The gallery's building was designed by the Buchan Group. The gallery's forecourt has a large sculpture, Reason for Voyaging, which was the result of a collaboration between the sculptor Graham Bennett and the architect David Cole.
The building was used as Civil Defence headquarters for Christchurch following the 2010 Canterbury earthquake, and again after the February 2011 Christchurch earthquake. The gallery was designed to deal with seismic events. The gallery's foundation, a concrete raft slab that sits on the surface of the ground, evenly distributes earthquake forces. However, it sustained some damage during the earthquake. The gallery building was used as a Civil Defence headquarters for seven months after the 2011 Christchurch earthquake, and did not reopen until 19 December 2015 due to the need for extensive refurbishments and improvements.


The Museum Angewandte Kunst is located in Frankfurt am Main, Germany and part of the Museumsufer. The alternating exhibitions recount tales of cultural values and changing living conditions. Beyond that, they continually refer to the question of what applied art is today and can be and demonstrate the field of tension between function and aesthetic value.


The “Kunstgewerbeverein in Frankfurt am Main” – the society of friends of the museum – has been in existence since 1877; in 1881 it founded the present-day Museum Angewandte Kunst. At that time, under the auspices of the Polytechnische Gesellschaft, it brought together collectors, patrons, entrepreneurs, artisans and art admirers who sought a means of benefitting society with their community spirit and their love for art. In the nineteenth century, societies and museums emerged all over Europe with the aim of assembling works of applied art from all eras and corners of the earth as a basis for studying the history of art and culture and providing inspiration to artisans and industrial designers. Today, with its two subsidiaries and approximately six hundred members, the society provides material and non-material support to the Museum Angewandte Kunst.


The architecture housing the Museum Angewandte Kunst was designed by Richard Meier. By integrating the Neoclassicist Metzler family villa built in the nineteenth century, he created an ensemble consisting of the surrounding park, the villa and the new building. With its re-opening in April 2013 and the restoration of the Meier architecture to its original splendour,


The Seattle Asian Art Museum (often abbreviated to SAAM) is a museum of Asian art at Volunteer Park in the Capitol Hill neighborhood of Seattle, Washington, United States.  Part of the Seattle Art Museum, the SAAM exhibits historic and contemporary artworks from China, Korea, Japan, India, the Himalayas, and other Southeast Asian countries. It also features an education center, conservation center, and library. The museum is located in the 1933 Art Deco building which was originally home to the Seattle Art Museum's main collection. In 1991 the main collection moved to a newly constructed Seattle Art Museum building in the downtown area. The Seattle Asian Art Museum opened in 1994.


The Seattle Asian Art Museum is housed in a historic Art Deco building designed in 1933 by Carl F. Gould of the architectural firm Bebb and Gould. From 1933 to 1991, the building served as the home of the Seattle Art Museum and its main collection. After the main collection moved to a new museum in Downtown Seattle, the building underwent an early renovation in the 1990s at a cost of $5.2 million. The Gould building was designated a Seattle landmark in 1989, and officially added to the National Register of Historic Places in 2016.
The museum underwent a major expansion project, starting in 2017, that was spurred by the need to upgrade the building's HVAC system, freight elevator, and seismic resistance. The project was funded by a mixture of public and private donations and included preservation of the museum's historic Art Deco facade, infrastructure upgrades, climate control and seismic system improvements, as well as the addition of new gallery and education spaces.  Seattle-based firm LMN Architects was responsible for design of a US$56 million renovation and expansion of the building.  Construction on the renovation project began with a ceremonial groundbreaking on March 13, 2018. The museum closed for three years for the major renovation, from February 2017 until February 2020. The new three-story wing is constructed principally out of glass and sandstone in a minimalist style.


The Seattle Asian Art Museum holds a permanent collection of Chinese, Korean, Japanese, Indian, Himalayan, and Southeast Asian art.  The museum continues to grow its collection of art "centered around historic, modern, and contemporary Asian Pacific Islander as well as Southeast Asian art, specifically collecting different works created by local Asian Pacific Islander artists within the Seattle area."
The collection holds the artwork entitled Some/One by South Korean sculptor Do-Ho Suh in the form of a suit of armor made of thousands of military IDs, or dog-tags.  South Korean ceramic artist Yoon Kwang-cho is also represented in the collection.


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The University of Hong Kong Museum Society (HKUMS) was established in 1988 by Mrs. Margaret Wang, whose husband Dr. Wang Gungwu was Vice-Chancellor of the HKU from 1986 to 1996. Since then, HKUMS, a non-profit organization whose role has been to provide support to the UMAG, has become a vital force in the promotion of art and culture in the Hong Kong community.
HKUMS is governed by an Executive Committee composed of volunteer members. The Committee organizes a variety of regular activities related to art and culture, including lectures and seminars, museum and gallery tours, visits to private collections and artists’ studios, heritage walks and overseas trips. Proceeds generated from the Society’s activities are donated to the UMAG for the acquisition of selective artworks, the sponsorship of special exhibitions and notable programs, as well as to HKU and the local community for the support of educational initiatives.


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UMAG houses a collection of Chinese antiquities, notably bronzes, ceramics, paintings and furniture and lacquer that has been built over the past sixty years through acquisition and donation. Artworks date from the Neolithic period to our contemporary era. Highlights in the bronze collection include works from the Shang to the Tang dynasty and the world’s largest collection of Yuan dynasty Nestorian crosses. The Museum also has a comprehensive collection of Chinese ceramics, as well as carvings in jade, wood and stone, and a representative group of Chinese oil paintings. In recent years, the Museum has also been collecting historical photographs of Hong Kong and items of popular culture. In 2020, the Museum launched a new initiative called UMAG_STArts that explores the symbiotic relationship between science, technology, and the arts through the interdisciplinary studies of art history, conservation, and novel forms of technology.


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The Hereford Museum and Art Gallery is a local museum in the cathedral city of Hereford, Herefordshire, England.
The museum is housed in a Victorian Gothic building. Through the generosity of James Rankin, President of the Woolhope Naturalists' Field Club, it was opened as a free library and museum on 8 October 1874 and has since exhibited artefacts, fine art, and decorative art associated with the local area.


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There are regular temporary exhibitions of craftwork, paintings, photography, and prints.
In 2006, the bicentennial of Joseph Murray Ince was celebrated with an exhibition.
The designs of Christopher Dresser were exhibited in 2007.
An exhibition of work by the locally born artist Brian Hatton (1887–1916) was displayed at the gallery between November 2007 and January 2008.
Having closed temporarily for building repairs in September 2015, the Hereford Museum and Art Gallery re-opened for the summer months in July 2017. As of July 2017, exhibits in the museum include a two-headed calf, a two-metre long fish, various swords, elements of costume and textiles, as well as objects of historic, social and scientific interest dating back from the pre-historic era up to the 20th century. The gallery currently has over 80 works by Brian Hatton, as well as many of his materials and selected letters.


Juan Manuel Blanes Municipal Museum of the Arts (Spanish: Museo de Bellas Artes Juan Manuel Blanes) is a museum in Prado, Montevideo, Uruguay.


The museum is open from noon to 5:45 p.m. every day from Tuesday through Sunday. It does not charge admission.


The museum displays Uruguayan art ranging from the nation's founding to the present day, including the works of Juan Manuel Blanes, Pedro Figari, Rafael Barradas, José Cúneo, and Carlos González.


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The MFA was founded by art collector and philanthropist Margaret Acheson Stuart (1896–1980). As its first president, Mrs. Stuart contributed significantly to the construction of the building and provided endowment funds through her estate to support annual operations and to maintain the beauty of the grounds. She also provided monies to acquire art and donated works from her collection. The Margaret Acheson Stuart Society, the Museum's independent support organization, is named in her honor.
The city provided the four-acre waterfront site for the construction of the original building and The Junior League of St. Petersburg offered resources for The Great Hall. The building was designed by John Volk and Associates of Palm Beach, with a curving colonnade on Beach Drive. Volk stated that "a museum should give a feeling of permanence and that is what I have tried to do with this building." Chartered by the State of Florida in 1961, The MFA opened its Beach Drive doors to the public in 1965–the first art museum in St. Petersburg.
The Marly Room, an auditorium seating 220, and a sculpture garden, both made possible by Mrs. Stuart, were added to the building in 1974. Moreover, the late President of the Board Charles W. Mackey (Mrs. Stuart's nephew and trustee Fay Mackey's father) led a successful effort to double the galleries from ten to twenty and to construct a second floor for administrative offices, a classroom, and a library by 1989. The addition was designed by Harvard, Jolly, Marcet & Associates.
A $21 million expansion broke ground on Monday, December 4, 2006 and more than doubled the size of the museum. The new 33,000 square-foot Hazel Hough wing, on the north side of the building, was finished in 2008. The expansion included a new cafe, an enlarged library and a bigger museum shop, all since removed.
The Hazel Hough Wing, designed by Yann Weymouth and Hellmuth, Obata + Kassabaum (HOK), opened to the public March 22 and 23, 2008. At approximately 39,000 square feet, the wing more than doubled the Museum's space.
The two-story glass Mary Alice McClendon Conservatory is now a centerpiece. It provides a community gathering place. The second-floor Carol Upham Bridge connects the original building to the Mary and Fred Shuh Lobby and the wing. The MFA Café in the Conservatory and on the terrace provides a view of the bay. Special exhibitions are now presented mainly in the Hazel Hough Wing, with a second-floor gallery devoted to photography and works on paper.
In 2013, the original galleries, The Junior League Great Hall, and the Marly Room were renovated under the direction of design advisor Jeff Daly. The Cyrus Fay Mackey and Howard Acheson Galleries adjacent to The Great Hall now display wood floors, as does the Gary and Gail Damkoehler Gallery leading to the Conservatory. Color was added throughout and augmented lighting was put in place. Windows facing Beach Drive were replaced with energy-efficient, storm-rated glass. In the Marly Room, an arched window at the back of the stage was reopened.
The renovation project paved the way for the Museum's 50th anniversary in 2015.
In 2017, the exterior of the building as well as the collection galleries were re-lit with LED lighting, and European paintings were re-installed in the Mackey Gallery..
The museum has had six directors: Rexford Stead, Lee Malone, Michael Milkovich, John Schloder, Kent Lydecker, and the current Executive Director, Kristen A. Shepherd. Shepherd is the youngest and the first female Executive Director of the Museum.
Today, the museum offers programs for adults and families. For adults, the MFA offers recurring monthly programs and special lectures, gallery talks, cinema screenings, and music concerts. Families can also enjoy the museum through monthly programs such as Kidding Around Yoga and annual events such as Painting in the Park. On June 23, a Bahamian artist Gio Swaby celebrated Black women at Museum of Fine


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The collection of more than 20,000 objects includes major works by the French artists Monet, Morisot, Barye, Rodin, Corot, and Bourdelle, and the Americans Inness, Hassam, Bellows, O’Keeffe, Pearlstein and Andrew Wyeth. Also on view are ancient Greek and Roman, Egyptian, Asian, African, pre-Columbian, Native American art and objects. Decorative arts are integrated throughout the original building and featured in three galleries, as well. The Helen Harper Brown Gallery is dedicated to glass art, including Tiffany and Steuben. The Helen and Dick Minck Gallery showcases new media and a growing collection of contemporary art is on view in the Acheson Gallery.
The photography collection includes gifts from Ludmila and Bruce Dandrew and Dr. Robert L. and Chitranee Drapkin. To date, the Ludmila Dandrew and Chitranee Drapkin Collection comprises more than 15,000 images donated to the Museum. Selections from the photography collection are on view in the Miriam F. Acheson Gallery.
The museum's exhibitions have included: Chihuly Across Florida: Masterworks in Glass (2004); Monet’s London, Artists’ Reflections on the Thames, 1859–1914 (2005), and Ancient Egypt: Art and Magic, Treasures from the Fondation Gandur Pour l’Art/Geneva (2011–2012), Moon Museum: Art and Outer Space (2018), Syd Solomon: Views From Above (2018-2019), and Art of the Stage: Picasso to Hockney (2020).
The MFA received accreditation from the American Association of Museums (now the American Alliance of Museums) in 1973 and was reaccreditated in 1983, 1998, and 2010.


