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Art History and Emergency assesses art history’s role and responsibilities in what has been described as the “humanities crisis”—the perceived decline in the practical applications of the humanities in modern times. This timely collection of critical essays and creative pieces addresses several thought-provoking questions on the subject. For instance, as this so-called crisis is but the latest of many, what part has “crisis” played in the humanities’ history? How are artists, art historians, and professionals in related disciplines responding to current pressures to prove their worth? How does one defend the practical value of knowing how to think deeply about objects and images without losing the intellectual intensity that characterizes the best work in the discipline? Does art history as we know it have a future ?
kunstgeschiedenis --- geschiedenis --- filosofie --- kunsteducatie --- art history --- Art --- humanism --- humanities --- Humanities --- Education, Higher --- Historiography --- Philosophy --- Study and teaching (Higher) --- Aims and objectives --- Art - Historiography --- Art - Philosophy --- Humanities - Study and teaching (Higher) --- Education, Higher - Aims and objectives --- kunstgeschiedenis. --- geschiedenis. --- filosofie. --- kunsteducatie.
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Bauhaus Diaspora and Beyond: Transforming Education through Art, Design and Architecture presents an extraordinary new Australasian cultural history. It is a migrant and refugee story: from 1930, the arrival of so many emigre, internee and refugee educators helped to transform art, architecture and design in Australia and New Zealand. Fifteen thematic essays and twenty individual case studies bring to light a tremendous amount of new archival material in order to show how these innovative educators, exiled from Nazism, introduced Bauhaus ideas and models to a new world. As their Bauhaus model spanned art, architecture and design, the book provides a unique cross-disciplinary, emigre history of art education in Australia and New Zealand. It offers a remarkable and little-known chapter in the wider Bauhaus venture, which has multiple legacies and continues to inform our conceptions of progressive education, creativity and the role of art and design in the wider community.
Art --- Study and teaching --- History --- Bauhaus --- Influence. --- architectuur --- emigratie --- design --- kunsteducatie --- 20ste eeuw --- Australië --- Nieuw-Zeeland --- Europa --- Bauhaus. --- architectuur. --- emigratie. --- design. --- kunsteducatie. --- 20ste eeuw. --- Australië. --- Nieuw-Zeeland. --- Europa.
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"What do we have in mind when we talk about African art? This book examines the shifting answers to that question. Fluidly written, it is the first book to explore the full historical arc of the invention and development of the category of "African art" and the academic field of African art history. It is meant to be an accessible guide through the history of the field, showing us how it started and has changed from its contested beginnings until today. Peter Probst helps the reader understand how Africanists have continuously filled the notion of African art with new meanings and why these shifts manifest wider societal transformations. The book covers three key stages in the field's history, starting with the late nineteenth through mid-twentieth century. Here Probst focuses on museums, processes of collecting, photography's role in disseminating visual culture, and how early anthropologists and art historians-and artists-imbued collected objects with values that spoke to scientific debates about the evolution and diffusion of culture prominent at the time. Probst then explores the rise of Black Atlantic studies in the 1970s and 1980s, when African art history fell under the gaze of African American critique and saw an explosion of interest in contemporary African art. Finally, he examines the postcolonial reconfiguration of the field driven by questions of heritage, reparation, and the "crisis of representation." Probst believes that if the study of African art is to move in productive new directions, we must look to how the field is evolving in Africa for new models of inquiry"--
Art africain --- Art, African --- Historiographie. --- Étude et enseignement --- Histoire. --- Historiography. --- Study and teaching --- History. --- Study and teaching. --- History --- Historiography --- African art --- Art, Sub-Saharan African --- Sub-Saharan African art --- #SBIB:39A5 --- #SBIB:39A73 --- Kunst, habitat, materiële cultuur en ontspanning --- Etnografie: Afrika --- Colonisation. Decolonisation --- Art --- colonization --- historiografie van de kunstgeschiedenis --- kunsthistorisch onderzoek --- Africa --- kolonisatie. --- kunstgeschiedenis. --- cultuurgeschiedenis. --- verzamelingen. --- racisme. --- Afrika. --- kolonisatie --- kunstgeschiedenis --- cultuurgeschiedenis --- verzamelingen --- racisme --- Afrika
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The nineteenth century was a remarkable period in art history during which the practices of painting, printmaking and photography intersected in new and unexpected ways. Massive changes in the technology of reproduction took place, and France in particular became a leading testing ground for new printing and photographic techniques. This abundantly illustrated book investigates for the first time the complex and lively interactions between painting, printmaking and photography in France during the 1800s. Cultural historian Stephen Bann explores why rising reproductive media did not supplant traditional modes and how, instead, printmakers, photographers and painters influenced and inspired each other's work, together creating a visual culture of unique richness and breadth. The book focuses especially on pictorial reproduction involving painting, printmaking and photography in combination. Bann includes in the discussion the interweaving careers of Ingres and such contemporary painters as Vernet and Delaroche, such printmakers as lithographer Nicolas Charlet and engraver Luigi Calamatta and such pioneering photographers as Niepce, Daguerre and Robert Bingham. Setting the nineteenth-century issues of reproduction in the context of art history and theory, Bann also offers insights into the nature of art reproduction in our own era of radically changing reproduction technology.
