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Understanding Art is a two-volume, fully illustrated work that strives to explain and discuss four important periods in the history of western art--the Romanesque, Gothic, Renaissance, and Baroque. It aims to create a sense of understanding, recognition, and appreciation of art by analysing, within the four periods, three distinct artistic genres: painting; sculpture; and architecture. Besides the excellence of the illustrations, one of the great virtues of this book is its clear and concise explanations. It is truly an excellent first stop for anyone embarking on a serious study of art--or anyone wishing to refresh his or her memory of the facts about the art history of the western world.
UNDERSTANDING ART provides a balanced, fresh approach to art appreciation, incorporating coverage of masterworks from the past and present. Author Lois Fichner-Rathus combines a conversational writing style with exciting images from Rembrandt to Zaha Hadid in order to truly connect with students and to foster understanding of the art that surrounds them in everyday life. The Compare + Contrast feature encourages students to develop their critical thinking skills, through comparisons of works such as The Davids of Donatello, Verrocchio, Michelangelo, and Bernini. Students will be inspired to become as passionate about art as you are! The latest edition features new and expanded sections on religious and world art, green buildings, and conceptual art. There is also new Art Tour for Los Angeles and over 100 new images in the areas of fashion, crafts, industrial design and architecture. A comprehensive, optional, set of online tools makes it easier than ever for students to study and learn the material, regardless of their particular learning styles. It includes an interactive eBook, all images included within the text, video and audio clips, image flashcards, and much more. Important Notice: Media content referenced within the product description or the product text may not be available in the ebook version.
Even the youngest children in primary schools are now required not only to make art, but also to study it, developing an understanding of the huge variety of art and craft from different times and places. But how do teachers actually tackle this, when most have not studied art themselves? This collection brings together case studies to show how a variety of teachers have used one particular art collection as a focus for practical art. Throughout, the voices of the children involved show us how they react to their encounters with art objects. This wealth of first hand evidence and practical experience will benefit all teachers.
In this volume, the third in his classic series of texts surveying the history of art theory, Moshe Barasch traces the hidden patterns and interlocking themes in the study of art, from Impressionism to Abstract Art. Barasch details the immense social changes in the creation, presentation, and reception of art which have set the history of art theory on a vertiginous new course: the decreased relevance of workshops and art schools; the replacement of the treatise by the critical review; and the interrelation of new modes of scientific inquiry with artistic theory and praxis. The consequent changes in the ways in which critics as well as artists conceptualized paintings and sculptures were radical, marked by an obsession with intense, immediate sensory experiences, psychological reflection on the effects of art, and a magnetic pull to the exotic and alien, making for the most exciting and fertile period in the history of art criticism.
The Art of Understanding Art reveals to students and otherreaders new and meaningful ways of developing personal ideas andopinions about art and how to express them with confidence. Offers an inquiry—unique among introductory arttexts—into the learning process of understanding andappreciating art Examines the multiple issues and processes essential to making,analyzing and evaluating art Uses cross-cultural examples to help readers developcomprehensive, yet personal, ways of looking at and thinking aboutart Includes an annotated glossary of the 'Art World', institutionsand individuals that play a role in defining art as well asdiagrams, textboxes callouts and other visual elements to highlightinformation and enhance learning Richly illustrated with over 40 images Suggests innovative class assignments and projects useful fordeveloping lesson plans, and offers an online companion site foradditional illustrations and information
An introductory guide to the visual arts offers a look at the many "isms" that are used to define art movements, with a discussion of the various art historical periods, their significance, and their most important artists and works.
" The first edition of this bestseller was featured inThe New York TimesandThe Boston Globefor its groundbreaking research on the positive effects of art education on student learning across the curriculum. Capitalizing on observations and conversations with educators who have used the Studio Thinking Framework in diverse settings, this expanded edition features new material, including: The addition ofExhibitionsas a fourth Studio Structure for Learning (along with Demonstration-Lecture, Students-at-Work, and Critique). Explanation and examples of the dispositional elements of each Habit, includingskill, alertness(noticing appropriate times to put skills to use), andinclination(the drive or motivation to employ skills). A chart aligning Habits to the English Language Arts and Mathematics Common Core. Descriptions of how the Framework has been used inside and outside of schools incurriculum planning, teaching,andassessmentacross arts and non-arts disciplines. A full-color insert with new examples of student art. Studio Thinking 2will help advocates explain arts education to policymakers, help art teachers develop and refine their teaching and assessment practices, and assist educators in other disciplines to learn from existing practices in arts education. Lois Hetlandis professor and chair of art education at Massachusetts College of Art and Design and senior research affiliate at Project Zero, Harvard Graduate School of Education.Ellen Winneris professor and chair of psychology at Boston College and a senior research associate at Project Zero.Shirley Veenemais an instructor in visual arts at Phillips Academy in Andover, Massachusetts.Kimberly M. Sheridanis an assistant professor in the College of Education and Human Development and the College of Visual and Performing Arts at George Mason University. “Our decade of using the Studio Thinking Framework in California’s schools positions us for success in this new era because of the foundation of reflective, creative, and critical thinking developed in our schools and districts.” —From the Foreword to the Second Edition byLouise Music, Executive Director of Integrated Learning, Alameda County Office of Education, Hayward, CA “Studio Thinking[is] a vision not only of learning in the arts but what could be learning most anywhere.” —From the Foreword to the First Edition byDavid N. Perkins, Professor of Education, Harvard Graduate School of Education, and Senior Co-Director of Harvard Project Zero Praise for the First Edition ofStudio Thinking— “Winner and Hetland have set out to show what it means to take education in the arts seriously, in its own right.” —The New York Times “This book is very educational and would be helpful to art teachers in promoting quality teaching in their classrooms.” —School Arts Magazine “Studio Thinkingis a major contribution to the field.” —Arts & Learning Review “The research inStudio Thinkingis groundbreaking and important because it is anchored in the actual practice of teaching artists.... The ideas inStudio Thinkingcontinue to provide a vehicle with which to navigate and understand the complex work in which we are all engaged.” —Teaching Artists Journal “Hetland and her colleagues reveal dozens of practical measures that could be adopted by any arts program, inside or outside of the school.... This is a bold new step in arts education.” —David R. Olson, Professor Emeritus, University of Toronto “Will be at the top of the list of essential texts in arts education. I know of no other work in art education with this combination of authenticity and insight.” —Lars Lindström, Stockholm Institute of Education “The eight studio habits of mind should become a conceptual framework for all preservice art education programs; this book should be read by all early and experienced art educators.” —Mary Ann Stankiewicz, The Pennsylvania State University "
European Contract Law unification projects have recently advanced from the Draft Common Frame of Reference (2009) to a European Commission proposal for an optional Common European Sales Law (2011) which is to facilitate cross-border marketing. This book investigates for the first time how CESL and DCFR rules would interact with various aspects of domestic law, represented by English and German law. Nineteen chapters, co-authored by British and German scholars, examine such interface issues for eg pre-contractual relationships, notions of contract, formation, interpretation, and remedies, extending to non-discrimination, third parties, transfers or rights, aspects of property law, and collective proceedings. They go beyond a critical analysis of CESL and DCFR rules by demonstrating where and how CESL rules would interact with neighbouring areas of English and German law before English and German courts, how domestic traditions might influence the application, which aspects might motivate sellers and buyers to choose or reject CESL, and which might serve as model for national legislators. The findings are summarized in the final two chapters.