The Church of Santa Inés is a church located at 26 Moneda Street, just northeast of the Zócalo, Mexico City, Mexico. The building, formerly part of the Convent of Santa Inés, is considered to be a mix of styles between Mexican Baroque and Neoclassical. The church was completely finished in 1770.
The church has two portals, one dedicated to Saint Agnes and the other to the Apostle James the Great. The wooden doors of this church are carved with reliefs. Some of these depict the life of Saint Agnes and others show images of the nuns of the convent with their benefactors, Don Diego Caballero and Doña Inés de Velasco. One scene depicts the life of the Apostle James just after he is martyred by decapitation. One other shows Santiago Matamoros, a saint connected with the expulsion of the Moors from Spain.
Its dome is decorated with tiles laid in a strip design and made to look like rebozos, a type of indigenous shawl.  Inside, the original Baroque altar is long gone, replaced with the current Neoclassic altar. Mexican painters Miguel Cabrera and José de Ibarra are interned in altar here.


The Asia Museum of Modern Art (traditional Chinese: 亞洲現代美術館; simplified Chinese: 亚洲现代美术馆; pinyin: Yàzhōu Xiàndài Měishùguǎn; Taiwanese: A-tsiu Hiān-tāi Bí-su̍t-kuán) is an art museum in Wufeng District, Taichung, Taiwan. The museum is located at Asia University.


The museum was designed by architect Tadao Ando with a triangular shape of structure. The museum interior covers an area of 4,111 m² with additional surrounding grounds measuring 19,840 m². The museum building consists of three floors, which houses café, shop and lecture hall on the ground floor and art galleries on the upper and top most floor.


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The Alfredo Guati Rojo National Watercolor Museum (Museo Nacional de Acuarela Alfredo Guati Rojo) was the first museum in the world dedicated specifically to watercolor painting. It is located in the Coyoacán borough of Mexico City, in a former private house which was donated to the museum by the city government. Due to the public health emergency, as of March 2022 the museum was still closed to casual public visits.
The museum was founded and run by artist Alfredo Guati Rojo from its beginnings in 1964 until his death in 2003. It is dedicated to the preservation and continuance of watercolor painting both in Mexico and abroad, with its permanent collection of 300 works donated by Guati Rojo and his wife, classes in watercolor and drawing, its annual Premio Nacional de Acuarela (National Watercolor Prize) and various temporary exhibits both at the museum and abroad.


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The museum and the modern history of watercolor in Mexico is the work of artist Alfredo Guati Rojo. He studied art at the San Carlos Academy in the 1930s, graduating with a master’s in 1940.  While he studied all aspects of art, he stated that he was always drawn to watercolor painting. After graduation, he decided to teach short courses for those with inclination but not the means for a formal art education. This became an art institute which offered courses in ceramics, fashion design, furniture design, and jewelry making as well as the fine arts. In 1957, it rented a large house in Colonia Roma.
In the 1940s and 1950s, watercolor began to be recognized as a technique with its own particular qualities with artists such as Ricardo Sierra, Carmen Jimenez Labora and Luis G. Serrano dedicated to it. However, many art gallery owners at the time refused to show watercolor works, as it was considered to be a minor art, especially compared to oil painting, as it was associated with lithographs, and small portraits.  Guati Rojo established a space in the institute in Colonia Roma dedicated to the showing of watercolors in 1964, called the Salon Anual de Acuarela (Annual Salon of Watercolors). These shows began to attract attention and favorable reviews, and allowed artists to sell paintings. It was renamed the Salon Nacional de Acuarela (National Salon of Watercolors) in 1967 and dedicated itself to the promotion of both Mexican and international watercolor painting.
Since graduating from the San Carlos Academy, Guati Rojo and his wife Berta Pietrasanta, collected watercolors and other artworks, starting with Guati Rojo’s teachers and companions from the Academy and later from his own students and from trips to Europe. By 1977, they had amassed a collection of 300 watercolors, and approached the Secretariat of Public Education with the idea of creating a more formal museum if the agency would provide a site. However, nothing came of this. Soon after, the coupled formed a private society with the aim of founding the museum without government help. This society raised money for two years by presenting shows and concerts.  The museum was formally established at the Colonia Roma site, with Guati Roja as first director, but also providing much of the needed money from his own funds, along with the  initial 300 pieces. This gave it the name of Museo Nacional de la Acuarela (National Watercolor Museum).
In 1985, the arts institute, along with the watercolor museum, was destroyed by the 1985 Mexico City earthquake. In 1987, the city government bought the house on Salvador Novo Street in Coyoacan, the present site, and donated it to the watercolor museum. However, the government also stated that it could do no more to support the project. The museum continued on private donations and the efforts of Guati Rojo’s work. He not only provided much of the funding, but his popularity helped to promote the museum along with Mexican watercolor painting in general.
In 2003, Guati Rojo died, a few weeks after his wife. At the time, he was working on two books, one about the museum and the other an autobiography, both left unfinished.  His funeral was held at the museum with his ashes on display under the work called El circo de la vida ("The circus of life"). His death sparked concerns about the future of the museum, along with the legal status of the museum site.  However, the museum still remains on the same site.


The Musée Cognacq-Jay is a museum located in the Hôtel Donon in the 3rd arrondissement at 8 rue Elzévir, Paris, France. It is open daily except Monday; admission is free. The nearest Metro stations are Saint-Paul and Chemin Vert.
The museum's collection was formed between 1900–1925 by Théodore-Ernest Cognacq (1839–1928) and his wife Marie-Louise Jaÿ (1838–1925), founders of La Samaritaine department store. At his death, Cognacq gave the collection to the City of Paris, which in 1929 inaugurated the Musée Cognacq-Jay at 25 boulevard des Capucines, a building especially conceived for it by the Cognacq couple, who wished to display the collection in the intimacy of a seemingly inhabited home, without the conventions of a museum. In 1990 however, the City, arguing that the Boulevard des Capucines was not part of a "cultural circuit", sought the approval of the legal heirs (the owners of La Samaritaine), and, under silent disagreement of the Cognacq-Jay family, moved the collection to the ill-fitting Hôtel Donon (c. 1575) in the Marais, where the collection is displayed in twenty paneled rooms (four floors) in the styles of Louis XV and Louis XVI. The renovation work of the Hôtel Donon was led by Paris' chief architect Bernard Fonquernie, whilst the interior renovation was done by Reoven Vardi.
The museum contains an exceptional collection of fine art and decorative items, about 1200 items in total, with an emphasis on 18th century France, ranging from European and Chinese ceramics, jewels, and snuffboxes, to paintings by Louis-Léopold Boilly, François Boucher, Canaletto, Jean-Siméon Chardin, Jean-Honoré Fragonard, Jean-Baptiste Greuze, Maurice Quentin de La Tour, Sir Thomas Lawrence, Hubert Robert, Giovanni Battista Tiepolo, and Jean-Antoine Watteau; sculpture by Jean-Antoine Houdon, Jean-Baptiste Lemoyne, and Jacques-François-Joseph Saly; and fine furniture attributed to Jean-François Oeben and Roger Vandercruse Lacroix. 17th century is also represented, notably with two paintings by Rembrandt while 19th century is represented with works by Camille Corot, Paul Cézanne and also Edgar Degas.
The Cognacq-Jay Museum is one of the 14 City of Paris' Museums that have been incorporated since 1 January 2013 in the public institution Paris Musées.


Burg Bruck is a medieval castle in Lienz in Tyrol, Austria. Burg Bruck is 711 metres (2,333 ft) above sea level.
It was completed in 1278 as the residence of the Meinhardiner Counts of Görz. In 1490 the chapel was decorated with frescoes by Simon von Taisten. In 1500 the last count Leonhard of Görz bequeathed the castle to the Habsburg archduke Maximilian I of Austria, who incorporated it into his Tyrolean possessions. During the Campaigns of 1796 in the French Revolutionary Wars it was occupied by French troops under General Barthélemy Catherine Joubert. Today Bruck Castle is a museum featuring many works of the painter Albin Egger-Lienz.


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The Museum of Arts and Crafts (Croatian: Muzej za umjetnost i obrt) in Zagreb, Croatia, was established in 1880, by the initiative of the Arts Society and its former President Izidor Kršnjavi. Drawing on the theoretical precepts of England's Arts and Crafts movement and the intellectual postulates of Gottfried Semper, the museum was devised with the aim of creating a collection of models for master craftsmen and artist to reinvigorate the production of everyday use items. The strategy of the museum's activity was focused on preservation of traditional crafts, as well as creation of a new middle class aesthetic culture. Therefore, in 1882 the Crafts School (today Applied Art and Design School) was founded along the museum. The building, constructed in 1888 by Hermann Bollé, is one of the first purpose-built edifices devised to merge the functions of the museum and the school. Stylistically, the building is a grand historicist palace in the spirit of the German Renaissance.
The initial holdings had been founded several years before the Museum was formally assembled. The first permanent display in its unsuitable premises opened in Gajeva Street 26, while the complete permanent display was first seen in its own venue in 1909. The current permanent display, open in 1995 according to the ideas of the former director Vladimir Maleković, and the spatial articulation of architect Marijan Hržić, includes chosen objects from all museum collections. The permanent exhibition extends over three floors at more than 2,000 m² of museum space and includes about 3,000 exhibits. The displayed objects illustrate the shift of stylistic periods from Gothic to Art Deco.
The museum houses more than 160,000 objects spanning from 4th to 20th century. The initial holdings of the Museum had been founded several years before the museum was formally assembled. The first objects for the future museum were bought in 1875 by Izidor Kršnjavi with a donation of bishop Josip Juraj Strossmayer at an inheritance auction of Catalan painter and collector Mariano Fortuny in Paris.


