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Heda's Banquet Piece, Frans Hals' Willem Coymans, and Rembrandt's Lucretia. Paintings by these and other masters attracted the American collectors P. A. B. Widener, his son Joseph, and Andrew W. Mellon, whose bequests form the heart of the National Gallery's distinguished and remarkably cohesive collection of ninety-one Dutch paintings.
Slow Looking provides a robust argument for the importance of slow looking in learning environments both general and specialized, formal and informal, and its connection to major concepts in teaching, learning, and knowledge. A museum-originated practice increasingly seen as holding wide educational benefits, slow looking contends that patient, immersive attention to content can produce active cognitive opportunities for meaning-making and critical thinking that may not be possible though high-speed means of information delivery. Addressing the multi-disciplinary applications of this purposeful behavioral practice, this book draws examples from the visual arts, literature, science, and everyday life, using original, real-world scenarios to illustrate the complexities and rewards of slow looking.
Nine-year-old Dylan helps his parents run a failing petrol station in a small Welsh town and becomes a reluctant robber when he discovers some treasures being stored in a local abandoned mine.
A finalist for the National Book Critics Circle Award, this memoir of one woman's later in life career change is “a smart, funny and compelling case for going after your heart's desires, no matter your age” (Essence). Following her retirement from Princeton University, celebrated historian Dr. Nell Irvin Painter surprised everyone in her life by returning to school––in her sixties––to earn a BFA and MFA in painting. In Old in Art School, she travels from her beloved Newark to the prestigious Rhode Island School of Design; finds meaning in the artists she loves, even as she comes to understand how they may be undervalued; and struggles with the unstable balance between the pursuit of art and the inevitable, sometimes painful demands of a life fully lived. How are women and artists seen and judged by their age, looks, and race? What does it mean when someone says, “You will never be an artist”? Who defines what an artist is and all that goes with such an identity, and how are these ideas tied to our shared conceptions of beauty, value, and difference? Bringing to bear incisive insights from two careers, Painter weaves a frank, funny, and often surprising tale of her move from academia to art in this "glorious achievement––bighearted and critical, insightful and entertaining. This book is a cup of courage for everyone who wants to change their lives" (Tayari Jones, author of An American Marriage).
Subject: In this intriguing book, Anne Robbins explores the little-known history of artists collecting paintings. Focusing on the collections of Lucian Freud, Henri Matisse, Edgar Degas, Frederic, Lord Leighton, George Frederic Watts, Sir Thomas Lawrence, Sir Joshua Reynolds, and Sir Anthony Van Dyck, she assesses the ways painters benefitted from owning someone else's work, their motivations for collecting, and how the history of a painting's ownership influences our own view of both the artist and the work. Robbins investigates paintings as the sources of creative inspiration, and even their use in teaching theories of art. She also examines how painters acquired the paintings they desired, whether through auction, dealerships, gift or exchange, and how they cared for the works: storing them, displaying them, and, in some cases, flaunting them for self-promotion. Robbins ultimately argues that the acts of acquiring art and of art making evolve in tandem-there are rich, multilayered connections between works owned and works painted. -- publisher's statement
Not many artists of today s art world create an additional footprint through his or hers great number of pupils. Odd Nerdrum founded a school that was common for master painters in earlier centuries but not of today. His followers have a direct influence in their art from their master. This book shows how The Nerdrum School is an important part of the international art scene in our time.0The author of the preface, the art critic Richard Vine describes Nerdrum like this: For the last four decades, Odd Nerdrum has been, in that sense, a necessary artist not because he towers at the forefront of world acclaim or because his work engages contemporary issues in distinctly contemporary visual terms. On the contrary, he has been by his own account and in keeping with his own wish the odd man out. Most viewers and most art-world professionals have regarded him as simply too talented and too famous to ignore, and yet too contrarian to embrace. In his long rough gown, Nerdrum has stood at the door of art s Temple, so to speak, like a prophet reminding us of our artistic derelictions and sins. 0.