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From Drawing to Visual Culture takes a sweeping view of the role of visual art in Canadian education, from its roots as industrial drawing in the early nineteenth century to its important but often ambiguous position in contemporary schools. Art education and cultural history scholars consider practices in public schools, post-secondary schools, and non-school settings. The essays, many illustrated, range from focused surveys of particular eras or regions, to theoretically based analyses of movements or trends, to case studies that examine art education theory and practice in specific times and places. Contributors show that the nature and character of art education in Canada reflects the influence of ideas and practices in art and education and their interaction with various aspects of culture, language, religion, government, and geography. Contributors include F. Graeme Chalmers (British Columbia), Roger Clark (Western Ontario), Robert Dalton (Victoria), Suzanne Lemerise (Quebec à Montreal), E. Lisa Panayotidis (Calgary), Leah Sherman (Concordia), J. Craig Stirling (independent scholar and researcher, Montreal), Wendy Stephenson (PhD candidate, British Columbia), William Zuk (Manitoba).
This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1871 edition. Excerpt: ...of the hall are painted in imitation of bas--relicfs, and the effect is very pleasing. Another good example may be found at Hampton Court Palace, where the decorations by Verrio, which are in relief, are most tasteful, and the eye finds a difficulty in detecting at first sight where the work of the painter ends and that of the modeller begins. These splendid examples of light and shade should stimulate the young painter to persevere in his efforts, until he is able to produce on a flat surface letters which appear to project or to recede, as the case may be, so as to deceive--if not the expert in such matters--at least those whose knowledge of the subject is limited. If a raised or a sunk letter be represented in such a way that it deceives the eye, the painter naturally takes a higher position than he would do if he executed his work simply mechanically, making it apparent that the raising or sinking is a mere clumsy imitation and not the reality. Any tyro can paint in this slovenly manner, but it requires much study and perseverance to effect the higher object to be aimed at. In order to attain to the perfection we would inculcate, the student, having practised with the geometrical solids, is recommended to procure a few well-formed letters cut out of wood, and to place them in the sunlight against a suitable background, copying the lights and shades, together with the reflected lights which are seen upon the sides of the letters, and noting any peculiarity that may present itself. By so doing, he will get a clearer insight into the matter than he would do by following the set rules of the best of masters. Having thus enforced the necessity of observation and study, it becomes us to point out a few of the peculiarities which are...