The George R. Gardiner Museum of Ceramic Art (commonly shortened to the Gardiner Museum) is a ceramics museum in Toronto, Ontario, Canada. The museum is situated within University of Toronto's St. George campus, in downtown Toronto. The 4,299.2-square-metre (46,276 sq ft) museum building was designed by Keith Wagland, with further expansions and renovations done by KPMB Architects.
The museum was established by George and Helen Gardiner, and was opened to the public on 6 March 1984. In 1987, management of the institution was assumed by the Royal Ontario Museum (ROM). The ROM continued to manage the Gardiner Museum until 1996, when an additional endowment to the museum allowed it to reincorporate as an independent institution. In 2004, the museum was closed to the public, in order to accommodate renovations to the building. The museum was reopened to the public in 2006, shortly after renovations to its building were completed.
The museum's permanent collection of ceramics includes over 4,000 pieces. The collection is made up of two types of ceramics, earthenware, and porcelain. In addition to exhibits for its collection, the museum has organized and hosted a number of contemporary ceramic art exhibitions. The museum is affiliated with the Canadian Heritage Information Network, Canadian Museums Association, and the Virtual Museum of Canada.


The 4,299.2-square-metre (46,276 sq ft) museum building is located at Queen's Park Crescent, on the campus of Victoria University, a federated college of the University of Toronto. Museum station is the nearest Toronto subway station to the museum.
Completed in 1983, the building was at the cost of C$6 million. The building was originally only 2,969.0 square metres (31,958 sq ft), and two storeys, although was designed to accommodate the construction of an additional floor. Designed by Keith Wagland, the neoclassical modernist building's was designed and position on the property's back court to provide the surrounding area an unobstructed view of the building adjacent to the museum, the Lillian Massey Building. The building itself cantilevered towards Queen's Park. From the building's completion, to the building's redevelopment in the early 2000s, the building featured a modest pink granite facade.
From January 2004 to June 2006, the museum closed to the public to undertake a C$25 million renovation and expansion of the building. Although it reopened in 2006, the museum's development project was not completed until 2008. Bruce Kuwabara served as the redevelopment's design partner, whereas Shirley Blumberg served as the partner-in-charge of the architectural firm's redevelopment of the Gardiner. As a part of the redevelopment, the building's exterior facade was re-clad with Indiana limestone and black granite, adorned with sharp vertically placed windows. KPMB choose to re-clad the building in limestone in order to match the facade of the Lillian Massey building, in addition to scaling the museum to blend with the Annesley Hall's bay windows to the south of the museum
The redevelopment also saw the construction of a third floor to the building, increasing the building's size by 1,330.2 square metres (14,318 sq ft). The third floor included facilities for a 50-seat restaurant, a L-shaped outdoor terrace, and a 370-square-metre (4,000 sq ft) exhibition gallery. Renovations to the interior of the existing building included a redesigned lobby features a long white oak reception desk, designed to draw guests into the museum; and renovations to its three galleries, educational facilities, and the museum's gift shop. Exhibit space within the museum was also increased, with the architectural firm placing an emphasis on highlighting the vitrines and pieces within them, as opposed to creating spaces for large receptions. The vitrines used to exhibits its pieces were also redesigned by the architectural firm. Farrow & Ball have provided the paint used for the museum's exhibits, and special exhibitions.
In 2017, KPMB Architects was contracted to redesign the museum's gift shop, and for lobby to feature an artist-in-residence ceramic studio at grade.


Under the institution's governing legislation, the George R. Gardiner Museum of Ceramic Art Act, the institution's objective is to collect, conserve, lend, and exhibit works of ceramic, decorative, and fine art and materials. As of July 2019, the Gardiner Museum's permanent collection included over 4,000 objects. The museum's permanent collection includes objects that were donated, purchased, or bequested to the museum, and are held in trust of the public. Items from the permanent collection are either exhibited in the museum, or are stored in a secure, climate controlled facility when not on display.
The museum divides its collection into two principal collection areas, earthenware, and porcelain objects. The museum's collection of earthenware is primarily made up of ceramics from pre-colonial Americas, Italian maiolica, and English delftware; whereas the museum's porcelain collection primarily focuses on porcelains of European origins. In addition to regionally focused collection areas, the museum also features a specialized collection of earthenware and porcelain made for export to Canada. The museum's collection also includes a number of modern and contemporary ceramic pieces from the 1950s to the 21st century. Although the museum is primarily a ceramics museum, the museum's permanent collection also includes a number of non-ceramic pieces that directly relate to the ceramic pieces it has in its collection.
The museum's permanent collection of ceramic art originated from the private collections George and Helen Gardiner, who began their collection in the mid-1970s. The first pieces collected by the Gardiners was pre-colonial pottery from the Americas, and Meissen porcelain. Eventually, the Gardiners' private collection grew to include Italian maiolica, English delftware, as well as a variety of pottery pieces of pre-colonial Americas, and European porcelains.


The Power Station of Art is a contemporary art museum in Shanghai.  Housed in a former power station, it is China's first state-run contemporary art museum.  Converting the building cost $64 million which was paid for by the Shanghai government.
The museum is on the site of the Expo 2010 and on the left bank of the Huangpu River. It opened in 2012 with an exhibition of contemporary art from Centre Pompidou, Paris's best-known contemporary art museum, entitled Electric Fields, Surrealism and Beyond.
The director is Li Xu. The deputy director is Gong Yan, who was formerly the editor in chief of the Chinese-language magazine Art World.


The Tachineputa Museum (立佞武多の館, Tachineputa no Yakata) is a museum located in the city of Goshogawara, Aomori Prefecture, Japan.
The museum has exhibits related to Goshogawara's Tachineputa Festival, which is held every August. It houses three tachineputa floats, as well as a production studio where visitors can see the creation process of the floats. The museum also has a gallery with works created by artists connected to Aomori.


The Musée Ariana, also known as the Musée suisse de la céramique et du verre (Swiss Museum of Ceramics and Glass), is a museum in Geneva, Switzerland.  It is devoted to ceramic and glass artwork, and contains around 20,000 objects from the last 1,200 years, representing the historic, geographic, artistic and technological breadth of glass and ceramic manufacture during this time. The collection is the only one of its kind in Switzerland.
Built between 1877 and 1884, the museum is shaped by Neo-Classical and Neo-Baroque elements and is situated on Avenue de la Paix, near the Palace of Nations. It was built to house the private collection of the Swiss art collector and patron Gustave Revilliod, who named it after his mother, Ariane de la Rive, and later bequeathed it to the city of Geneva.  Since 1934 the museum has been a member of Geneva's association of art and history museums, Les Musées d'art et d'histoire Geneve, led by the Musée d'Art et d'Histoire.  Subsequently, parts of the collection have been dispatched to other museums while the Musée Ariana has acquired new exhibits in exchange, in order to focus the collection on glass and ceramics.
In 1993 the museum was reopened after 12 years of building work.


The Grão Vasco Museum (Museu de Grão Vasco) is an art museum located in the city of Viseu, in Portugal. The museum is named after one of the most important Portuguese painters of the Renaissance, Vasco Fernandes (also known as the Grão Vasco), who had his workshop in Viseu.
The museum, founded in 1916, occupies the building of the old Seminary, located beside Viseu Cathedral. The building, began in the late 16th century in Mannerist style, has had its interior recently modernised by Porto architect Eduardo Souto de Moura.
The main exhibits of the museum are the painted altarpieces executed for Viseu Cathedral during the Renaissance. These include the main altarpiece, executed by a workshop that included the young Vasco Fernandes and was apparently led by Francisco Henriques, as well as later altarpieces by a mature Vasco Fernandes and his collaborator, Gaspar Vaz. The artistic significance of these altarpieces turn the Grão Vasco Museum into one of the most important
art museums in Portugal.
The collections also include metalwork, tapestry and sculpture.


The Maison Fournaise (French: [mɛzɔ̃ fuʁnɛz]; "House of Fournaise") is a restaurant and museum located on the Île des Impressionnistes, a long island in Seine river in Chatou, west of Paris.


The Ōtsuka Museum of Art (大塚国際美術館, Ōtsuka Kokusai Bijutsukan) in Naruto, Tokushima Prefecture is an art museum founded in 1998 and is one of the largest exhibition spaces in Japan.
Established by Otsuka Pharmaceutical as a celebration of its 75th anniversary, it houses over a thousand full-size ceramic reproductions of major works of art, including the Sistine Chapel, Scrovegni Chapel, triclinium of the Villa of the Mysteries, and Guernica. The works are transfer-printed from photographs before being fired and retouched. The purpose of this is to give Japanese people who cannot travel abroad the opportunity to see these famous pieces. A robot named 'Mr Art' gives hour-long gallery talks. The museum cost industrialist Masahito Ōtsuka $400,000,000.


The Negev Museum of Art is an art museum in the Old City of Be'er Sheva, Israel. The building is the former Governor's Mansion, built in 1906 by the Ottomans as part of government edifices that include the Seraya and the local mosque.


