The Hopi-Tewa Woman called Nampeyo is recognized today as one of the most important artists of the American Southwest. Through her hands, the craft of Hopi pottery blossomed into the revival of an art form almost lost. By the opening of the twentieth century, Nampeyo's pots were being carried far beyond the Southwest to the showcases of New York and Europe. Notes, genealogy charts, references, index. Eighty color photographs and more than two hundred historic b&w photos.
The secular market is flooded with books dealing with the supernatural, as reflected in the wildly successful "Harry Potter" series. "Master Potter" is an accurate portrayal that challenges the counterfeit perspective in the current secular market. Supernatural encounters are framed within the Christian experience, satisfying that deep hunger for spiritual experiences.
Too often Christians drift from the creativity that is a vital part of everyday living. This can lead to discouragement in the valleys and shortsightedness on the mountaintops. Visionary and prophetic leader Jill Austin invites readers to take a closer look at the promises of destiny. No heart is truly fulfilled until it is awakened to Jesus's love and his call to save the lost. Dancing with Destiny helps readers discover their deepest dreams, follow the Holy Spirit to the heart of Jesus, and move in divine strategies. With inspiring personal examples and unusual insight into the lives of biblical dreamers, lovers, and warriors, Austin shows readers how to use their God-given creativity and authority to move in spiritual power.
This collection explores the student-master relationship in case studies ranging chronologically from 1770 to 2013, and geographically over the national art schools of England, Ireland, Scotland and Wales. Essays explore the manner in which the Old Masters were deployed in education; fuelled the individual genius of art teachers and students; were used as a rhetorical tool for promoting cultural projects in the core and periphery of the British Isles; and united as well as divided opinions in response to changing expectations in discourse on art and education. Case studies examined in this book include the sophisticated tradition of 'academic' inquiry of establishment figures, like Joshua Reynolds and Frederic Leighton, as well as examples of radical reform undertaken by key individuals in the history of art education, such as Edward Poynter and William Coldstream.
This is the first book in a European language to make a comprehensive study of the life and works of the astonishingly versatile and accomplished Meiji potter, Makuzu Kozan (1842 - 1916), who was acclaimed as one of the greatest ceramic artists of the Meiji period.The Meiji period, after the opening of Japan to the West in the mid-nineteenth century, was a time of momentous change for Japanese society and Kozan's Makuzu workshop makes an ideal case study to examine the effects of these changes on the Japanese ceramic industry. This book tells the story ofKozan's Makuzu wares from their origins in a traditional workshop in Kyoto to their maturity in a prolific factory in the newly-opened port of Yokohama, where Kozan's ability to cater to the demands of a new Western export market and to incorporate new Western glaze techniques led to enormoussuccess, both in Japan and abroad at the international exhibitions that flourished from the 1850s.Lavish illustrations highlight Kozan's remarkable and technical and artistic achievements, while ceramic marks and box inscriptions are analysed as a practical guide to dating Makuzu ware. Clare Pollard discusses the role of later generations of the Miyagawa family in the running of the workshop andrelates developments in Makuzu ware to the work of other major potters of the era, both in Japan and in Europe and America.Incorporating contemporary sources (including previously unstudied archival material from the Makuzu workshop itself), recent research and the study of a large corpus of Makuzu wares in museums and private collections all over the world, the book examines the artistic, political, and commercialfactors that influenced Kozan and his contemporaries as they strove to come to terms with shifting life-styles and changing attitudes to the arts, and moved towards the creation of a modern ceramic industry.
Listen to the artists of the Brazilian Northeast. Their work, they say, comes of continuity and creativity. Continuity runs along lines of learning toward social coherence. Creativity brings challenges and deep personal satisfaction. What they say and do in Brazil aligns with ethnographic evidence from New Mexico and North Carolina; from Ireland, Portugal, and Italy; from Nigeria, Turkey, India, and Bangladesh; from China and Japan. This book is about that, about folk art as a sign of human unity.
