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Art --- History --- Periodicals --- Histoire --- Périodiques --- Art. --- Périodiques --- Art, Daghestan --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Periodicals. --- Arts --- Aesthetics --- Art, Primitive
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toegepaste kunsten --- 1850 - 1900 --- 19e eeuw --- Biedermeier --- art nouveau --- 19de eeuw --- Art, Victorian. --- Art, Victorian --- Victorian art --- Art, Modern --- 7.035 --- CDL --- Biedermeier. --- art nouveau. --- 19de eeuw.
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Excerpt : These selected points of view, while far from representing an exhaustive analysis of the situation of contemporary art, nevertheless pose many of the fundamental issues relevant to the problem of a future for art. It is a question that can be seen as part of an emerging concern of the culture as a whole with its own future, a tendency which has appeared rarely if ever before with its present intensity. In 1969, in response to a growing sense of urgency around critical issues pertaining to the role of art within society, the Solomon R. Guggenheim Museum presented a lecture series on the subject of the future of art. This illustrated collection of seven essays, with an introduction by Associate Curator Edward F. Fry, came out of the series, which Fry also organized. Seeking “fresh insights beyond the normal limits of critical and art-historical discourse,” Fry invited individuals working in the fields of history, philosophy, psychology, and social theory, as well as an architect and a sculptor representing opposing poles of artistic practice, to participate, with the aim of situating art of the period and its pressing critical concerns in a broader intellectual and cultural context. By favoring “selected points of view” over “an exhaustive analysis,” On the Future of Art offers varied and sometimes radical perspectives as its contributors engage with aesthetics, cybernetics, futurology, the psychology of learning, and structuralism to envision art’s future. The collection includes the following essays: “Art: Communicative or Esoteric?” by historian Arnold J. Toynbee, “Architecture: Silence and Light” by architect Louis I. Kahn, “Art and the Structuralist Perspective” by art historian Annette Michelson, “Creating the Creative Artist” by psychologist B. F. Skinner, “Phenomenal Art: Form, Idea, and Technique” by artist James Seawright, “The Aesthetics of Intelligent Systems” by artist and theorist J. W. Burnham, and “Art as a Form of Reality” by philosopher Herbert Marcuse.
E-books --- Exhibitions --- Art. --- Art --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Art, Primitive
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Petroglyphs --- Rock paintings --- Art, Prehistoric --- Antiquities, Prehistoric --- Pétroglyphes --- Art préhistorique
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Arts --- War in art --- Exhibitions
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Leermeester en leerling. Toen H. van de Waal in 1946 zijn hoogleraarsambt aan de Leidse universiteit aanvaardde, citeerde hij wat oude Joodse wijzen over die merkwaardige verhouding hadden gezegd: 'de goede leerling ... is als een zeef, hij behoudt het waardevolle en laat het overbodige en verkeerde vallen.' Bij zo'n credo kan de verhouding tussen leermeester en leerling bijna vrijblijvend zijn, niet bezwaard door doctrine; de leermeester kan zijn leerlingen de vrijheid laten die hij ook voor zichzelf opeist. Dat is ook gebeurd. De opstellen in deze bundel, ter gelegenheid van de zestigste verjaardag van professor Van de Waal bijeengebracht door leerlingen en enkele medewerkers, zijn verschillend van aard en inhoud. In sommige ervan is de methodiek van de leermeester duidelijker merkbaar dan in andere; toch lijkt juist met deze verscheidenheid de leermeester het meest geëerd. (voorwoord)
Art --- History --- Festschriften --- Waal, H. van de
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Thematology --- Aesthetics of art --- anno 1900-1999 --- anno 1800-1899 --- Clowns in art. --- Artists and models in art. --- Arts --- Psychological aspects. --- Clowns in art --- Artists and models in art --- 7.041 --- CDL --- Artists in art --- Models and artists in art --- Models in art --- Psychological aspects --- circuses [performances] --- self-portraits --- clowns
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The Oxford Companion to Art is a handbook for readers who want an accessible introduction and work of reference to the fine arts. It contains around 3,000 entries varying from brief descriptions to longer articles that give both a survey of their subject and a guide of national and regional schools of art, styles, techniques, and iconography, and there are short biographies of painters, sculptors, and architects. A generous system of crossreferences helps the reader to supplement the information given in any one article and there is a large selective bibliography. The book covers human artistic endeavour through all time and throughout the world. In order to bring se vast a body of material within the range of a single volume the editor has excluded the practical arts and handicrafts with the exception of those, such as for example architecture and ceramics, which bulk so large in our knowledge of the artistic development of certain countries and peoples that their complete exclusion was out of the question. Articles are written by specialists and Harold Osborne has achieved a fine balance both in the selection of topics and in the degree of detail in eachone.
Art --- Artists --- Kunst --- Dictionaries. --- woordenboeken --- woordenboeken. --- Dictionaries --- Biography --- Kunst. --- Leksika. --- Artists - Dictionaries --- Art - Dictionaries
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Christian art and symbolism --- Themes, motives --- Scandinavia. --- Iconography --- to date --- Serials --- Art, Scandinavian
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