The museum is a municipal museum and it has a collection of mostly modern Israeli art, including local and regional artists. In its early stages, as a wing of the Negev Museum of Archaeology it displayed its permanent collection and occasional exhibitions. Since 1987, under the directorship of Noa Tal, the museum started to operate independently, displaying temporary exhibitions of Israeli and international art. During the 1990s, under the directorship of Galia Gavish, the museum expanded its collection especially in ceramics and ethnographic works of Ethiopian Jews. Gavish also initiated an international Ceramics Biennial in Be'er Sheva.
During her time as director and curator (2002-2010) Noga Raved oversaw the renovation works and adaptation to museum standards. Among the exhibitions she curated were a duo exhibition of Michael Gross and Ori Reisman (2006), and "60-90-60" (2008), a historical exhibition to mark the 60th anniversary of Israeli Be'er Sheva and the 90th anniversary of the city's conquest by Australian and New Zealand Army Corps (ANZAC) during World War I, thus starting the end of the Ottoman rule of Palestine.
In 2011 the museum became part of Kivunim Company of leisure culture in Be'er Sheva with its new director and curator, art historian Dr Dalia Manor. The museum has run an intensive program of exhibitions of major Israeli artists and of international artists. The first of these was the group show Southern Spirit: Aspects of the Negev in Contemporary Israeli Art. Among the participating artists were Michal Rovner, Roi Kuper, Gilad Ophir, Gilad Efrat, Pavel Wolberg and others. Following its success the exhibition travelled to Tel Aviv University Gallery and is scheduled to travel to Germany. The following exhibition was dedicated to celebrated Israeli painter and sculptor Menashe Kadishman, showing prints, sculptures and paintings, some exhibited for the first time. The year ended with an international exhibition of paper art, In Between, that travelled from the Wilfrid Israel Museum in Kibbutz Hazorea that organised it. As part of this exhibition the Negev Museum included a homage to Joyce Schmidt, who founded in Be'er Sheva the first paper mill and initiated the paper making art in Israel. During this exhibition the education programs of the museum expanded to include regular creative workshops offered to children in addition to guided tours for the general public.
In 2012 the first ever exhibition from the private collection of Hillela Tal of Israeli art was opened at the Negev Museum of Art, with works by renowned artists Moshe Gershuni, Moshe Kupferman,  Lea Nikel, Buky Schwartz, Nahum Tevet, Igael Tumarkin, Aviva Uri, and others. It was followed by a solo show of Sigalit Landau, 'Caryatid', consisting of installations, sculptures and video and sound works.
In 2013 the museum exhibited a solo show of photographs by internationally renowned artist Micha Bar-Am consisting of photos taken in the south of Israel from the 1950s to the 2000s. In October 2013, to mark the 40th anniversary of the Yom Kippur War a historic group exhibition on the theme of memory and bereavement in Israeli art was opened. Among the participating artists were Yigal Tumarkin, Menachem Shemi, Ludwig Blum, David Reeb, David Wakstein, Asad Azi, Zvika Kantor, Erez Yisraeli, and others. In 2014 the museum exhibited group shows: one on the theme of the desert by Israeli and international artists, "On Dray Land", and an exhibition of Pop art prints by major American and British artists from the collection of the Israel Museum, Jerusalem. The last exhibition of the year was dedicated to the 50th anniversary to the Monument to the Negev Brigade combining a solo show of Dani Karavan, the Monument creator, and a group show of other artists who photographed it or were inspired by it, among them Yaacov Agor and Yael Bartana. The exhibition was accompanied by live events on the site of the monument and an international symposium held at the Ben-Gurion University of the Negev.
During summers the Negev Museum of Art hosts open-air musical events on its ground.


The David Collection (Danish: Davids Samling) is a museum of fine and applied art in Copenhagen, Denmark, built around the private collections of lawyer, businessman and art collector C. L. David.
The museum is particularly noted for its collection of Islamic art from the 8th to the 19th century, which is one of the largest in Northern Europe. The museum also holds fine and applied art from Europe in the 18th century and the Danish Golden Age as well as a small collection of Danish early modern art. All the works of art in the collection of Danish early modern art were acquired by C. L. David himself.
The museum is located in a neo-classical building in 30 Kronprinsessegade in central Copenhagen, overlooking Rosenborg Castle Garden. From 2006 to 2009 the collection was closed to the public while the premises underwent a major refurbishment and rearrangement. When it reopened on 15 May 2009, it was described as "the most exclusive museum in Denmark" in national Danish newspaper Politiken.


Following the Copenhagen fire of 1795 the king granted the city a strip of land which had been part of the Rosenborg Castle Gardens. It was on this land that Kronprinsessegade 30 was built in the years 1806–07 together with other houses in the street.
The building was constructed in the prevailing neo-classical style for Captain J. C. Krieger by his brother-in-law, the city surveyor, J. H. Rawert. The floor plan of the building along with that of the other houses in the street is a characteristic L-shape consisting of three rooms facing the street, the dining room in the corner of each floor — where the front building meets the side building — together with a series of smaller rooms in the latter section. The side building is further extended by means of a side annex of five storeys which originally included the kitchens and servants’ quarters.
The architect Carl Petersen was responsible for the first rebuilding of the top floor, where the roof was given a steeper pitch so as to create adequate space for two large, skylighted rooms. This rebuilding was completed around 1920.
Part of the top floor were made into three rooms, finished in neo-classical style with partly coffered ceilings, tall panels, and patterned parquet floors. Two of the rooms also had skylights since these rooms were used as galleries. The woodwork still attracts much attention. The wood comes from the King Christian VI's dock, which was broken up in 1918. The darker or lighter colour of the oak depends on the time it has spent in the water.
In 1928, the architect Kaare Klint designed two exhibition rooms for the growing collection of porcelain. The walls are covered with Douglas-fir and the exhibition cases were manufactured in Rudolf Rasmussen's workshop. The rooms and the exhibition cases are still in use, but now exclusively for the Islamic collection.
The current rebuilding of the museum, lasting until 15 May 2009, is undertaken by Wohlert Arkitekter.


The museum is built around the private collection of C. L. David (1878–1960), a barrister of the Danish Supreme Court. The building in Kronprinsessegade which houses the museum used to be the private home of the founder and was originally bought in 1810 by his great-grandfather, C. N. David, but sold again in 1830. In 1917 it was re-acquired by C. L. David, who took up residence in it but also made his collection available to the public at the upper floors of the building.
On 12 December 1945, the collection, along with the building which houses it, became the independent institution, the C. L. David Foundation and Collection, and the museum opened in 1948. Over the years, the exhibition space was continuously expanded and rebuilt as the collections grew. In 1960, on the death of its founder, the Foundation became the sole heir to his fortune.
In 1986, the foundation acquired the adjacent property, 32 Kronprinsessegade, where the architect Vilhelm Wohlert, also known for the design of Louisiana Museum of Modern Art, designed a whole new gallery for the expanding collection of Islamic miniatures in 1990.
Further rebuildings have gradually included more rooms and improved facilities. In 2006 the museum was temporarily closed to the public when it embarked on a major refurbishment and rearrangement of the collections. It reopened on 15 May 2009.


The collection is most noted for its collection of Islamic art and contains works from almost the entire Islamic cultural sphere, from Spain in the West to India in the East and dating from the 7th to the 19th centuries.
The European and Danish collections include:
Furniture (Chippendale, works by David Roentgen)
Porcelain (including early Meissen porcelain) and faience
Silverware
Sculptures, and ceramics made by Danish artists between c. 1880 and 1950
and paintings by:
Peder Als
Jan Asselyn
François Boucher
Poul S. Christiansen
Pieter Claesz
Cornelis Gerritsz Decker
C. W. Eckersberg
Vigilius Eriksen
Jean Gaugain
Albert Gottschalk
Jan Hackaert
Vilhelm Hammershøi
Constantin Hansen
Peter Hansen
H. G. F. Holm
Gillis van Hulsdonck
Jens Juel
P. S. Krøyer
Christen Købke
Johannes Larsen
Johan Thomas Lundbye
Agnes Cathinka Wilhelmine Lunn
J. P . Møller
Julius Paulsen
Jean-Baptiste Perronneau
Theodor Philipsen
Svend Rathsack
Jan Antonisz. van Ravesteyn
Jacques Saly
Joakim Skovgaard
Niels Skovgaard
P. C. Skovgaard
Fritz Syberg
David Teniers II
Hendrik Cornelisz van Vliet
Jan Weenix
Jens Ferdinand Willumsen


The Musée Nissim de Camondo is a historic house museum of French decorative arts located in the Hôtel Camondo at 63, rue de Monceau, on the edge of Parc Monceau, in the 8th arrondissement of Paris, France. The nearest Paris Métro stops are Villiers and Monceau on Line 2.
The Paris Convention and Visitors Bureau describes the museum as housing "a spectacular collection of French decorative art from the second half of the 18th century. Admire Aubusson tapestries, canvases by Élisabeth Vigée-Lebrun or items that once belonged to Marie-Antoinette. Also on display, a collection of Sèvres porcelain and furniture by cabinetmakers Riesener and Oeben".


The mansion was built in 1911 by Count Moïse de Camondo, a banker, with architect René Sergent, to set off his collection of eighteenth-century French furniture and art objects. Its design was patterned on the Petit Trianon at Versailles, though with modern conveniences. On his death in 1935, it was announced that both the house and its collections were bequeathed to Les Arts Décoratifs in honour of his son, Nissim de Camondo, killed in World War I. The house opened as a museum in 1936.
More tragedy followed a few years later when Moïse's daughter and her family were deported to the Auschwitz concentration camp. A plaque in the house states that in 1944, Béatrice de Camondo, her husband Léon Reinach, and their two children, Fanny and Bertrand all died in the concentration camp. The Camondo family was a Sephardic Jewish clan. Moïse's widow Irène survived by escaping to a villa in the south of France.
Today, the house is maintained as if it were still a private home preserved in its original condition. Three floors are open to visitors: the lower ground floor (kitchens), upper ground floor (formal rooms), first floor (private apartments), and gardens. Outbuildings are also included, built in 1863 and enlarged by Comte Nissim de Camondo; they were later modified by Moïse.
The house's furnishings include needlepoint chairs and work by artisans of the Garde-Meuble de la Couronne (Royal Furniture Repository) such as Jean-François Oeben, Jean Henri Riesener, and Georges Jacob. Floors are furnished with Savonnerie carpets woven in 1678 for the Grande Galerie in the Louvre.
The walls are accented with tapestries (many Beauvais or Aubusson) and paintings, including portraits by Élisabeth-Louise Vigée Le Brun, landscapes by Guardi and Hubert Robert, and hunting scenes by Jean-Baptiste Oudry. Table settings are of particular interest, especially the Orloff silver dinner service commissioned by Catherine II of Russia from silversmith Jacques-Nicolas Roettiers in 1770, and the Buffon porcelain services made at Sèvres in the 1780s with a bird theme. Other notable objects include a bust by Jean-Antoine Houdon, bas-reliefs, Chinese vases, and crystal chandeliers.
As of February 2020, the museum remained closed due to the worldwide COVID-19 pandemic.
As of May 2022, the museum is open, after having been closed in February 2020 due to the worldwide COVID-19 pandemic.


Akita Museum of Art (秋田県立美術館 平野政吉コレクション, Akita Kenritsu Bijutsukan Hirano Masakichi Collection) is an art museum in the city of Akita.
The original Akita Prefectural Museum of Art was opened on May 5, 1967. The new  museum was opened on September 28, 2013. The main exhibit is a collection of works by Tsuguharu Foujita from the collection of the Masakichi Hirano Art Foundation. The museum has two additional galleries for rotating exhibitions. The triangular-shaped building was designed by award-winning architect Tadao Ando.


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The Museum of Sketches for Public Art (Swedish Skissernas museum - Arkiv för dekorativ konst, also known in English as the Archive of Decorative Art) is an art museum at Lund University in Sweden, dedicated to the collection and display of sketches and drawings for contemporary monumental and public art, such as frescos, sculpture and reliefs. The museum contains about 25,000 items, including sketches and contest entries by leading 20th-century Swedish artists such as Isaac Grünewald, other Nordic artists and foreign artists such as Henry Moore, Diego Rivera and Henri Matisse.
The museum was founded in 1934 by Ragnar Josephson (1891–1966), professor of the History and Theory of Art at Lund University. Josephson, who wanted to collect material illuminating the creative process of the artist, wrote a book on the topic, Konstverkets födelse ("The Birth of the Work of Art", 1940), as well as many shorter studies. The collection opened to the public in 1941 in a building close to the Lund University Library.
The original building was an old gymnastic hall; the architect Hans Westman added a new section, and another addition, designed by Johan Celsing, was completed in 2005. The museum reopened in March 2005 after having been closed for construction work since 2001.