Graphic arts --- Painting --- Photography --- anno 1800-1899 --- France --- technieken --- schilderkunst --- fotografie --- grafiek --- reproducties --- 19de eeuw --- Frankrijk --- 76 <44> "18" --- 77 <44> --- Grafische kunsten. Grafiek. Prentkunst--Frankrijk--19e eeuw. Periode 1800-1899 --- Fotografie--Frankrijk --- Prints, French --- Study and teaching --- History. --- History --- 77 <44> Fotografie--Frankrijk --- 76 <44> "18" Grafische kunsten. Grafiek. Prentkunst--Frankrijk--19e eeuw. Periode 1800-1899 --- Oil painting --- Painting, Primitive --- Paintings --- French prints --- Study and teaching&delete& --- CDL --- 7.035 --- 19de eeuw. --- Frankrijk.
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Les écoles de dessin qui se créent au xviiie siècle représentent la première forme d’un enseignement professionnel publique et gratuit. Connues à travers des monographies ou des études locales, elles n’ont jusqu’à ce jour pas fait l’objet d’un travail historique d’ensemble. Le présent ouvrage comble cette lacune. L’auteur rappelle d’abord le contexte économique, social et culturel de ces créations. L’analyse minutieuse de sources nationales, régionales et municipales permet ensuite de préciser les étapes de la mise en place des écoles et leur fonctionnement : financement, équipement des classes, matériel nécessaire aux leçons, mais aussi recrutement et obligations des professeurs et des élèves, contenus et méthodes pédagogiques. Les écoles de dessin intéressent de nombreux métiers qui y trouvent l’apport théorique complémentaire de l’apprentissage pratique acquis auprès d’un maître. Ces nouvelles institutions cependant restent ambiguës, hésitant entre arts mécaniques et arts libéraux. Si elles sont destinées aux ouvriers et artisans, elles s’adressent également aux amateurs d’art et aux artistes, ce que montrent les genres enseignés (figure, bosse, modèle) et le recrutement des professeurs, calqués sur le modèle académique. La bivalence affichée entraîne une complexité des statuts institutionnels et des relations avec l’Académie royale de peinture et de sculpture, comme avec les métiers. Elle induit également une diversité des élèves qui fréquentent les écoles, ce que ne vivent ni les corporations ni les autres institutions scolaires. L’existence des écoles de dessin telles que définies dans ce travail cesse en 1793, lorsque sont supprimées les académies.
Didactics of the arts --- Drawing --- History of education and educational sciences --- anno 1700-1799 --- France --- Drawing, French --- Dessin --- Dessin français --- Study and teaching --- Etude et enseignement --- kunsteducatie --- academies --- tekenscholen --- geschiedenis --- 18de eeuw --- Frankrijk --- Visual Arts --- Art, Architecture & Applied Arts --- Drawing, Design & Illustration --- Dessin français --- Drawing - Study and teaching - France --- XVIIIe siècle --- école d'art --- enseignement publique et gratuit --- artiste --- éducation --- enseignement artistique --- histoire de l'enseignement --- étude et enseignement --- enseignement professionnel --- dessin --- kunsteducatie. --- academies. --- tekenscholen. --- geschiedenis. --- 18de eeuw. --- Frankrijk.
