Doris Stoner in MIRROR IMAGE again confronted with her past realizes that it is time to go back home after forty some years away. She goes back to the family home she knew then; with much humility she desperately wants to straighten out her past with her family. Also knowing that she must do this to help stop what she knows will result in a forever hole in her granddaughter’s heart.
A dazzlingly original and ambitious book on the history of female self-portraiture by one of today's most well-respected art critics. Her story weaves in and out of time and place. She's Frida Kahlo, Loïs Mailou Jones and Amrita Sher-Gil en route to Mexico City, Paris or Bombay. She's Suzanne Valadon and Gwen John, craving city lights, the sea and solitude; she's Artemisia Gentileschi striding through the streets of Naples and Paula Modersohn-Becker in Worpswede. She's haunting museums in her paint-stained dress, scrutinising how El Greco or Titian or Van Dyck or Cézanne solved the problems that she too is facing. She's railing against her corsets, her chaperones, her husband and her brothers; she's hammering on doors, dreaming in her bedroom, working day and night in her studio. Despite the immense hurdles that have been placed in her way, she sits at her easel, picks up a mirror and paints a self-portrait because, as a subject, she is always available. Until the twentieth century, art history was, in the main, written by white men who tended to write about other white men. The idea that women in the West have always made art was rarely cited as a possibility. Yet they have - and, of course, continue to do so - often against tremendous odds, from laws and religion to the pressures of family and public disapproval. In The Mirror and the Palette, Jennifer Higgie introduces us to a cross-section of women artists who embody the fact that there is more than one way to understand our planet, more than one way to live in it and more than one way to make art about it. Spanning 500 years, biography and cultural history intertwine in a narrative packed with tales of rebellion, adventure, revolution, travel and tragedy enacted by women who turned their back on convention and lived lives of great resilience, creativity and bravery.
Typical art resources for teachers offer discrete art activities, but these don't carry children or teachers into the practice of using the languages of art. This resource offers guidance for teachers to create space, time, and intentional processes for children's exploration and learning to use art for asking questions, offering insights, exploring hypotheses, and examining experiences from unfamiliar perspectives. Inspired by an approach to teaching and learning born in Reggio Emilia, Italy, The Language of Art, Second Edition, includes: A new art exploration for teachers to gain experience before implementing the practice with childrenAdvice on setting up a studio space for art and inquirySuggestions on documenting children's developing fluency with art media and its use in inquiryInspiring photographs and ideas to show you how inquiry-based practices can work in any early childhood setting Ann Pelo is a teacher educator, program consultant, and author whose primary work focuses on reflective pedagogical practice, social justice and ecological teaching and learning and the art of mentoring. Currently, Pelo consults early childhood educators and administrators in North America, Australia, and New Zealand on inquiry-based teaching and learning, pedagogical leadership, and the necessary place of ecological identity in children's—and adults'—lives. She is the author of several books including the first edition of The Language of Art and co-author of Rethinking Early Childhood Education.
Art Workshop for Children is not just another book of straightforward art projects. The book's unique child-led approach provides a framework for cultivating creative thinking and encourages the wonder that comes when children are allowed to freely explore the creative process and their materials. As children work through these open-ended workshops, adults are guided on how to be facilitators who provide questions, encourage deep thinking, and help spark an excitement for discovery. Children explore basic materials and workshops that use minimal supplies, and then gradually add new materials to fill the art cabinets as well as new skills and more complex workshops. Most workshops are suitable to preschool-aged children, and each contains ideas for explorations and new twists to engage older or more experienced artists. Interspersed throughout are sidebar essays that introduce perspectives on mess-making, imperfection, the role of adult, collaborative art, and thoughts on the Reggio Emilia method, a self-guided teaching philosophy. These pieces underscore the value of art-making with children, and support the parent/teacher/care-giver on how to successfully lead, question, and navigate their children through the workshops to result in the fullest experiences.