The Tainan Art Museum (TAM; traditional Chinese: 臺南市美術館; simplified Chinese: 台南市美术馆; pinyin: Táinán Shì Měishùguǎn) is an art museum in West Central District, Tainan, Taiwan.


The museum consists of two main buildings. The museum building 1 was constructed with ochre yellow tiles in Art Deco architecture style. It spans over an area of 1,024 m². It was designed by Sutejiro Umezawa. The building was constructed  in 1931 originally as the Tainan Police Department. It is the earliest existing police station building in Taiwan. After the handover of Taiwan from Japan to the Republic of China in 1945, it was renamed to Tainan City Police Department. The police department moved out of the building in 2011.
The museum houses multipurpose theater, children's art center, artist exclusive gallery, collection, restoration and an art research center, the first of its kind in Taiwan.
The museum building 1 consists of 16 galleries and the museum building 2 consists of 17 galleries. The museum building 2 spans over an area of 2,960 m². It was designed by Shi Zhao Yong and Shigeru Ban. The building was designed with the shape of Delonix regia.


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Wednesbury Museum and Art Gallery is a purpose-built Victorian art gallery in Wednesbury in the West Midlands of England. It is notable for its Ruskin Pottery collection and for hosting the first public display of the Stuckism art movement.


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The building was built in 1891 to house a collection of paintings, drawings and watercolours donated by Mrs Mary Ann Richards on behalf of her late husband Edwin, and cost £5821 to build. It was designed by West Bromwich architects Wood and Kendrick, and built by Henry Wilcock of Wolverhampton. Four panels on the building's facade show the heads of Sir Christopher Wren to represent Architecture, Sir Joshua Reynolds for Art, John Flaxman for Sculpture, and Sir Isaac Newton for Science. Two busts sit in recesses above the entrance, of Alderman Williams and Alderman Lloyd, both mayors of Wednesbury and chairmen of the Art Gallery Committee. Following the Second World War, the museum was used by the council as offices, but returned to use as a museum in 1972, modernised and renovated.


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The gallery was originally built to display a large collection of works owned by Wednesbury residents, Edwin and Mary Richards. The couple were prolific collectors of art and especially favoured landscapes. In her will, Mary donated her and her husband's collection of paintings to the town of Wednesbury. These are displayed in the Richards Gallery. The works were stored in caves in Kinver, Staffordshire during the Second World War. Only some of the paintings were returned to public display when the war ended. The collection now consists of fifty-four paintings, following a large sale by Wednesbury Borough Council in 1948.


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The National Gallery for Foreign Art (Bulgarian: Национална галерия за чуждестранно изкуство, Natsionalna galeriya za chuzhdestranno izkustvo) of Bulgaria is a gallery located on St. Alexander Nevsky Square in Sofia. It serves as the country's national institution for non-Bulgarian art. It is situated in the 19th-century Neoclassic edifice of the former Royal Printing Office.


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The edifice of the NGFA was built between 1882 and 1884 during the rule of knyaz Alexander Battenberg to the designs of Austrian architect Friedrich Schwanberg and reconstructed after it suffered significant damage during the bombing of Sofia in World War II. The gallery itself was founded on 5 November 1985 as the art gallery of the Sts. Cyril and Methodius Foundation, its stock being later enlarged by donations, as well as by the addition of the National Art Gallery's foreign art section.
A large portion of the donations were made through the "13 Centuries of Bulgarian Statehood" fund, established by Lyudmila Zhivkova in the 1980s.
Since May 2015, collections of the National Gallery for Foreign Art are exhibited together with the 19th and 20th century collections of the National Art Gallery. For this purpose, the building on Alexander Nevsky Square was enlarged. The resulting exhibition space is known as National Gallery Square 500.


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Halls Seven, Eight and Nine display a rich collection of European fine arts from the 15th to the 20th century. Hall Seven is concentrated mostly around Renaissance art, along with smaller collections of Dutch Golden Age painting. The oldest work in the exhibition, The Baptism of Christ by Andrea del Verrocchio, dates from the late 15th century. Other Italian artists include Pietro Perugino, Antonio da Correggio, Rosso Fiorentino, Giovanni Battista Moroni and Alessandro Magnasco. Dutch painting is represented by Jan van Goyen, Nicolaes Pieterszoon Berchem, Isaac van Ostade and Frans Francken II. Hall Eight encompasses French, Flemish and other art from the 18th to the first half of the 19th century, most notably works by Jean-Baptiste Greuze, Francisco Goya and Jan Frans van Bredael. Hall Nine exhibits painting and sculpture from the second half of the 19th and the 20th century by Auguste Rodin, Ivan Meštrović, Pierre-Auguste Renoir, Marc Chagall, Pablo Picasso,  Joan Miró and Salvador Dalí, among others. Hall Ten holds a rare display of paintings by Les Nabis, a group of Post-Impressionist avant-garde artists who set the pace for fine arts and graphic arts in France in the 1890s.


The Getty Center, in Los Angeles, California, is a campus of the Getty Museum and other programs of the Getty Trust. The $1.3 billion center opened to the public on December 16, 1997 and is well known for its architecture, gardens, and views overlooking Los Angeles. The center sits atop a hill connected to a visitors' parking garage at the bottom of the hill by a three-car, cable-pulled hovertrain people mover.
Located in the Brentwood neighborhood of Los Angeles, the center is one of two locations of the J. Paul Getty Museum and draws 1.8 million visitors annually. (The other location is the Getty Villa in the Pacific Palisades neighborhood of Los Angeles, California.) The center branch of the museum features pre-20th-century European paintings, drawings, illuminated manuscripts, sculpture, and decorative arts; and photographs from the 1830s through present day from all over the world. In addition, the museum's collection at the center includes outdoor sculpture displayed on terraces and in gardens and the large Central Garden designed by Robert Irwin. Among the artworks on display is the Vincent van Gogh painting Irises.
Designed by architect Richard Meier, the campus also houses the Getty Research Institute (GRI), the Getty Conservation Institute, the Getty Foundation, and the J. Paul Getty Trust. The center's design included special provisions to address concerns regarding earthquakes and fires.


The Lighthouse in Glasgow is Scotland's Centre for Design and Architecture. It was opened as part of Glasgow's status as UK City of Architecture and Design in 1999.
The Lighthouse is the renamed conversion of the former offices of the Glasgow Herald newspaper. Completed in 1895, it was designed by the architect Charles Rennie Mackintosh. The centre's vision is to develop the links between design, architecture, and the creative industries, seeing these as interconnected social, educational, economic and cultural issues of concern to everyone.


The Ephraim Palace (German: Ephraim-Palais) is a Rococo-style building in Berlin, Germany, originally constructed in 1766. Despite the destruction of the palace in 1936 by Nazi Germany, the beginning of a reconstruction was possible in 1985, as many elements of the facade had been stored in East Germany. Today, the Ephraim Palace is a cultural-heritage property and houses a museum, mostly dealing with cultural topics.
The Ephraim Palace is named after Veitel Heine Ephraim, who hired the experienced architect Friedrich Wilhelm Dieterichs to design a palace on the property of the oldest pharmacy of Berlin.


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The Gallery of Modern Art (GOMA) is an art museum located within the Queensland Cultural Centre in the South Bank precinct of Brisbane, Queensland, Australia. The gallery is part of QAGOMA.
GOMA, which opened on 2 December 2006, is the largest gallery of modern and contemporary art in Australia, and houses Australia's first purpose-built cinematheque. The gallery is situated on Kurilpa Point next to the Queensland Art Gallery (QAG) building and the State Library of Queensland, and faces the Brisbane River and the CBD. The Gallery of Modern Art has a total floor area over 25,000 square metres (270,000 sq ft) and the largest exhibition gallery is 1,100 square metres (12,000 sq ft). The building was designed by Sydney architecture firm Architectus.


Herberstein Castle sits on a rock in the Feistritz ravine and thus is not accessible from 3 sides. At the same time, the castle is not visible from  out of the ravine and was thus naturally protected from attackers.
The oldest parts of the caste situated near the zoo stems from the 12th century. The first small castle called 'Herwigstein' (named after Herwig of Krottendorf) stood under the fiefdom of the Stubenberg Clan. Otto von Hartenberg could free the castle by a payment to the Stubenbergs and is considered to be the ancestor of Herberstein Castle since then.
By 1400 the castle was expanded by a massive outer bailey, which included the previously built Gothic chapel of St. Catherine. The bailey was extended in the 15th century a number times. Mid-16th century, the castle was transformed into a residential building with Renaissance elements and expanded to accommodate the numerous offspring. In the 17th century the magnificent banqueting hall was built, the deep moat was built on. Mid-17th century the 'Florentinerhof' was constructed after an Italian model and by the end of the century St. George's Chapel, the gardeners home and the 'Maierhof' were completed.
In the 17th and 18th century about one-fifth of Styria was possessed by Counts of Herberstein. Some 1,000 farms were tributary to the castle. The castle is still owned by the Herberstein family and serves as a residential and administrative center.
Admission to the castle includes guided tours of part of the castle, access to the historic gardens, the zoo, and the Gironcoli Museum, which features works by contemporary Austrian artist Bruno Gironcoli.


Pleven Epopee 1877, more commonly known as Pleven Panorama, is a panorama located in Pleven, Bulgaria, that depicts the events of the Russian-Turkish War of 1877–78, specifically the five-month Siege of Plevna (Pleven Epopee) which made the city internationally famous and which contributed to the Liberation of Bulgaria after five centuries of Ottoman rule.
The panorama was created by 13 Russian and Bulgarian artists and was constructed in honor of the 100th anniversary of the Pleven Epopee and was officially unveiled on 10 December 1977. The panorama expanded the already existing Skobelev Park, which is the site of three of the four major battles which led to the liberation of Bulgaria. In the first three years after its opening, 2.5 million people visited the panorama. The monument is one of nearly 200 built by the people of Pleven in tribute to the battle and to the nearly 35,000 lives lost.


