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Full-page illustrations of familiar creatures against fanciful backgrounds combine the appeal of wildlife with the allure of imaginative graphics. Images include a garden of frisky insects, funky fish in a seaweed field, and more.
From the bestselling author of "How to Make an American Quilt" comes a powerful tale inspired by the lives of famous 20th-century female photographers tracing the progression of feminism and photography in various world regions.
This comprehensive history of Japanese animation draws on Japanese primary sources and testimony from industry professionals to explore the production and reception of anime, from its origins in Japanese cartoons of the 1920s and 30s to the international successes of companies such as Studio Ghibli and Nintendo, films such as Spirited Away and video game characters such as Pokémon.
Shows teachers how and why they should bring play into the classroom to make learning meaningful, relevant, and fun. Research studies show that all students—young and old, rich and poor, urban and rural—benefit immensely from classrooms filled with art, creativity, and laughter. Fun, playfulness, creative thinking, and individual expression reinforce positive experiences, which in turn lead to more engaged students, better classroom environments, and successful learning outcomes. Designed for K-12 educators, The Playful Classroom describes how teachers can develop a playful mindset for giving students meaningful, relevant and fun learning experiences. This unique real-world guide provides you with everything you need to incorporate engaging, hands-on lessons and creative activities, regardless of the level and subject you teach. Building on contemporary and seminal works on learning theory and play pedagogy, the authors explain how to inspire your students by bringing play. into your classroom. This clear, user-friendly guide supplies practical strategies and effective solutions for adding the missing ingredients to your classroom culture. Access to the authors’ companion website provides videos, learning experiences, and downloadable teaching and learning resources. Packed with relatable humor, proven methods, and valuable insights, this book enables you to: Provide meaningful experiences that will benefit students both in school and later in life Combine the principles of PLAY with traditional curricula to encourage creative learning Promote trust, collaboration, and growth in students Develop a playful mindset for bringing the arts into every lesson Foster critical thinking in any school community The Playful Classroom: The Power of Play for All Ages is a must-have resource for K-12 educators, higher education professionals, and readers looking for education-based professional development and training resources.
Why do we have such extraordinarily powerful responses toward the images and pictures we see in everyday life? Why do we behave as if pictures were alive, possessing the power to influence us, to demand things from us, to persuade us, seduce us, or even lead us astray? According to W. J. T. Mitchell, we need to reckon with images not just as inert objects that convey meaning but as animated beings with desires, needs, appetites, demands, and drives of their own. What Do Pictures Want? explores this idea and highlights Mitchell's innovative and profoundly influential thinking on picture theory and the lives and loves of images. Ranging across the visual arts, literature, and mass media, Mitchell applies characteristically brilliant and wry analyses to Byzantine icons and cyberpunk films, racial stereotypes and public monuments, ancient idols and modern clones, offensive images and found objects, American photography and aboriginal painting. Opening new vistas in iconology and the emergent field of visual culture, he also considers the importance of Dolly the Sheep—who, as a clone, fulfills the ancient dream of creating a living image—and the destruction of the World Trade Center on 9/11, which, among other things, signifies a new and virulent form of iconoclasm. What Do Pictures Want? offers an immensely rich and suggestive account of the interplay between the visible and the readable. A work by one of our leading theorists of visual representation, it will be a touchstone for art historians, literary critics, anthropologists, and philosophers alike. “A treasury of episodes—generally overlooked by art history and visual studies—that turn on images that ‘walk by themselves’ and exert their own power over the living.”—Norman Bryson, Artforum
Reproduction of the original: The Pictures; the Bethroning by Lewis Tieck
More Than a Likeness: The Enduring Art of Mary Whyte is the first comprehensive book on the life and work of one of today's most renowned watercolorists. From Whyte's earliest paintings in rural Ohio and Pennsylvania, to the riveting portraits of her southern neighbors, historian Martha R. Severens provides us with an intimate look into the artist's private world. With more than two hundred full-color images of Whyte's paintings and sketches, as well as comparison works by masters such as Winslow Homer, Andrew Wyeth, and John Singer Sargent, Severens clearly illustrates how Whyte's art has been shaped and how the artist forged her own place in the world today. Though Whyte's academic training in Philadelphia was in oil painting, she learned the art of watercolor on her own—by studying masterworks in museums. Today Whyte's style of watercolor painting is a unique blend of classical realism and contemporary vision, as seen in her intimate portraits of Southern blue-collar workers and elderly African American women in the South Carolina lowcountry. "For me ideas are more plentiful than the hours to paint them, and I worry that I cannot get to all of my thoughts before they are forgotten or are pushed aside by more pressing concerns," explains Whyte. "Some works take time to evolve. Like small seeds the paintings might not come to fruition until several years later, after there has been ample time for germination." Using broad sweeping washes as well as miniscule brushstrokes, Whyte directs the viewer's attention to the areas in her paintings she deems most important. Murky passages of neutral colors often give way to areas of intense detail and color, giving the works a variety of edges and poetic focus. Several paintings included in the book are accompanied by enlarged areas of detail, showcasing Whyte's technical mastery. More Than a Likeness is replete with engaging artwork and inspiring text that mark the mid-point in Whyte's artistry. Of what she will paint in the future, the artist says, "I have always believed that as artists we don't choose our vocation, style, or subject matter. Art chooses us."
Lucille M. Schultz's The Young Composers: Composition's Beginnings in Nineteenth-Century Schools is the first full-length history of school-based writing instruction. Schultz demonstrates that writing instruction in nineteenth-century American schools is much more important in the overall history of writing instruction than we have previously assumed. Drawing on primary materials that have not been considered in previous histories of writing instruction—little-known textbooks and student writing that includes prize-winning essays, journal entries, letters, and articles written for school newspapers—Schultz shows that in nineteenth-century American schools, the voices of the British rhetoricians that dominated college writing instruction were attenuated by the voice of the Swiss education reformer Johann Heinrich Pestalozzi. Partly through the influence of Pestalozzi's thought, writing instruction for children in schools became child-centered, not just a replica or imitation of writing instruction in the colleges. It was also in these nineteenth-century American schools that personal or experience-based writing began and where the democratization of writing was institutionalized. These schools prefigured some of our contemporary composition practices: free writing, peer editing, and the use of illustrations as writing prompts. It was in these schools, in fact, where composition instruction as we know it today began, Schultz argues. This book features a chapter on the agency of textbook iconography, which includes illustrations from nineteenth-century composition books as well as a cultural analysis of those illustrations. Schultz also includes a lengthy bibliography of nineteenth-century composition textbooks and student and school newspapers.
Apart from any fair dealing for the purposes of research or private study, or criticism or review, as permitted under the Copyright, Designs and Patents Act, 1988, this publication may be reproduced, stored or transmitted in any form, or by any means, only with the prior permission in writing of the publishers, or in the case of reprographic reproduction, in accordance with the terms of licenses issued by the Copyright Licensing Agency. Enquiries concerning reproduction outside those terms should be sent to the publishers. --Book Jacket.