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The author examines a large pictorial cycle of Saint Teresa of Ávila; a cycle that was commissioned by Luis Guillén de Moncada, VII Duke of Montalto and Cardinal Co-protector of Spain, and in which Spanish, Italian and Flemish painters participated. Se da a conocer un largo ciclo pictórico consagrado a la figura de santa Teresa y comisionado por Luis Guillén de Moncada, VII duque de Montalto y cardenal coprotector de España, a artistas españoles, italianos y flamencos.

This article offers a theoretical review of the origin of the concept of restoration in Brandi's view, proposing a critique centered on architectural restoration. Brandi's theoretical trajectory is outlined in his approach to the discernment of art in general and architecture in particular, centered around his Teoria del restauro (1963b). Through phenomenology, Brandi deduced the essence of the artistic phenomenon without including in restoration other human realities that are integrated into the architecture´s existence. His approach was phenomenological in method and ontological in its objectives. The fact that architecture constitutes an important part of human place and its artistic condition, nevertheless broadens the question of what constitutes this human habitable space and which constructions should be conserved.

This study examines the formation of brand loyalty and disloyalty behaviours among consumers of short life-cycle technology products. Today, the life cycle of technology products have become shortened due to rapid pace of innovation leading to introduction of new and innovative products at shortened intervals. Such technological changes create a dynamic market, induce uncertainties among the consumers in the usage leading to stress and anxiety and development of coping strategies to deal with such situations. This study attempts at an understanding of the formation of brand loyalty and brand disloyalty behaviours from the consumer’s lived consumption experiences. The importance of loyalty and disloyalty have long been recognized in marketing, by academic and practitioners alike and assumes even more salience in today’s highly dynamic and competitive market environment. This study adopts the qualitative approach based on a constructivist and interpretive perspective using narrative strategy of inquiry through semi-structured and open-ended interviews to bring forth the experiences and meanings emanating from the consumption narratives. A theoretical framework was developed and employed to aid in the analysis of the empirical data. Based on the lines of the theoretical framework, three different phases of consumption, pre-adoption, adoption and post-adoption were examined which brought forth rich details of consumption experiences and outcomes during each consumption phase. This study interestingly finds consumers to be more brand loyal than disloyal. This supports a school of thought which endorses the existence of brand loyalty and contradicts another school of thought which profess the decline of brand loyalty. The study also reveals the factors which cause brand loyalty, brand disloyalty, divided brand loyalty and no brand loyalty tendencies in the context of short life-cycle technology products providing insights to both practitioners and academics. And more interestingly, this study finds short life-cycle products influencing the brand disloyalty and divided brand loyalty tendencies significantly, if not most significantly. This is important in view of today’s highly changed, dynamic and competitive marketplace and in the context of short life-cycle technology products. Tiivistelmä Tutkimuksessa tarkastellaan brändilojaaliuden ja -epälojaaliuden kehittymistä teknologiaintensiivisten kuluttajatuotteiden käyttäjien keskuudessa. Sellaisten tuotteiden käyttöikä on lyhentynyt uusien tuoteinnovaatioiden ja -ratkaisujen tullessa markkinoille yhä nopeammalla tahdilla. Teknologiamuutokset johtavat dynaamisiin markkinoihin ja samalla kuluttajien huoli ja pyrkimykset hoitaa tuotteiden valinta- ja käyttötilanteita kasvavat. Tutkimuksessa pyritään ymmärtämään ja tulkitsemaan brändilojaaliuden ja -epälojaaliuden muodostumiseen liittyviä tekijöitä. Se on yhä tärkeämpää paitsi tutkijoille, myös liiketoiminnan harjoittajille. Tutkimukseen otetaan konstruktiivinen mutta tulkitseva ote, perustuen kuluttajien kertomiin kokemuksiin, joita kerättiin sekä avoimilla että puoliavoimilla haastatteluilla. Hankittu narratiivinen tutkimusaineisto analysoitiin aiempien tutkimusten perusteella muodostetun teoreettisen viitekehyksen avulla niin, että tuotteen valinta, hankinta ja käyttö jaettiin kolmeen periaatteelliseen vaiheeseen. Ne ovat käyttöön omaksumista edeltävä, käytön omaksumisen ja käyttöön omaksumisen jälkeinen vaihe. Tutkimusaineistosta saatiin kehikon avulla analysoituna esille rikas tuotteen valintaan ja käyttöön liittyvä kulutuskokemusten joukko koskien brändilojaaliutta ja -epälojaaliutta. Tutkimuksen mielenkiintoinen tulos on, että kuluttajien brändilojaalius on suurempi kuin epälojaalius. Se vahvistaa näkemyksen, että brändilojaaliuden merkitys ei ole vähentynyt eikä etenkään loppunut. Tutkimuksesta tulee silti esiin myös tekijöitä, jotka vaikuttavat lojaaliuden ohella jakaantuneeseen lojaaliuteen tai lojaaliuden puuttumiseen lyhytikäisten kuluttajatuotteiden tapauksessa. Kaiken kaikkiaan tekijöiden jäsentäminen, näkyväksi tekeminen ja analysointi tarjoavat kiinnostavia näkemyksiä tutkijoille, liiketoiminnan harjoittajille ja muille tahoille. Erityisesti jakaantuneeseen lojaaliuteen ja epälojaaliuteen vaikuttavat tekijät ovat tärkeitä lyhytikäisille teknologiaintensiivisille kuluttajatuotteille, joiden markkinat ovat erittäin dynaamiset ja kilpaillut.