Most of the historical landmarks in Pleven are related to the Russo-Turkish war, with around 200 monuments commemorating the bloodiest battles of the war. The Pleven Panorama was constructed in honor of the centennial of the surrender of Turkish forces to Russian and Romanian troops, ending the siege on Plevna. It was conceived and designed by N. Ovetchkin, an author from Moscow as a counterpart to the Borodin Panorama in Belgorod, Russia. The panorama is situated in Skobelev Park, named for the general who commanded the Russian forces and led them to victory over the Turks at Plevna, and the site upon which the deciding battle of the five-month siege on the city occurred.
Eleven Russian and two Bulgarian artists painted and constructed the panoramic painting which includes a 115×15-meter main canvas and 12-meter foreground.  The goal of Ovetchkin and the artists who created the panorama was to create a feeling of empathy for the battle that was fought on the site as well as a feeling of authenticity of the events that occurred on 11 September 1877. The panorama opened to the public on 10 December 1977, 100 years to the day that Field Marshal Osman Pasha surrendered to Colonel Mihail Cerchez, ending the Pleven Epopee.


The National Gallery of Armenia (NGA) was founded in 1921 under the decree of the Armenian Soviet Socialist Republic (Armenian SSR) and represents the artistic section of the State museum. Upon its establishment the NGA's art section encountered difficulties, largely because Yerevan lacked state owned and private art collections to form the core of the collection. The first works to enter the collection where the dozens of works purchased from an Armenian painters' exhibition in August 1921.
A decisive factor in the founding of the NGA's art collection was the transfer of the renowned collection of The Armenian Cultural Center (the former Lazarian Seminary, Moscow) and also the donations made by Armenian artists to the NGA. By 1925, 400 pieces by Armenian, Russian and European artists were on display throughout the six halls which compose the museum's art section.
By 1935, the state art section, which had undergone many refurbishments, became a separate Art Museum. In 1947 the gallery was re-dubbed the State Picture Gallery of Armenia and subsequently renamed the National Gallery of Armenia in 1991. The picture gallery's large collection of works are on display thanks to the efforts of many dedicated compatriots and friendly donations from foreign associates.
The NGA currently houses around 26,000 works of art, many of which are permanently displayed in the museum's 56 galleries and halls.


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The Museum of Contemporary Art Taipei (MoCA Taipei; Chinese: 台北當代藝術館; pinyin: Táiběi Dāngdài Yìshùguǎn) is a museum of contemporary art, located in Datong District, Taipei, Taiwan.


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The museum building was built during the Japanese rule in 1921 for what later became Jiànchéng Elementary School, which now occupies a new structure on the back of the historical building. After the handover of Taiwan from Japan to the Republic of China, it hosted the Taipei City Government and became an important landmark, thanks to its highly recognizable symmetrical building and belltower in historic style. After the city government had moved to the new location in Xinyi district, it was designated as a historical building, and re-opened on 27 May 2001 as Museum of Contemporary Art, Taipei (MOCA Taipei), as the first museum in Taiwan to be dedicated exclusively to contemporary art.
In 2021 MOCA director Loh Li-chen caused a scandal in the Taiwanese art world by making a xenophobic post on Facebook.


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The museum is open Tuesdays through Sundays from 10:00 a.m. to 6:00 p.m. It is closed on Mondays.


The Kyoto Municipal Museum of Art (京都市美術館, Kyōto-shi Bijutsukan) is one of the oldest art museums in Japan.  It is located in Okazaki Park in Sakyō-ku, Kyoto, and opened in 1928 as a commemoration of Emperor Hirohito's coronation ceremony as it was initially called the Shōwa Imperial Coronation Art Museum of Kyoto.
Upon renewal of the museum in 2020, Kyocera obtained the naming rights and the museum was renamed to Kyoto City KYOCERA Museum of Art (京都市京セラ美術館).


Planning: Kenjirō Maeda
Completion of construction: 1933
Total floor space: 9,349m²
Full address: 〒606-8344　京都府京都市左京区岡崎円勝寺町124


The Musée Courbet occupies the birthplace of French realist painter Gustave Courbet, at the Hôtel Hébert, and has about 80 permanent works of the artist. It is located at 1 Place Robert Fernier  in Ornans, France. Its creation took place in 1971, due to the efforts of Robert Fernier, a painter, who was its first curator. Fernier also published two volumes of the Courbet catalogue raisonné.
The museum became property of the Doubs department in 1976. It was completely renovated and enlarged between 2008 and 2011, and at the same time, annexed the Borel house and the Hotel Champereux, enlarging its surface to more than 2,000 m2, including 1,000 m2 and 21 permanent and temporary exhibition rooms.
At the beginning of the 20th century, Courbet's sister, Juliette, failed to create a Courbet Museum in Ornans. In 1947, the painter Robert Fernier created it in the premises of the town hall, where five paintings were displayed. Two other rooms came to enlarge the museum in 1957. In 1969, the birthplace of Courbet, the Hôtel Hébert, was for sale. The Society of Friends of Courbet, founded in 1937 by Fernier, acquired this house, located at the edge of the river of Loue, to install the museum there. On September 10, 1971, the museum was inaugurated by the Minister of Cultural Affairs, Jacques Duhamel. In 1976, the General Council of Doubs acquired the collections and the walls to ensure its durability. Robert Fernier, first curator of the museum, died in 1977, and his son, Jean-Jacques Fernier, succeeded him until 2008. The acquisition of two terraced houses, the Champereux hotel in 1994 and the Borel house in 2003, allowed the expansion of the museum.
Work was undertaken from 2008 for an overall amount of 9.2 million euros to the charge of the Doubs department with the help of the Regional Council of Franche-Comté (2 million euros), the State French (1.28 million euros) and the large loan (300,000 euros). After three years of closure, the Courbet Museum reopened on July 2, 2011, with a surface area of 500 m2 to 2,000 m2, with the addition of the two adjoining historic buildings acquired beforehand.
Since 2014, the Musée d'Orsay has signed a partnership with the museum, and this role of "godfather" consists of a scientific partnership and, among others, to accompany the loans of the museum on the national and international level.


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The Tokyo Metropolitan Teien Art Museum (東京都庭園美術館, Tōkyō-to Teien Bijutsukan) is an art museum in Tokyo, Japan.
The museum is located in Minato ward, just east of Meguro Station. The Art Deco building, completed in 1933, has interiors designed by Henri Rapin and features decorative glass work by René Lalique.


The Haus der Kunst (German: [ˈhaʊs deːɐ̯ ˈkʊnst], House of Art) is a non-collecting modern and contemporary art museum in Munich, Germany. It is located at Prinzregentenstraße 1 at the southern edge of the Englischer Garten, Munich's largest park.


The building was constructed from 1933 to 1937 following plans of architect Paul Ludwig Troost as Nazi Germany's first monumental structure of Nazi architecture and as Nazi propaganda. The museum, then called Haus der Deutschen Kunst ("House of German Art"), was opened on 18 July 1937 as a showcase for what the Nazi Party regarded as Germany's finest art, with celebrations including a historical pageant and a military parade. The inaugural exhibition was the Große Deutsche Kunstausstellung ("Great German Art Exhibition"), which was intended as an edifying contrast to the condemned modern art on display in the concurrent Degenerate Art Exhibition.
On 15 and 16 July 1939, the Große Deutsche Kunstausstellung inside the Haus der Deutschen Kunst was complemented by the monumental Tag der Deutschen Kunst celebration of "2,000 years of Germanic culture" where luxuriously draped floats (one of them carrying a 5 meter tall golden Nazi Reichsadler) and thousands of actors in historical costumes paraded down Prinzregentenstraße for hours in the presence of Adolf Hitler, Hermann Göring, Joseph Goebbels, Heinrich Himmler, Albert Speer, Robert Ley, Reinhard Heydrich, and many other high-ranking Nazis, with minor events taking place in the Englischer Garten nearby.
The 1939 Tag der Deutschen Kunst was documented by a group of hobby cinematographers on 16 mm Kodachrome color movie. The resulting 30-minute film is still pristine today due to Kodachrome's unusual archival properties, and is available in a variety of editions on VHS and DVD, such as Farben 1939 - Tag der Deutschen Kunst in München.


Despite being a non-collecting institution, Haus der Kunst has over the years received numerous works of art.
In 2011, Haus der Kunst forged a partnership with the private Goetz Collection to co-curate exhibits of video art. By 2013, it was one of the beneficiaries – along with the Bavarian State Museums and the Neues Museum in Nuremberg – when Ingvild Goetz donated her collection of video art to the state of Bavaria and made the collection as a whole, which includes almost 5,000 works, available on permanent loan.
In 2017, Jewish artist Mel Bochner donated his piece Joys of Yiddish (2012-15) to Haus der Kunst. Comprising a list of Yiddish words in yellow on black, it traverses the museum's façade as a reminder of the tragic disappearance of the language from German culture.


The William Morris Gallery is a museum devoted to the life and works of William Morris, an English Arts and Crafts designer and early socialist. It is located in Walthamstow at Water House, a substantial Grade II* listed Georgian home. The extensive grounds of the building are a public park, known as Lloyd Park.


Water House was constructed in 1762 and was Morris' family home in his teenage years from 1848 to 1856. The building and its grounds were sold on to newspaper proprietor Edward Lloyd in 1856, whose son donated the house and grounds (which then became Lloyd Park) to Walthamstow in 1900.The building was not opened as a museum until 1950, by Prime Minister Clement Attlee.
In 2007, as a result of cost saving exercises, by owners Waltham Forest Borough Council, the museum's opening hours were cut back to allow staffing to be reduced. This broke a stipulation of gifts by Sir Frank Brangwyn, that works should be on view for a minimum amount of time weekly. And a number of campaigners, including former Culture Secretary Chris Smith, were concerned that this would lead to the museum's closure.


In March 2009 the Heritage Lottery Fund awarded the gallery £80,000 to enable detailed proposals for redevelopment. In Autumn 2010 this proposal was successful in securing a second funding of £1.523 million from the Heritage Lottery Fund, which was matched with £1.5 million from the London Borough of Waltham Forest. Subsequently, a major redevelopment was carried out.
The building was closed for refurbishment and redevelopment in 2011 and was reopened in August 2012.
The redevelopment of Water House, designed by architects and exhibition designers Pringle Richards Sharratt, included a new wing "inspired by Georgian & Victorian precedents" containing a 60 m² (650 sq ft) gallery for temporary exhibitions as well as a tearoom with windows incorporating a Morris ‘Thistle’ frit pattern and a balcony that overlooks the gardens.
Grayson Perry's fifteen-metre long Walthamstow Tapestry was displayed for the first month after reopening.


Asakura Museum of Sculpture (台東区立朝倉彫塑館 Taitō kuritsu asakura chōsokan) or Asakura Choso Museum is a museum in Tokyo that showcases the sculptures and life work of Fumio Asakura (1883-1965). The art museum is located specifically in the Yanaka neighborhood of Taito, in Tokyo. The museum opened in 1967 after Asakura's death.


