Hieronymus Bosch, Painter and Draughtsman: Catalogue Raisonné Slp Edition
Compiled by members of the Bosch Research and Conservation Project and published on the 500th anniversary of Hieronymus Bosch’s death, this is the definitive new catalogue of all of Bosch’s extant paintings and drawings. His mastery and genius have been redefined as a result of six years of research on the iconography, techniques, pedigree, and conservation history of his paintings and on his life. This stunning volume includes all new photography, as well as up-to-date research on the individual works. For the first time, the incredible creativity of this late medieval artist, expressed in countless details, is reproduced and discussed in this book. Special attention is being paid to Bosch as an image maker, a skilled draughtsman, and a brutal painter, changing the game of painting around 1500 by his innovative way of working.
About the Author
Matthijs Ilsink is project coordinator of the Bosch Research and Conservation Project and teaches at Radboud University, Nijmegen. Jos Koldeweij is professor in art history of the Middle Ages at the University of Nijmegen, the Netherlands. Ron Spronk is professor in art history at Queen’s University, Kingston, Ontario, Canada, and Radboud University, Nijmegen, the Netherlands. Luuk Hoogstede is a paintings conservator at SRAL, Maastricht.
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In this volume, CHINESE FINE ARTS, we take you to a distinguished gallery featuring Chinese Fine arts developed over thousands of years. Chinese calligraphy, painting, music, dance, theatre and sculpture are different mediums used by uninhibited artists to convey both the beautiful and grotesque of Chinese society. From the works of art complied in this book, you can learn about China’s interaction with her neighbours, political tussels in the Imperial Court and the psyche of the ordinary folk.
This practical text helps student teachers develop their confidence, understandings and skills so that they can effectively and authentically teach arts in primary and middle school classrooms. Delivering Authentic Arts Education outlines the true nature of arts education and its importance in the curriculum, emphasising the arts as forms of creative activity, meaning-making and expression in a cultural context. Written in the context of the Australian Curriculum: The Arts, this new edition makes it easy for students to connect to curriculum documents. Chapters discuss how to recognise and build on your existing artistic abilities and pedagogical skills, how to encourage children???s creativity, and the general principles of planning and assessment. It then examines the five arts areas: dance, drama, media arts, music and visual arts. The final part of the text contains sample learning activities and resources that demonstrate how to plan an effective lesson within a unit of inquiry. Practical tips, classroom ???snapshots???, example activities and ideas for programs show you the links between theory and practice so you can develop arts education experiences that are purposeful, stimulating and engaging for everyone.
About the Author
Thomas Vogel specializes in creativity and creative thinking, strategic communication, experience design and branding on the Internet. Formerly a Professor of Media Design at the Department of Media Management at the University of Applied Sciences Wiesbaden, Germany, he now teaches courses in creativity and creative thinking and directs the masters program in Global Marketing Communication and Advertising at Emerson College. He is a creativity consultant and a founding partner of mediaman, a digital marketing agency.
Warhol Marilyn (1965) is not a work by Andy Warhol but by the artist Elaine Sturtevant (1930–2014). Throughout her career, Sturtevant (as she preferred to be called) remade and exhibited works by other contemporary artists, among them Jasper Johns, Roy Lichtenstein, and Robert Rauschenberg. For Warhol Marilyn, Sturtevant used one of Warhol’s own silkscreens from his series of Marilyn printed multiples. (When asked how he made his silkscreened work, Warhol famously answered, “I don’t know. Ask Elaine.”) In this book, Patricia Lee examines Warhol Marilyn as representing a shift in thinking about artistic authorship and originality, highlighting a decisive moment in the rethinking of the contemporary artwork. Lee describes the cognitive dissonance a viewer might feel on learning the identity of Warhol Marilyn’s author, and explains that mistaken identity is part of Sturtevant’s intention for the operation of the work. She discusses the ways that Sturtevant’s methodology went against the grain of a certain interpretation of modernism, and addresses the cultural significance of both Warhol and Monroe as celebrity figures. She considers Dorothy Podber’s shooting a bullet through a stack of Warhol’s Marilyns (thereafter known as The Shot Marilyns) at the Factory in 1964 and its possible influence on Sturtevant’s decision to remake the work. Lee writes that Sturtevant’s critical reception has been informed by some fictional forebears: the made-up artist Hank Herron (whose nonexistent work duplicating paintings by Frank Stella was reviewed by a fictional critic), and (suggested by Sturtevant herself) Pierre Menard, the title character of Jorge Luis Borges’s “Pierre Menard, Author of the Quixote,” who recreates a section of Cervantes’s masterpiece line by line. And finally, she explores installation contexts and display strategies for Sturtevant’s work as illuminating her broader artistic aims and principles.
About the Author
Patricia Lee is a writer, lecturer, and scholar of contemporary art.