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Rousseau attacks the social and political effects of the dominant forms of scientific knowledge. Contains the entire First Discourse, contemporary attacks on it, Rousseau's replies to his critics, and his summary of the debate in his preface to Narcissus. A number of these texts have never before been available in English. The First Discourse and Polemics demonstrate the continued relevance of Rousseau's thought. Whereas his critics argue for correction of the excesses and corruptions of knowledge and the sciences as sufficient, Rousseau attacks the social and political effects of the dominant forms of scientific knowledge.
Many scholars and the art world, generally, recognize that post modernism is characterized by an explosion of language into the field of the visual arts. For the rest of us, there have been numerous shows at major museums and galleries, allowing us to confront and to be confronted by these new and challenging art forms.
In recent years, many prominent and successful artists have claimed that their primary concern is not the artwork they produce but the artistic process itself. In this volume, Kim Grant analyzes this idea and traces its historical roots, showing how changing concepts of artistic process have played a dominant role in the development of modern and contemporary art. This astute account of the ways in which process has been understood and addressed examines canonical artists such as Monet, Cézanne, Matisse, and De Kooning, as well as philosophers and art theorists such as Henri Focillon, R. G. Collingwood, and John Dewey. Placing “process art” within a larger historical context, Grant looks at the changing relations of the artist’s labor to traditional craftsmanship and industrial production, the status of art as a commodity, the increasing importance of the body and materiality in art making, and the nature and significance of the artist’s role in modern society. In doing so, she shows how process is an intrinsic part of aesthetic theory that connects to important contemporary debates about work, craft, and labor. Comprehensive and insightful, this synthetic study of process in modern and contemporary art reveals how artists’ explicit engagement with the concept fits into a broader narrative of the significance of art in the industrial and postindustrial world.
Censored in its own time, the Social Contract (1762) remains a key source of democratic belief and is one of the classics of political theory. It argues concisely but eloquently, that the basis of any legitimate society must be the agreement of its members. As humans we were 'born free' and our subjection to government must be freely accepted. Rousseau is essentially a radical thinker, and in a broad sense a revolutionary. He insisted on the sovereignty of the people, and made some provocative statements that are still highly controversial. His greatest contribution to political thought is the concept of the general will, which unites individuals through their common self-interest, thus validating the society in which they live and the constraints it imposes on them. This new translation is fully annotated and indexed. The volume also contains the opening chapter of the manuscript version of the Contract, together with the long article on Political Economy, a work traditionally between the Contract and Rousseau's earlier masterpiece, the Discourse on Inequality.
In the wake of the Counter-Reformation, Cardinal Gabriele Paleotti, the archbishop of Bologna, wrote a remarkable treatise on art during a time when the Church feared rampant abuse in the arts. Paleotti's 'Discourse on Sacred and Profane Images' argues that art should address a broad audience and explains the painter's responsibility to his spectators.
Pieter Bruegel the Elder: Art Discourse in the Sixteenth-Century Netherlands examines Bruegel's later paintings in the context of two contemporary discourses-art theoretical and convivial. Taking a multi-disciplinary approach, the author analyzes a variety of images, texts and historical records to offer a broader understanding of not only the artist, but also of the vibrant artistic dialogue occurring in the Netherlands during the sixteenth century.
Working from the text of Exodus 22:18, "Thou shalt not suffer a Witch to live," Perkins delivers one of the most penetrating discourses on the subject of the devil, witchcraft and the occult in its various forms. He sets forth this treatise showing that witchcraft was a common sin in his own day, and it is, no doubt, a common sin in our day. He demonstrates the diverse ways that Satan uses witchcraft in its various forms, and shows how people of all kinds can be involved in the occult, either by entering into a covenant with Satan willfully, or they may enter into a league with Satan unintentionally, through superstition. He covers four main points: 1) What witchcraft is, 2) What is the ground of the practice of witchcraft, 3) How many kinds and differences there are of witchcraft, and 4) Its punishment. This is a powerful, biblical exposition of the Law of God and its application concerning this topic. This is not a scan or a facsimile, but a newly typeset work updated and made easily readable, with an active table of contents.
This accessible and compelling collection of faculty reflections examines the tensions between the arts and academics and offers interdisciplinary alternatives for higher education. With an eye to teacher training, these artist scholars share insights, models, and personal experience that will engage and inspire educators in a range of post-secondary settings. The authors represent a variety of art forms, perspectives, and purposes for arts inclusive learning ranging from studio work to classroom teaching to urban settings in which the subject is equity and social justice. From the struggles of an arts concentrator at an Ivy League college to the challenge of reconciling the dual identities as artists and arts educators, the issues at hand are candid and compelling. The examples of discourse ranging from the broad stage of arts advocacy to an individual course or program give testimony to the power and promise of the arts in higher education.