Muzeul National Brukenthal

Sibiu, Romania

Muzeul National Brukenthal

Sibiu, Romania

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Nicolaescu A.,Muzeul National Brukenthal
Brukenthal. Acta Musei | Year: 2016

Through the present research we are trying to cover the epoch in which Astra and its periodic, as well as the models that it followed in its organization. Our endeavour was structured into two parts, in the first part we have shortly presented the historical appearance of "Maticas ", of the cultural societies of Saxons and Hungarians from Transylvania and of the magazines supported by them, then the appearance of the Association and its press representative. Also, we have enumerated the political newspapers that were found in Transylvania in order to make an idea of the magazine landscape of the period in which Transylvania appeared. In the second part I underlined where it was sent for cultural exchanges, but also from where did the Association get cultural materials, this information being highly underlined in the periodic pages. Our study is based on a diverse bibliography but also on archived sources, and through its usage we tried to underline the way in which Transylvania magazine was or not influenced by the other periodicals of the cultural societies from the Austro-Hungarian Empire.


This article refers to one set of paper currency from the category of necessity money issued by the German town Rathenow which can be found in the money collection of the Brukenthal National Museum -the History Museum " Altemberger House" in Sibiu.


Mitrea I.,Muzeul National Brukenthal | Orian T.-D.,Lucian Blaga University
Brukenthal. Acta Musei | Year: 2016

The work "In Front of the Samovar", by the Transylvanian painter Arthur Coulin was painted in 1898 and is part of the "Brukenthal" National Museum's collection since January 26, 2013. The painting was donated by Mrs. Johanna Coulin Dubus from Germany, a descendant of the painter. The selection of the piece was made based on its problematics, thus the restoration is perfectly justified and also necessary in order to restore the aesthetic value of the painting. The piece presented problems with the pictorial surface as well as with the support, as the canvas was ruptured, cut and had lost its flatness. The painting was also damaged by previous, inadequate restoration works.


Muntean I.,Muzeul National Brukenthal
Brukenthal. Acta Musei | Year: 2016

The old paintings, by Pierre Auguste Bellet, who were decorating the Union Hall of Alba Iulia were partially destroyed during the communist period. Nowadays, when the country is preparing for the centenary of the Great Union, the pieces of the original painting have been recovered, and they entered into a process of restoration. Based on a serious documentation and teamwork, we were able to restore this painting.


Natea G.V.,Muzeul National Brukenthal | Palaghie V.,Muzeul National Brukenthal | Luca S.A.,Lucian Blaga University
Brukenthal. Acta Musei | Year: 2013

In this study are presented the fibulae which were discovered the fortified settlement from Miercurea Sibiului IV, in Sibiu county, Romania. In this settlement, were discovered seven fibulae dating from the second half of the 2nd century B.C to the first half of the 1st century B.C. According to the typology conducted by the archaeologist A. Rustoiu, the pieces match the following types of fibulae: 2a, 6a, and 7a.


Pascu I.-M.,Muzeul National Brukenthal | Sonoc A.G.,Muzeul National Brukenthal
Brukenthal. Acta Musei | Year: 2014

The restored item, of a particular documentary importance, is the sketch of the project for the main altar for St. Michael's Cathedral in Alba Iulia. The conservation status of the document before restoration and the treatments applied by the restorer are presented in detail in this work.


Ordeanu M.,Muzeul National Brukenthal
Brukenthal. Acta Musei | Year: 2014

This study brings new data to the research of an album of prints reproducing paintings by Italian masters, published by Gavin Hamilton in 1773 and shortly afterwards acquired by baron Samuel von Brukenthal. A concise catalogue of these engravings was made in the 20th century, with some errors, which are being corrected now; the engravings were described separately, as loose leaves, in alphabetical order, being grouped according to the name of the engraver. This study includes the reconstruction of the original album, as established by the publisher, and observed as well in the second manuscript inventory of the Brukenthal's collection. The study reveals the importance of this publication, much appreciated by connoisseurs and art lovers of the age of Enlightenment.


Sonoc A.G.,Muzeul National Brukenthal | Muntean I.,Muzeul National Brukenthal
Brukenthal. Acta Musei | Year: 2014

As consequence of the restoration of the painting 'The paradise' by Michael Willmann, new compositional elements were discovered. The surface of the preserved painting represents ca. 35% of the original work, which was painted in 1668, most likely for the Cistercian monastery in Grüssau (Krzeszów, Poland).


This article sums up German banknotes issued between 1906-1918 and 1923, a time during which the hyperinflation left Germany in financial chaos*. The banknotes are presented chronologically, starting with 1906 and up to 1918 and then it is continued with the ones issued by the German Railways from 1923.


Ordeanu M.,Muzeul National Brukenthal
Brukenthal. Acta Musei | Year: 2013

This study examines a portrait of King Philip IV of Spain (1605-1665) starting from the analysis of an engraving preserved in the collection of the Brukenthal National Museum, acquired in 1834 from the painter Franz Neuhauser (1763-1836). The engraving has been attributed to an unknown Flemish engraver, after a painting by Rubens. The study of the archival documents and literature lead to the identification of the author of the engraving and comments the relationships between the portrait engraved by the Italian Cosimo Mogalli (1667-1730) and the portrait painted in the workshop of the Spanish painter Diego Velázquez (1599-1660), which is a partial copy of a portrait painted by the Flemish painter Peter Paul Rubens (1577-1640). The study reveals the context in which this portrait was created in 1628 and the significance of the copy made in 1645. The author makes a further contribution to the analysis of Cosimo Mogalli's engraving, a lesser-known engraver and reveals its role in the translation into engraving of the paintings from Medici collection.

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