Throughout his life Marijnissen has often advocated the significance art education as an important aspect of a museum’s mission. He even provided some valid suggestions as to how the public can be enticed to engage more closely with a museum. In this article we get an insight into Marijnissen’s views on museum education and his answers to the question: how to safeguard the museum collection in the minds of humanity? Marijnissen a souvent préconisé l'éducation à l'art comme un des aspects les plus importanst de la mission d'un musée. Il a même fourni quelques suggestions sur la façon dont le public peut être appelé à s'engager plus étroitement avec celui-ci. Dans cet article, nous donnons un éclairage quant aux opinions de Marijnissen sur l'éducation au musée et évoquons quelques unes de ses réponses à la question fondamentale: comment maintenir et sauvegarder les collections de musées parmi les goûts et aspirations de l'humanité?

L’Antiphonaire d’Oosteeklo, conservé à la bibliothèque du Musée des Beaux-Arts de Gand, a peu retenu l’attention des historiens d’art, en dépit de son importance pour l’histoire de l’enluminure flamande. Un remarquable colophon révèle l’identité de sa commanditaire, Quentine de Mastaing, abbesse des cisterciennes d’Oosteeklo ; il donne le nom de deux copistes et l’année de réalisation du manuscrit (1498). Ses scènes historiées aussi peuvent être rattachées à une enlumineresse documentée : la fameuse Cornelia van Wulfschkercke, carmélite de Sion à Bruges, à qui un œuvre assez important a pu être donné. Cette nouvelle attribution est l’occasion de présenter deux autres manuscrits peints par la même main et d’examiner la validité d’une identification qui reste, à ce stade des recherches, une hypothèse de travail. Despite its importance for the history of Flemish book painting, the Oosteeklo Antiphonal, kept at the library of the Ghent Museum of Fine Arts, has been largely neglected by art historians. A remarkable colophon discloses the identity of its patroness, Quentine de Mastaing, abbess of the Cistercian convent of Oosteeklo. It also mentions the name of the two scribes and the year of completion of the manuscript (1498). Moreover, the historiated initials can be related to a documented artist: the celebrated Cornelia van Wulfschkercke, Carmelite of the Sion convent in Bruges, to whom an important body of works has been attributed. Two other manuscripts by the same hand are presented, an ideal opportunity to assess the validity of an identification that remains, at this stage of research, a working hypothesis.

There is only one valid authority when it comes to expertise and conservation, namely that of the works. Quite simply because in the end it is the works that are right. Roger Marijnissen I would like to thank Joyce Stoner for valuable comments and for editing this English translation. A few biographical milestones Roger Marijnissen was born in Ghent in 1923. He was an open-minded and curious child, but suffered from a major disability from childhood, losing the sight in his right eye followin...

Cet extrait présente les réflexions préliminaires à l'ouvrage Dégradation, conservation, restauration de l'œuvre d'art, Bruxelles, Arcades, 1967. This extract presents the preliminary reflections to the book Degradation, preservation, restoration of the work of art, Brussels, Arcades, 1967.

Ce chapitre récent de l'histoire de la conservation-restauration peut illustrer le progrès de la conservation du patrimoine bâti en Allemagne durant les années 70. Celui-ci se caractérise par un changement de paradigme, une amélioration qualitative en termes de théorie et de méthodologie, en raison d'une meilleure situation légale et de l'extension du concept de monument historique, en ce compris compris des exemples aussi modestes que des habitations domestiques et des fermes. This recent chapter of conservation history can illustrate the improvement in the preservation of built heritage in Germany in the 70s. It was characterized by a paradigm change, with a remarkable increase of quality in theory and methodology, due to a better legal situation and to a broader concept of historical monument, including also modest examples of dwellings and farmhouses.

During the current conservation of the Ghent Altarpiece, carried out by a team of KIK-IRPA, a large amount of old overpaint has been discovered. These are studied with a number of innovative analytical techniques. It is argued here that the introduction of these techniques allows for a re-evaluation of the conservation theoretical and ethical dimensions of coping with such phenomena. Pendant la conservation-restauration actuelle du Retable du Gand, effectuée par une équipe de l'IRPA, on a découvert un grand nombre de surpeints anciens. Ceux-ci sont étudiés par le biais d'un certain nombre de techniques analytiques novatrices. Il est discuté ici que l'introduction de ces techniques réclame une re-évaluation des dimensions théoriques et éthiques de la conservation-restauration pour faire face à de tels phénomènes.

The Foundation of the American Institute for Conservation oral history archive, which began in 1975, contains almost 300 interviews with pioneer conservators, conservation scientists, and art historians. Technical examination and technical art history, as exemplified by Roger H. Marijnissen’s publications, has undergone many changes since the 1950s; this article briefly surveys the field, focusing on the examination of easel paintings, with the aid of voices and personal observations from the interviews available in the international oral history archive of the Foundation of the American Institute for Conservation. La Fondation de l'Institut américain de Conservation pour les archives de la tradition orale (Foundation of American Institute for Conservation - oral history archive), qui a débuté ses travaux en 1975, rassemble près de 300 entretiens avec des conservateurs pionniers, des scientifiques de la conservation et des historiens de l'art. Examens techniques et histoire de l'art technique, comme donnés en exemple par Roger H. Marijnissen dans ses publications, ont subi beaucoup de changements depuis les années 1950; cet article examine brièvement ce champ, se concentrant sur l'examen de peintures de chevalet, par le biais des observations personnelles et des entretiens disponibles dans les Archives de Tradition orale internationales de la Fondation de l'Institut américain pour la Conservation.

L'auteur examine l'usage contemporain du terme "valeur" en rapport avec le patrimoine, et revient sur l'emploi théorique et pratique qu'en fait Aloïs Riegl. The author examines the contemporary use of the term "value", in touch with the heritage, and returns on the theoretical and practical employment by Aloïs Riegl.