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onder eindredactie van M. van der Kamp, P.G.J. Leijdekkers, J.L. Locher en J.B.H. Vierdag --- Art --- -Art schools --- -kunstonderwijs --- Nederland --- kunstscholen --- 373.67 --- Schools --- 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 --- Study and teaching --- -History --- Art schools --- History. --- kunstonderwijs --- Study and teaching&delete& --- History --- Art, Primitive --- kunstonderwijs. --- Nederland. --- academies --- geschiedenis
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In de negentiende eeuw beoefenden in Nederland 1100 vrouwen de beeldende kunst. De meeste van deze vrouwen zijn na hun dood vergeten. Het beeld is ontstaan dat de kunstwereld tamelijk ongunstig tegenover vrouwen stond en dat de kunstbeoefening vooral als vrijetijdsbesteding voor welgestelde dames werd aangemoedigd. Een professionele carrière was slechts voor een enkeling weggelegd. Dit boek brengt hierin verandering en besteedt voor het eerst uitvoerig aandacht aan de positie van kunstenaressen in de negentiende eeuw en de ontwikkeling daarvan. Exhibition: Museum Paleis Het Loo, Apeldoorn, The Netherlands (18.2.-27.5.2012) / De Mesdag Collectie, Den Haag, The Netherlands (30.5.-28.8.2012).
Painting --- Sociology of the family. Sociology of sexuality --- anno 1910-1919 --- anno 1900-1909 --- anno 1800-1899 --- Art --- Art, Dutch --- Women artists --- Study and teaching --- History --- anno 1900-1999 --- Netherlands --- vrouwelijke kunstenaars. --- kunsteducatie. --- kunstkritiek. --- tentoonstellingen. --- kunsthandel. --- 1808 - 1913. --- 19de eeuw. --- 20ste eeuw. --- Nederland. --- Artists --- Art education --- Participation --- Intellectuals --- Book --- vrouwelijke kunstenaars --- kunsteducatie --- kunstkritiek --- tentoonstellingen --- kunsthandel --- 1808 - 1913 --- 19de eeuw --- 20ste eeuw --- Nederland
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art appreciation --- museology --- Museology --- Art Institute of Chicago --- The Art Institute of Chicago --- museumeducatie --- kunsteducatie --- Arts and Humanities --- Architecture, Fine and Decorative Arts --- Performing Arts, Travel and Leisure --- Art --- Periodicals --- Study and teaching --- Societies, etc. --- Art Institute Chicago --- audiences --- The Art Institute of Chicago. --- museumeducatie. --- kunsteducatie.
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Ce livre présente l'enseignement de Paul Klee lorsqu'il fut nommé au Bauhaus. On découvre ainsi la reproduction des nombreuses pages écrites en allemand par l'artiste et leur traduction française. L'ouvrage est précédé d'une introduction qui rappelle la position de Klee en tant que professeur à Dessau.
Painting --- Higher education --- Klee, Paul --- Painting, German --- Art --- Teaching --- Education --- Peinture allemande --- Enseignement --- Study and teaching --- History. --- Handbooks, manuals, etc. --- Experimental methods --- Etude et enseignement --- Histoire --- Guides, manuels, etc --- Méthodes expérimentales --- Klee, Paul, --- Bauhaus --- kunsttheorie --- 1921 - 1922 --- Weimar --- Couleur --- Theorie de la peinture --- Guides, manuels, etc. --- Méthodes expérimentales --- Bauhaus. --- kunsttheorie. --- Klee, Paul. --- 1921 - 1922. --- Weimar.
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Sculpture --- sculpture [visual works] --- ateliers [studios, organizations] --- art schools [institutions] --- Richier, Germaine --- Bourdelle, Antoine --- Rodin, Auguste --- Giacometti, Alberto --- France --- beeldhouwkunst --- kunsteducatie --- modellen --- vrouwelijke kunstenaars --- Bourdelle, Emile-Antoine --- Sévastos, Cleopatra --- 19de eeuw --- 20ste eeuw --- Sculptors --- Sculpture, Modern --- Study and teaching --- Training of --- Bourdelle, Emile Antoine, --- Influence. --- kunsteducatie. --- sculptuur. --- modellen. --- vrouwelijke kunstenaars. --- Bourdelle, Antoine. --- Sévastos, Cleopatra. --- Giacometti, Alberto. --- Richier, Germaine. --- 19de eeuw. --- 20ste eeuw. --- sculptuur
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