{"id":{"repo_id":"vcu","oai_identifier":"oai:scholarscompass.vcu.edu:etd-1962"},"canonical_url":"https://search.dev.ndltd.org/etd/vcu/oai:scholarscompass.vcu.edu:etd-1962","repository":{"repo_id":"vcu","name":"Virginia Commonwealth University","base_url":"https://scholarscompass.vcu.edu/do/oai/"},"display":{"title":"The Encyclopedic Collections of the Metropolitan Museum of Art and the Rudolfine Kunstkammer as Expressions of Power","abstract":"In Western Europe during the sixteenth and seventeenth centuries, collections were created as repositories of art, technology, ethnographic curiosities and natural wonders. Collecting first became a widespread practice among Italian humanists of the late Renaissance who, influenced by the work of Pliny, were driven by the desire to understand the world through the acquisition of universal knowledge. The physical configuration of such encyclopedic projects could be found in the museums created to organize and assimilate the explosion of knowledge experienced during this period.This thesis addresses the social significance of accumulating an encyclopedic collection in the form of a large, public art museum at the turn of the twentieth century, discusses the Rudolfine Kunstkammer contextualized in a broad history of collecting prior to and including the Renaissance and compares the Metropolitan Museum of Art to the Kunstkammer in terms of how similarly or differently the collections communicated a combination of political, social, economic and cultural power.","abstract_html":"In Western Europe during the sixteenth and seventeenth centuries, collections were created as repositories of art, technology, ethnographic curiosities and natural wonders. Collecting first became a widespread practice among Italian humanists of the late Renaissance who, influenced by the work of Pliny, were driven by the desire to understand the world through the acquisition of universal knowledge. The physical configuration of such encyclopedic projects could be found in the museums created to organize and assimilate the explosion of knowledge experienced during this period.This thesis addresses the social significance of accumulating an encyclopedic collection in the form of a large, public art museum at the turn of the twentieth century, discusses the Rudolfine Kunstkammer contextualized in a broad history of collecting prior to and including the Renaissance and compares the Metropolitan Museum of Art to the Kunstkammer in terms of how similarly or differently the collections communicated a combination of political, social, economic and cultural power.","abstract_has_math":false,"creators":["Pate, Jennifer Ashley"],"institution":null,"degree_name":"Master of Arts","degree_level":"Thesis","degree_discipline":"Art History","degree_department":null,"school":null,"contributors":["Dr. Margaret Lindauer"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2007,"date_issued":"2007-01-01T08:00:00Z","date_published":"2007-01-01T08:00:00Z","updated_at":"2026-07-24T05:54:40Z","subjects":["museum collection","public art","art museum","iconography","Rudolf II","Arts and Humanities"],"languages":[],"rights":["© The Author"],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["https://scholarscompass.vcu.edu/etd/963"],"render_values":[{"text":"https://scholarscompass.vcu.edu/etd/963","href":"https://scholarscompass.vcu.edu/etd/963","code":true}]}]},"links":{"outbound_url":"https://doi.org/10.25772/QX8J-YT92","outbound_label":"DOI","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Dr. Margaret Lindauer"]},{"key":"dc:creator","label":"Author","values":["Pate, Jennifer Ashley"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.available","label":"Dc Date Available","values":["2014-07-09T07:00:00Z"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Art History"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Thesis"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Arts"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["museum collection","public art","art museum","iconography","Rudolf II","Arts and Humanities"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:rights","label":"Dc Rights","values":["© The Author"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://doi.org/10.25772/QX8J-YT92","https://scholarscompass.vcu.edu/etd/963"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["In Western Europe during the sixteenth and seventeenth centuries, collections were created as repositories of art, technology, ethnographic curiosities and natural wonders. Collecting first became a widespread practice among Italian humanists of the late Renaissance who, influenced by the work of Pliny, were driven by the desire to understand the world through the acquisition of universal knowledge. The physical configuration of such encyclopedic projects could be found in the museums created to organize and assimilate the explosion of knowledge experienced during this period.This thesis addresses the social significance of accumulating an encyclopedic collection in the form of a large, public art museum at the turn of the twentieth century, discusses the Rudolfine Kunstkammer contextualized in a broad history of collecting prior to and including the Renaissance and compares the Metropolitan Museum of Art to the Kunstkammer in terms of how similarly or differently the collections communicated a combination of political, social, economic and cultural power."]},{"key":"dc:title","label":"Title","values":["The Encyclopedic Collections of the Metropolitan Museum of Art and the Rudolfine Kunstkammer as Expressions of Power"]}]}],"canonical_facts":{"dc:contributor":["Dr. Margaret Lindauer"],"dc:creator":["Pate, Jennifer Ashley"],"dc:date.available":["2014-07-09T07:00:00Z"],"dc:description.abstract":["In Western Europe during the sixteenth and seventeenth centuries, collections were created as repositories of art, technology, ethnographic curiosities and natural wonders. Collecting first became a widespread practice among Italian humanists of the late Renaissance who, influenced by the work of Pliny, were driven by the desire to understand the world through the acquisition of universal knowledge. The physical configuration of such encyclopedic projects could be found in the museums created to organize and assimilate the explosion of knowledge experienced during this period.This thesis addresses the social significance of accumulating an encyclopedic collection in the form of a large, public art museum at the turn of the twentieth century, discusses the Rudolfine Kunstkammer contextualized in a broad history of collecting prior to and including the Renaissance and compares the Metropolitan Museum of Art to the Kunstkammer in terms of how similarly or differently the collections communicated a combination of political, social, economic and cultural power."],"dc:identifier":["https://doi.org/10.25772/QX8J-YT92","https://scholarscompass.vcu.edu/etd/963"],"dc:rights":["© The Author"],"dc:subject":["museum collection","public art","art museum","iconography","Rudolf II","Arts and Humanities"],"dc:title":["The Encyclopedic Collections of the Metropolitan Museum of Art and the Rudolfine Kunstkammer as Expressions of Power"],"thesis:degree_discipline":["Art History"],"thesis:degree_level":["Thesis"],"thesis:degree_name":["Master of Arts"]},"updated_at":"2026-07-24T05:54:40Z"}