!--StartFragment-- Isabelle Scott and Mirabelle Monroe are still reeling from the revelation that they share more than just the roof over their heads. The media has pounced on their story and the girls are caught up in a flurry of talk-show appearances and newspaper interviews. They've put on a happy public face, but someone is leaking their true feelings to the press, and while it seems like the world is watching their every move, at least they have each other. But with cotillion season right around the corner, Izzie and Mira have barely had time to process their newfound sisterhood. Mira has dreamed of making her debut in a gorgeous white gown forever-now, if only she could find an escort. Izzie, meanwhile, is still struggling to find her place in Emerald Cove and it's seeming ever more impossible with EC mean-girls, young and old, doing their best to keep her down. As cotillion preparations heat up, though, there are dance steps to learn, manners to perfect... and secret initiations to complete? As if sophomore year wasn't hard enough! In book two of the Belles trilogy, it's time for the gowns to go on and the gloves to come off. !--EndFragment--
Combining art and biography, the novel consists of alternating literary portraits inspired by works of Dali and Velazquez. As the title suggests, the loose story frame of the novel is that of the Herculean labor to find the twilight realm of the lovely nymphs of the Hesperides and, by conquering the dragon that jealously guards it, to plunder the garden of its golden apples of immortality. The contemporary fable casts the artist as the hero who, armed only with paintbrushes and inkwells, confronts the demons of his subconscious.
Timed to coincide with the release of Walter Isaacson’s latest biography on the famous painter and inventor, as well as the latest thriller in Dan Brown’s Da Vinci Code series, this book includes 101 in-depth facts about Leonardo Da Vinci. 101 Things You Didn’t Know About Da Vinci provides you with all the fascinating facts you didn’t know about the famous artist, inventor, and creator of the Mona Lisa and the Vitruvian Man, including details about his personal life, information about his inventions and art, his interactions with his contemporaries, and his impact on the world since his death. Some facts include: —Da Vinci was left handed, and wrote from right to left, even writing his letters backwards. —Da Vinci’s The Last Supper started peeling off the wall almost immediately upon completion, due to a combination of the type of paint Leonardo used and the humidity —Among Leonardo’s many inventions and creations was a mechanical lion he created to celebrate the coronation of King François I of France Whether you’re seeking inspiration, information, or interesting and entertaining facts about history’s most creative genius, 101 Things You Didn’t Know About Da Vinci has just what you’re looking for!
A groundbreaking appreciation of Dylan as a literary practitioner WINNER OF THE ELIZABETH AGEE PRIZE IN AMERICAN LITERATURE The literary establishment tends to regard Bob Dylan as an intriguing, if baffling, outsider. That changed overnight when Dylan was awarded the 2016 Nobel Prize in Literature, challenging us to think of him as an integral part of our national and international literary heritage. No One to Meet: Imitation and Originality in the Songs of Bob Dylan places Dylan the artist within a long tradition of literary production and offers an innovative way of understanding his unique, and often controversial, methods of composition. In lucid prose, Raphael Falco demonstrates the similarity between what Renaissance writers called imitatio and the way Dylan borrows, digests, and transforms traditional songs. Although Dylan’s lyrical postures might suggest a post-Romantic, “avant-garde” consciousness, No One to Meet shows that Dylan’s creative process borrows from and creatively expands the methods used by classical and Renaissance authors. Drawing on numerous examples, including Dylan’s previously unseen manuscript excerpts and archival materials, Raphael Falco illuminates how the ancient process of poetic imitation, handed down from Greco-Roman antiquity, allows us to make sense of Dylan’s musical and lyrical technique. By placing Dylan firmly in the context of an age-old poetic practice, No One to Meet deepens our appreciation of Dylan’s songs and allows us to celebrate him as what he truly is: a great writer.
Fleeing temptation, a woman starts her life over in a Colorado mining town in this captivating historical romance from the author of Reluctant Lovers. One passionate moment has ruined Kristin Taube’s pristine reputation. Now Jack Cameron owes her the innocence he stole away when he snatched that first kiss. When Kristin flees her home to begin a new life as an artist, Jack will follow her to the ends of the earth to unlock the secrets of the heart he roused from its slumber.
The Zurich Congress marked a return to the origins of Analytical Psychology: here it was that C.G. Jung lived for the first six decades of this century and developed the school of psychology he came to be known for. Here, too, is where many of today's Jungian analysts from all over the world received their training, and their initiation into the profession. As this collection of the complete proceedings attests, the theme of open questions drew a bountiful array of intriguing responses, and this to the largest gathering of Jungian analysts ever: more than 800 in all.
