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The photographs speak for themselves in this black and white coffee table masterpiece... Apart from the stirring introduction from writer Robin Lane Fox, the work of the young photographer stands alone.....Each of Lockhart's pieces has a resonance, the character of the horses, hounds, country and people fairly vibrating from every page. Her capturing of the mood of the day, from hazy dawns to crisp afternoons, is delightful...anyone who's ever been in the hunting field will find much to recognise and love in this book. Equally, for those of us who love the countryside, horses, hounds or people will discover much art over which to linger. Amateur Photographer: 'Lockhart's pictures cover the gamut of hunting activity; a line of hounds, noses quivering, setting off in snow carpeted woodland; steam coming off horses; competitors in a Best Dressed Huntsman competition; a young follower dwarfed by a huge hay bale; huntsmen relaxing in the pub afterwards....Whether you support hunting or not, it is an undeniably photogenic activity and Lockhart's pictures unquestionably do it justice.'
The JPMorgan Chase Art Collection began in 1959 when David Rockefeller, then president of The Chase Manhattan Bank, established the firm's art program and took the lead in the field of corporate art collecting. By integrating artwork with the architecture of new buildings and incorporating an enlightened approach to acquisitions, this forerunner of corporate collections became a model for other companies worldwide. Today it is one of the oldest and largest corporate art collections in the world, focusing on modern and contemporary painting, sculpture, works on paper and photography, which continue to be the portfolio's strength. This core collection is enhanced by a diverse and eclectic range of objects from every country in which JPMorgan Chase does business, offering a unique perspective on the firm's culture. The JPMorgan Chase Art Program oversees more than 30,000 objects in 450 corporate offices around the globe. In addition, the program administers an active museum loan program, originates traveling exhibitions, provides educational programming for internal and external audiences, and supports the firm's global philanthropic and sponsorship activities. JPMorgan Chase & Co. believes that arts and culture are the lifeblood of vibrant communities. We support a range of programs and events that foster creativity, provide access to the arts to underserved audiences, promote self expression and celebrate diversity. -- Text from JPMorgan Chase & Co. website (see link).
This book introduces the reader to the art of Guy Chase through a lavish amount of the artist's work woven through with several essays discussing the theological, art historical, and aesthetic merits of that work.
These fabulous, whimsical paintings, created for his own pleasure and never shown to the public, show Geisel (a.k.a. Dr. Seuss) in a whole new light. Depicting outlandish creatures in otherworldly settings, the paintings use a dazzling rainbow of hues not seen in the primary-color palette of his books for children, and exhibit a sophisticated and often quite unrestrained side of the artist. 65 color illustrations.
In London Art Chase, the first title in the new Faithgirlz Glimmer Girls series, readers meet 10-year-old twins Mia and Maddie and their adorable little sister, LuLu. All the girls are smart, sassy, and unique in their own way, each with a special little something that adds to great family adventures. There is pure excitement in the family as the group heads to London for the first time to watch mom, famous singer Gloria Glimmer, perform. But on a day trip to the National Gallery, Maddie witnesses what she believes to be an art theft and takes her sisters and their beloved and wacky nanny Miss Julia, on a wild and crazy adventure as they follow the supposed thief to his lair. Will the Glimmer Girls save the day? And will Maddie find what makes her shine?
Writing with wit and humor, the authors discuss the differences between men and women, what those differences mean in dating, and ultimately, how to find a "marriable" person.
Off the Pedestal is the first book to explore the radical change that occurred in the representation of women immediately after the Civil War. Three critical essays draw on the visual culture of the period to show how postbellum social changes in the United States brought issues of subordination and autonomy to the surface for women in much the same way that it did for blacks. As women began attending college in greater numbers, entering professions previously dominated by men, and demanding greater personal freedom, these "new women" were featured more frequently in the visual arts and in a manner that made it clear that they had ambitions outside the domestic sphere.
