chapter examines the historical significance of Dutch cultural memory and the adoption of European traditions in St. Petersburg, particularly through the collecting efforts of the Romanovs and private patrons.
Chapter Two: This chapter provides an overview of museum policies in post-Soviet Russia and the Netherlands, highlighting historical differences and the development of mutual cultural projects.
Chapter Three: This chapter analyzes the trend of cross-cultural transfers through "satellite" museum models, using the Hermitage Amsterdam and the Guggenheim Bilbao as primary case studies.
Chapter Four: This chapter explores modern concepts of art museums, the role of museum networks, and the impact of digitalization and globalization on the evolution of museum strategies in the 21st century.
Keywords
Museum studies, cultural policy, art mobility, Hermitage Museum, Guggenheim Museum, cultural heritage, cross-cultural dialogue, museum networks, globalization, cultural patronage, St. Petersburg, Amsterdam, Bilbao, collection exchange, digital museum
Frequently Asked Questions
What is the core focus of this master thesis?
The thesis explores the phenomenon of international museum expansion, specifically examining whether the creation of "satellite" museum branches abroad represents a sustainable future model for museum development.
Which museums are the central focus of the case studies?
The research primarily utilizes the Hermitage Amsterdam and the Guggenheim Museum Bilbao to demonstrate different paradigms of museum networking and international collaboration.
What is the primary research question being addressed?
The research seeks to answer: "Can the creation of museum ‘satellites’ abroad be seen as the future model of museums’ development?"
What research methods were employed?
The study relies on qualitative research, including literature analysis of primary and secondary sources, as well as semi-structured expert interviews with museum officials and curators.
What themes are covered in the main body of the work?
The work covers the evolution of museum concepts, the historical context of Dutch-Russian cultural relations, modern cultural policies in Russia and the Netherlands, and the impact of globalization on art institutions.
Which keywords best characterize this research?
Key terms include museum studies, art mobility, cultural policy, satellite museums, cross-cultural dialogue, and globalization.
How does the "Bilbao effect" influence museum strategy?
The "Bilbao effect" refers to the transformative impact of the Guggenheim Museum Bilbao on urban regeneration, which has inspired other cities to use iconic museum architecture to boost their local economies and international reputation.
Why did the Hermitage seek international outposts?
The Hermitage initiated international outposts partly to address the need for additional revenue for building maintenance, to increase public accessibility to its vast collections, and to foster broader cultural and scientific cooperation.
- Arbeit zitieren
- M.A. Arts Nadia Ptashchenko (Autor:in), 2009, Art Mobility between Museums in Europe, München, GRIN Verlag, https://www.hausarbeiten.de/document/129681