The Walt Disney Family Museum (WDFM) is an American museum that features the life and legacy of Walt Disney. The museum is located in The Presidio of San Francisco, part of the Golden Gate National Recreation Area in San Francisco.  The museum retrofitted and expanded three existing historic buildings on the Presidio’s Main Post.  The principal building, at 104 Montgomery Street, faces the Parade Ground, and opened on October 1, 2009.
The Walt Disney Family Museum is a 501(c)3 non-profit organization that was formally owned, operated and funded by the Walt Disney Family Foundation, a non-profit organization established by Disney's heirs including Diane Disney Miller, Disney's daughter and founder of the museum.  It is not formally associated with The Walt Disney Company, the media and entertainment enterprise.


The 40,000 square foot space in the main museum building features the newest technology and historic materials and artifacts to bring Disney’s achievements to life, with interactive galleries that include early drawings and animation, movies, music, listening stations, and a 12-foot diameter model of Disneyland.
The lobby displays 248 awards that Disney won during his career, including the Presidential Medal of Freedom and many Academy Awards—including the honorary award for Snow White and the Seven Dwarfs, which consists of one full-sized Oscar alongside seven miniature ones (representing the Seven Dwarfs).
There is also a Fantasia-inspired state-of-the-art digital Theater on the lower level of the museum, which screens Disney films daily.
There are ten permanent galleries, starting with Walt Disney's ancestral history and ending with his death on December 15, 1966.
Pieces related to Walt Disney's ridable miniature Carolwood Pacific Railroad (built in his backyard), including his beloved Lilly Belle locomotive, are on display at the museum as well.


The Studio Museum in Harlem is an American art museum devoted to the work of artists of African descent. The Museum’s galleries are currently closed in preparation for a building project that will replace the current building, located at 144 West 125th Street between Adam Clayton Powell Jr. Boulevard and Lenox Avenue in Harlem, Manhattan, New York City, with a new one on the same site. Founded in 1968, the museum collects, preserves and interprets art created by African Americans, members of the African diaspora, and artists from the African continent. Its scope includes exhibitions, artists-in-residence programs, educational and public programming, and a permanent collection.
Since opening in a rented loft at Fifth Avenue and 125th Street, the Studio Museum has earned recognition for its role in promoting the works of artists of African descent. The Museum's Artist-in-Residence program has supported over one hundred graduates who have gone on to highly regarded careers. A wide variety of educational and public programs include lectures, dialogues, panel discussions and performances, as well as interpretive programs, both on- and off-site, for students and teachers. The exhibitions program has also expanded the scope of art historical literature through the production of scholarly catalogues, brochures, and pamphlets.


The idea that became the Studio Museum was developed by a diverse group of founders in the belief that the African-American community should include a museum as part of its everyday experience, and to reflect their interests. Opened in 1968, in a rented loft, the Studio Museum in Harlem moved to its present location in 1982, where it focuses on exhibiting works by both emerging and established artists of African descent.
The museum celebrated the opening in September 1968 of its first exhibition, Electronic Reflections II, featuring works by artist Tom Lloyd. The Museum's first director was Charles Inniss. Directors since that time have been Edward Spriggs, Courtney Callender, Mary Schmidt Campbell, Kinshasha Holman Conwill, Lowery Stokes Sims, and Thelma Golden, its current director.
From 1970 - 1978, Gylbert Coker, the first chief curator of the museum set up the registration system for the SMH art collection which was later housed in The State Office Building. She arranged for the saving and cleaning of the Works Progress Administration Federal Art Project murals in Harlem Hospital that were done by Charles Alston. She curated several major exhibitions, among them, Bob Thompson (which revitalized the recognition of Thompson's art work), Hale Woodruff:50 years of His Art, and Contemporary African American Photographers.
Originally, the museum focused on workshops and exhibition programs that were designed to give artists a space to practice their craft, create works and show them. This idea led the trustees of the museum to start an Artist-in-Residence program. The proposal for the studio component of the museum was then written by the African-American painter William T. Williams, who believed it was important to have black artists working in the Harlem community, and also exhibiting their work in that community. Williams and sculptor Mel Edwards physically cleaned up and prepared the former industrial loft space at the museum's original location at 2033 Fifth Avenue (at 125th Street) for conversion into artists studios. The first artist to work in the top floor studio space was printmaker and sculptor Valerie Maynard.
The Museum also maintains an education department; in the 1970s, artists Janet Henry and Carrie Mae Weems worked in the Education Department.
In 2001, architects Rogers Marvel Architects designed the building's entry pavilion, exhibition spaces and auditorium, as well as other facilities.
The museum's Artist-in-Residence program celebrated its 40th year in 2010.  It has helped to cultivate the art-making practices and careers of more than one hundred artists, and the museum has fostered the careers of numerous museum professionals as well.
Former Associate Curator Naima Keith, now deputy director of the California African-American Museum, created many new exhibitions during her tenure, including ones focused on Afrofuturism.
In 2015 award-winning architect David Adjaye — whose firm Adjaye Associates designed the Smithsonian Institution's National Museum of African American History and Culture — was commissioned to design a new home for the Studio Museum in Harlem, which will allow the museum to expand its exhibition schedule.


The Studio Museum's permanent collection contains approximately 2000 works, including drawings, pastels, prints, photographs, mixed-media works and installations. It comprises works created by artists during their residencies, as well as pieces given to the Museum to create a historical framework for artists of African descent. Featured in the collection are Terry Adkins, Laylah Ali, Romare Bearden, Dawoud Bey, Skunder Boghossian, Elizabeth Catlett, Robert Colescott, Gregory Coates, Melvin Edwards, Kira Lynn Harris, Richard Hunt, Hector Hyppolite, Serge Jolimeau, Lois Mailou Jones, Jacob Lawrence, Norman Lewis, Wardell Milan, Philome Obin, Howardena Pindell, Betye Saar, Nari Ward, and Hale Woodruff, among others. The Museum is also the custodian of an extensive archive of the work of photographer James VanDerZee, the noted chronicler of the Harlem community during the 1920s, 30s, and 40s. In 1985 the museum was the recipient of the Award of Merit from the Municipal Art Society of New York City in recognition of its outstanding Black art collection.


WikiWeb_Astrup Fearnley Museum of Modern Art_0

The Astrup Fearnley Museum of Modern Art is a  privately owned contemporary art gallery in Oslo in Norway. It was founded and opened to the public in 1993. The collection's main focus is the American appropriation artists from the 1980s, but it is currently developing towards the international contemporary art scene, with artists like Jeff Koons, Richard Prince, Cindy Sherman, Matthew Barney, Tom Sachs, Doug Aitken, Olafur Eliasson, and Cai Guo-Qiang. The museum gives 6-7 temporary exhibitions each year. Astrup Fearnley Museum of Modern Art collaborates with international institutions and produces exhibitions that travel worldwide. In 2012 the museum moved to two new buildings designed by Renzo Piano in Tjuvholmen.


WikiWeb_Astrup Fearnley Museum of Modern Art_1

The museum opened in 1993, and was funded by two philanthropic foundations established by descendants of the Fearnley shipping family, the Thomas Fearnley Foundation and the Heddy and Nils Astrup Foundation.
The two foundations merged in 1995 to become the Thomas Fearnley, Heddy and Nils Astrup Foundation. The Thomas Fearnley Foundation was established by shipping magnate Thomas Fearnley (1880–1961) in 1939; he was the son of shipping magnate Thomas Fearnley (1841–1927) and grandson of romantic painter Thomas Fearnley. The Heddy and Nils Astrup Foundation was named for Nils Ebbessøn Astrup, who was a maternal grandson of Thomas Fearnley (1841–1927).
The museum created a stir in the international art world in 2002 when it purchased the American artist Jeff Koons's monumental sculpture in gilt porcelain of the pop star Michael Jackson with Bubbles, his favourite chimpanzee, for US$5.1 million.


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The permanent collection consists of works of Norwegian and International Contemporary Art. The museum collection was originally based on a private collection that goes back thirty years and has significantly developed with the many changes in modern/contemporary art. There has been an interest in German Abstract Expressionism, English modern painting, and the Young British Artists. Presently the collection is orientated towards the young American art scene. It also encompasses works pertaining to the steadily increasing global art community. The main areas of curatorial expertise in the museum are art from the 1960s to the present, including American and European pop-art, post-modern appropriation art of the 1980s and international contemporary art. Much needed additional space will be provided by 2012 when the museum moves into two new buildings designed by Renzo Piano. The collection includes works by artists such as;
Janine Antoni, Francis Bacon, Matthew Barney, Dado, Gardar Eide Einarsson, Robert Gober, Felix Gonzalez-Torres, Douglas Gordon, Cai Guo-Qiang, Damien Hirst, Anselm Kiefer, Jeff Koons, Louise Lawler, Sherrie Levine, Bjarne Melgaard, Bruce Nauman, Shirin Neshat, Sigmar Polke, Richard Prince, Charles Ray, Jason Rhoades, Gerhard Richter, Tom Sachs, Cindy Sherman, Rirkrit Tiravanija, and Andy Warhol.


The Château de la Napoule is a restored French castle, located in Mandelieu-la-Napoule in the Alpes-Maritimes Department of France, It has been classified as an historical landmark since 1993, and the gardens are listed by the French Ministry of Culture as among the Notable gardens of France. It was featured as one of the main locations in the 1999 movie Simon Sez.


The Musée Jean de La Fontaine is a writer's house museum located in Château-Thierry, France.
It is housed in the former house of Jean de La Fontaine, a French fabulist, and is mostly dedicated to collections and objects representing Jean de La Fontaine's work.


Fontaine was born and raised in the house which would later become the museum. He sold the house in 1676.


The Metropolitan Museum of Manila (nicknamed the Met) is one of the major museums in the city located within the Bangko Sentral ng Pilipinas (BSP) Complex along Roxas Boulevard in the Malate district of Manila, the Philippines.  It bills itself as the  country's premier museum for modern and contemporary visual arts by local and international artists.
Established in 1976, the Met initially exhibited international artists to expose Filipinos to contemporary visual works in other cultures. By 1986, its focus shifted to local works and extend its reach to more common people by offering bilingual exhibition texts and developing several outreach educational programs like workshops and symposia, thereby promoting local pride and identity. The museum offers free admission on Tuesdays.  Partly subsidized by the Bangko Sentral ng Pilipinas, the administration of the museum was entrusted to the Metropolitan Museum of Manila Foundation in 1979.
The museum's three floors of galleries house a collection of art and historical artifacts loaned by the BSP such as pre-Hispanic goldwork and pottery, religious artwork as well as some artworks by Félix Resurrección Hidalgo. The rest of the museum is dedicated to Philippine contemporary works by various Filipino artists.


Ponte alle Grazie is a bridge, reconstructed after 1945, over the Arno River in Florence, region of Tuscany, Italy.