Life isn’t about “finding” fulfillment and success – it’s about creating it. Why then has creativity been given a back seat in our culture? No longer. ** A Wall Street Journal, Los Angeles Times and Publishers Weekly Bestseller ** Creativity is a force inside every person that, when unleashed, transforms our lives and delivers vitality to everything we do. Establishing a creative practice is therefore our most valuable and urgent task - as important to our well-being as exercise or nutrition. The good news? Renowned artist, author, and CreativeLive founder, Chase Jarvis, reminds us that creativity isn't a skill—it's a habit available to everyone: beginners and lifelong creators, entrepreneurs to executives, astronauts to zookeepers, and everyone in between. Through small, daily actions we can supercharge our innate creativity and rediscover our personal power in life. Whether your ambition is a creative career, completing a creative project, or simply cultivating a creative mindset, Creative Calling will unlock your potential via Jarvis’s memorable “IDEA” system: · Imagine your big dream, whatever you want to create—or become—in this world. · Design a daily practice that supports that dream—and a life of expression and transformation. · Execute on your ambitious plans and make your vision real. · Amplify your impact through a supportive community you’ll learn to grow and nurture.
V. 1. "This gorgeous book, the first of a four-volume definitive catalogue, features Chase's stunning paintings in pastel, which constitute a major and previously understudied body of work by the artist; monotypes; painted tiles and plates; watercolors; and prints. Reconstructing Chase's oeuvre is a daunting task, as the artist left few records of any kind, and no documentation of his individual works exists. Furthermore, Chase's paintings and pastels have been forged in great numbers throughout the years, and many of these works still surface on the art market. Making this long-awaited volume even more valuable is a list of every known exhibition of Chase's work during the artist's lifetime, selected examples of major post-1917 exhibitions, and an essay on Chase's innovative pastel technique"--Jacket.
Doris Chase has achieved international stature as a pioneer in the field of video art since she moved from Seattle to New York City in 1972. An artist of remarkable and continuous creativity, Chase now divides her time between her video headquarters in New York and a Seattle studio where she works on new projects in painting and sculpture. Beginning as an innovative painter and sculptor in Seattle in the 1950s, Chase created sculpture that was meant to be touched and manipulated by the viewer. Chase then developed large-scale kinetic sculptures in collaboration with choreographers, and her art was set in motion by dancers. In New York, her majors contribution to the evolution of artists' video has been her work in videodance. On videotape, dancers and sculpture evolve into luminous abstract forms which represent some of the most sophisticated employments of video technology by an artist of the 1970s. In the 1980s, Chase began working in the nascent genre of video theater. In these productions, she uses the imtimacy of the video screen to achieve a new synthesis of visual and dramatic art. Her video theatre compositions present multicultural and social commentary, utilizing scripts by writers such as Lee Breuer, Thulani Davis, and Jessica Hagedorn in the "Concepts" series. Collaborating with actresses Geralding Page, Ann Jackson, Roberta Wallach, Joan Plowright, and Luise Riner in the "By Herself" series, she focuses on the viewpoints and experiences of older women. Today, coming full circle, Doris Chase in Seattle is exploring a renewed interest in painting and sculpture as well as in the modernist aesthetic she never really ceased pursuing, even during her most adventuresome multimedia years. This profile by art historian Patricia Failing is both a celebration of a distinguished artists and a historical summary of the development of video as an art form from the early seventies to the present day. The making of Chase's widely acclaimed filmdance, Circles II (1972), is discussed within the context of her own artists evolution and also as exemplary of an artistic milieu shaped by McLuhanism and a growing interest in multimedia experimentation. An entire chapter focuses on the institutional and theoretical working environment for video artists in the 1970s, outlining the circumstances under which New York became the best-endowed center for the production of artists' video. Attention is also paid to the specific manner in which Chase learned to employ video technology, the mechanisms of exhibition and distribution of independent video art, and the theoretical and practical issues raised in collaborations among artists from different art forms. Centering upon first-hand commentary by Chase and her colleagues, Doris Chase, Artist in Motion is an accessible introduction to a pioneering artist and her milieu. The Foreword by noted critic and teacher of video art Ann-Sargent Wooster adds a valuable dimension to the volume. Doris Chase, Artist in Motion is illustrated with representative examples of Chase's work and includes selected lists of her videotapes and films as well as her works in public collections. It will appeal to students of video art as well as to those intersted in women artists and feminist performance.