Dronning Louises Bro (English: Queen Louise's Bridge) is a bridge across The Lakes in central Copenhagen, Denmark. It joins Frederiksborggade in Indre By (city centre) with Nørrebrogade in Nørrebro and separates Sortedam Lake (Sortedam Sø) to the northeast from Peblinge Lake (Peblinge Sø) to the south west.
The bridge was designed by Vilhelm Dahlerup, and constructed between 1885 and 1887.  The bridge is named after Queen Louise, King Christian IX's wife. It was listed in 1997.


Queen Louise's Bridge is built of granite and has three arches. The cast iron railings are decorated by four identical bronze cartouches  featuring Copenhagen's coat of arms surrounded by weapons, helmets and lions. The railing integrates eight lampposts and four flagpoles. It was listed in 1997.


The Prakasam Barrage stretches 1223.5 m across the Krishna River connecting Vijayawada, NTR and Mangalagiri Tadepalle Municipal Corporation, Guntur districts in Andhra Pradesh, India. The barrage serves also as a road bridge and spans over a lake. The three canals associated with the barrage run through the city of Vijayawada, crossing it and giving it a Venetian appearance.
The idea of constructing a dam across the river Krishna dates back to 1798. It began in the hands of captain Buckle and was revised in 1839 and 1841 by Captain Best and Captain Lake. After the endorsement of Major Cotton, the board of Directors of the East India Company approved it on 5 January 1850. The dam was started in 1852 and completed in 1855. It cost Rs 1.75 crore in those days and seems to have paid the then government a return of 18%. It used to irrigate 7 lakh acres.
Later, the State Government constructed a bridge that was named after Tanguturi Prakasam, the first Chief Minister of Andhra (a state formed in 1953, which later became Andhra Pradesh in 1956 after the merger of Telugu speaking districts of former Hyderabad State). Completed in 1957, it helps to irrigate over 1.2 million acres of land. This barrage also supplies water to Buckingham canal which was initially constructed as an inland navigation canal but was later used as an irrigation water supply canal. One of the first major irrigation projects of South India, the Prakasam Barrage in Vijayawada was completely successful in its mission.
Andhra Pradesh largely owes its rich agriculture to the Prakasam Barrage as the project facilitated the irrigation of large tracts of farmland. The Barrage provides views of the lake. It has become a tourist attraction of Vijayawada. On 13th Feb-2019 Andhra Pradesh chief minister Nara Chandrababu Naidu laid foundation to construct a new barrage named Vykuntapuram Barrage on the Krishna River nearly 25 km upstream of Prakasam Barrage.


The Kurushima Kaikyō Bridge consists of three successive suspension bridges with six towers and four anchorages. There is a shared anchorage that joins each suspension bridge to the next. Its construction is similar to the western portion of San Francisco–Oakland Bay Bridge which is two successive suspension bridges with four towers and one shared anchorage. The bridge's total length of 4,015 metres (13,173 ft), is just a little longer than the total length of the  two tower Akashi Kaikyō Bridge, which is 3,911 metres (12,831 ft).
First Kurushima Kaikyō Bridge (来島海峡第一大橋, Kurushima Kaikyō Daiichi Ō-hashi), main span 600 metres (1,969 ft), ranks 63rd largest two tower suspension bridge
Second Kurushima Kaikyō Bridge (来島海峡第二大橋, Kurushima Kaikyō Daini Ō-hashi), main span 1,020 metres (3,346 ft), ranks 26th largest
Third Kurushima Kaikyō Bridge (来島海峡第三大橋, Kurushima Kaikyō Daisan Ō-hashi), main span 1,030 metres (3,379 ft), ranks 25th largest


The Kurushima Kaikyō Bridge (来島海峡大橋, Kurushima Kaikyō Ō-hashi), which connects the island of Ōshima to the main part of Shikoku, was the world's longest suspension bridge structure when completed, in 1999. The bridge is part of the Shimanami Kaidō, an expressway that spans a series of islands and connects Hiroshima Prefecture in Honshū to Ehime Prefecture in Shikoku. The bridge and the expressway were both conceived by the Honshū-Shikoku Bridge Project.


The Pevchesky Bridge (Russian: Пе́вческий мост; literally Singers' Bridge), also known as the Choristers' Bridge or Yellow Bridge (Жёлтый Мост, Zholtyi Most), is a single-span bridge across the Moika River in Saint Petersburg, Russia. The bridge is a part of the Palace Square. The length of the bridge is 21 metres, and the width is 72 metres. It is the third-widest bridge in Saint Petersburg, after the Blue Bridge and Kazansky Bridge. Before the February Revolution, the term "Choristers’ Bridge" was shorthand for the tsarist foreign ministry, just as the French foreign ministry is known as the Quai d'Orsay.
The first wooden bridge on the site was designed by the French architect Auguste de Montferrand; it was inaugurated in 1834. The first pedestrians to cross the bridge were the troops marching to the parade celebrating the unveiling of the Alexander Column (also designed by Montferrand). The bridge got the name Yellow from the color of the railings, and according to the tradition of color-coding the bridges crossing the Moika River (that already had the Blue Bridge, the Green Bridge and the Red Bridge).
In 1837, Georg von Cancrin, an imperial minister of finance, proposed to replace the wooden bridge with a much wider cast iron structure. According to legend, Emperor Nicholas I himself chose the location for the bridge. Across the river from the Winter Palace was located the house of Count Yury Alexandrovich Golovkin. Once, Golovkin was in such a hurry to meet the Emperor, that he stepped from the boat transporting him across the Moyka and nearly drowned. Thus, Nicholas stated to Golvkin that he specifically located the bridge close to Golovkin's house, so as not to repeat the accident.
The new bridge was designed by architects Vasily Stasov, Domenico Adamini, and engineer E.A. Adam. The bridge was opened on 24 October 1840. The first user of the bridge was Nicholas I himself, who solemnly crossed the new bridge in his horse-drawn coach. The main decoration of the bridge are beautiful cast iron railings, with numerous frills, the main repeating elements being fan-like palmettos.
Later, the bridge got the name Pevchesky (literally Singers' bridge), because the Saint Petersburg Court Capella was accommodated nearby. In 1937, the rose-colored paving stones of the bridge were replaced by bitumen. In 2004, the companies Lenmoststroy and Intarsiya undertook restoration works on the bridge.


Cantlop Bridge is a single span cast-iron road bridge over the Cound Brook, located to the north of Cantlop in the parish of Berrington, Shropshire. It was constructed in 1818 to a design possibly by Thomas Telford, having at least been approved by him, and replaced an unsuccessful cast iron coach bridge constructed in 1812. The design of the bridge was innovative for the period, using a light-weight design of cast-iron lattice ribs to support the road deck in a single span, and appears to be a scaled-down version of a Thomas Telford bridge at Meole Brace, Shropshire. The bridge is the only surviving Telford-approved cast-iron bridge in Shropshire, and is a Grade II* listed building and scheduled monument. It originally carried the turnpike road from Shrewsbury to Acton Burnell.


The Lower Swan Bridge is in Dvortsovy Municipal Okrug, part of the Tsentralny District of the city. It crosses the Swan Canal, one of the city's oldest, at the point at which the canal joins the Moyka River, connecting the areas of the Field of Mars to the west and the Summer Garden to the east. It comprises a single-span arched stone construction 23.9 m (78 ft) long and 19.9 m (65 ft) wide, and carries both foot and vehicle traffic. It is one of two bridges that currently span the Swan Canal, the other being the Upper Swan Bridge at the northern end of the canal at its juncture with the Neva River.


Lower Swan Bridge (Russian: Нижний Лебяжий мост) is a single-span stone bridge in Saint Petersburg crossing the Swan Canal at its junction with the Moyka River.
The bridge is one of two which cross the Swan Canal, the other being the Upper Swan Bridge at the canal's northern end, at the confluence with the Neva River. The site of the Lower Swan Bridge was originally occupied by a wooden drawbridge built to the design of Harmen van Bol'es in the 1730s, replaced by a fixed bridge by 1760, and for a time known as the First Tsaritsyn Bridge, after the Tsaritsyn Meadow, now the Field of Mars. The wooden bridge was replaced with a stone one in the 1830s, but the speed of its construction led to significant problems, with the vaulting in danger of collapse. Numerous repairs and renovations have taken place over the bridge's existence, before finally being given a degree of stability after work in the 1920s, which retained the original appearance. Further restoration took place in 2002. Today the bridge links the Field of Mars with the Summer Garden at the Swan Canal's junction with the Moyka, close to the Mikhailovsky Castle.


The point at which the Swan Canal diverged from the Moyka River was first crossed by a wooden drawbridge built to the design of engineer Harmen van Bol'es, and in existence between 1720 and 1733. It comprised a beam system with supports on a pile foundation. The supports and superstructure were covered with boards painted to resemble stone. It was called the First Tsaritsyn Bridge after the Tsaritsyn Meadow, now the Field of Mars. It was replaced with a fixed wooden bridge by the 1760s.  The wooden crossing was replaced with a stone and brick one over six months between December 1836 and mid-1837, as part of the redevelopment of the area around the Mikhailovsky Castle. Engineers Pierre-Dominique Bazaine, Andrei Gotman and A. I. Remezov were responsible for the design of the single-span brick-vaulted arched bridge, with its facades and pillars lined with granite, and cast-iron railings designed by Carlo Rossi.  Prior to this the bridge had had several names, including the Swan Bridge, the Lower Swan Bridge, and the Wooden Swan Bridge, the latter name to distinguish it from the bridge across the northern end of the canal, which had been a stone construction since 1768. After being rebuilt in stone, the name Lower Swan Bridge took precedence, distinguishing it from the northern bridge, which became the Upper Swan Bridge.
The haste in which the bridge was constructed soon began to show. The brick vault of the bridge cracked almost immediately after completion, with the crack widening steadily over the next six years. By 1842 the gap had widened to 25 cm (9.8 in), causing seams to open in the bridge's foundations. Attempts were made to fill the gaps with copper wedges, but by 1846 all the wedges had fallen out and the bridge was crumbling, pieces falling into the water at the slightest vibration. A repair plan was drawn up by March 1847, but failed to solve the problems, with new defects being found in the repair works. In 1849 the arch collapsed, necessitating further repairs. Defects were again discovered in the vaulting in the early 1900s, and an 1904 examination declared the condition of the bridge unsatisfactory. In 1907, another reconstruction project was drawn up, proposing the fitting of lattice metal trusses. Neither this nor several subsequent repair programmes were implemented, and the bridge continued to collapse.
By the early 1920s the condition of the bridge was causing serious concern, and it was closed to traffic in 1924. It was again repaired between April 1925 and 1926 under the oversight of engineers B. D. Vasilyev and A. L. Salarev. The structure was strengthened with reinforced concrete and lined with granite, retaining the earlier appearance of the bridge, including Rossi's railings, which were restored.  Another restoration took place in 2002 as part of the 300th anniversary of the founding of the city. Waterproofing was carried out, the railings were restored and the roadway and pavements repaired.