About The Authors Eli Stevens has worked in Silicon Valley for the past 15 years as a software engineer, and the past 7 years as Chief Technical Officer of a startup making medical device software. The recent exhibitions dedicated to Botticelli around the world show, more than ever, the significant and continued debate about the artist. Botticelli Past and Present engages with this debate. Each part comprises a number of essays and includes a short introduction which positions them within the wider scholarly literature on Botticelli.
The parts are organised chronologically beginning with discussion of the artist and his working practice in his own time, moving onto the progressive rediscovery of his work from the late eighteenth to the turn of the twentieth century, through to his enduring impact on contemporary art and design. Expertly written by researchers and eminent art historians and richly illustrated throughout, the broad range of essays in this book make a valuable contribution to Botticelli studies.
A textbook covering the world and work of the artist, trends and influences in world art, and art in the western world. There is growing interest internationally in the contributions which the creative arts can make to wellbeing and health in both healthcare and community settings.
A timely addition to the field, the Oxford Textbook of Creative Arts, Health, and Wellbeing is the first work of its kind to discuss the role the creative arts have in addressing some of the most pressing public health challenges faced today. Providing an evidence-base and recommendations for a wide audience, this is an essential resource for anyone involved with this increasingly important component of public health practice. The textbook offers key insights for developing new creative arts-based approaches to health and wellbeing, and shows how these can augment established practices within a variety of social settings.
Theoretically grounded and with a strong evidence base, this book brings together contributions from both practitioners and researches to provide a comprehensive account of the field. Using international examples, the textbook elucidates the various approaches that have successfully led to improvements in public health, whilst case studies in healthcare practices evaluate the impact of arts-based initiatives in a multitude of international settings, life-course stages, and social milieus.
The Oxford Textbook of Creative Arts, Health, and Wellbeing is a comprehensive resource that will be essential to anyone with an interest in this increasingly important component of public health practice. This is the right book for right now.
Yes, learning requires focus. But, unlearning and relearning requires much more—it requires choosing courage over comfort. In Think Again, Adam Grant weaves together research and storytelling to help us build the intellectual and emotional muscle we need to stay curious enough about the world to actually change it.
In our daily lives, too many of us favor the comfort of conviction over the discomfort of doubt. We listen to opinions that make us feel good, instead of ideas that make us think hard. We see disagreement as a threat to our egos, rather than an opportunity to learn. We surround ourselves with people who agree with our conclusions, when we should be gravitating toward those who challenge our thought process. The result is that our beliefs get brittle long before our bones.
We think too much like preachers defending our sacred beliefs, prosecutors proving the other side wrong, and politicians campaigning for approval--and too little like scientists searching for truth.
Intelligence is no cure, and it can even be a curse: being good at thinking can make us worse at rethinking. The brighter we are, the blinder to our own limitations we can become. Organizational psychologist Adam Grant is an expert on opening other people's minds--and our own.
As Wharton's top-rated professor and the bestselling author of Originals and Give and Take, he makes it one of his guiding principles to argue like he's right but listen like he's wrong. With bold ideas and rigorous evidence, he investigates how we can embrace the joy of being wrong, bring nuance to charged conversations, and build schools, workplaces, and communities of lifelong learners. You'll learn how an international debate champion wins arguments, a Black musician persuades white supremacists to abandon hate, a vaccine whisperer convinces concerned parents to immunize their children, and Adam has coaxed Yankees fans to root for the Red Sox.
Think Again reveals that we don't have to believe everything we think or internalize everything we feel. Notice that it shows the name and relationships among the various hues. Later in the chapter, you will learn more about the color wheel and its use.
Red, yellow, and blue are the primary hues. They are always equally spaced on the color wheel. Three of the most important traits are hue, value, and intensity. Intensities of blue.
The secondary hues—green, orange, and violet—are made by mixing two primary hues. To get orange, for example, you mix equal parts of red and yellow.
Can you identify the colors that you would mix to obtain the other two secondary hues? The painting in Figure 2—12 on page 28 uses primary and secondary hues. Notice how striking these colors are. Notice how they seem to add to the frenzied pace of the dancing figures. An intermediate hue is made by mixing a primary hue with its neighboring secondary hue. When you mix the primary hue yellow with the secondary hue green, you get the intermediate hue yellow-green.
Value You may have noticed that some colors seem lighter than others. This difference is one of value. Value is an element of art concerned with the lightness or darkness of a hue. Pale lavender is light in value, and deep purple is dark in value. Figure 2—15 shows the values of blue. The value of a hue changes through additions of black or white. A light or whiter value of a hue is called a tint. Pink, which is 30 Chapter 2 The Elements of Art a mixture of red and white, is a tint of red.
A dark or blacker value is called a shade. Maroon is a mixture of red and black. It is a dark shade of red. Be careful when using these art terms. In everyday language, the word shade is often used to describe both light and dark values of a hue. Intensity Some hues strike the eye as bright and lively. Others appear dull or muddy. Intensity is the brightness or dullness of a hue.
A bright hue is said to be high in intensity. A dull hue is said to be low in intensity. Bright yellow is high in intensity. Mustard yellow is low in intensity. Look again at the color wheel on page Red and green are complementary colors, colors opposite each other on the color wheel. If you mix equal parts of two complementary colors, you get a neutral color such as brown or gray. Monochromatic mah-nuh-kroh-mat-ik colors are different values of a single hue.
A color scheme using dark blue, medium blue, and light blue is monochromatic. This type of scheme tightly weaves together the parts of an artwork. A danger in using a monochromatic scheme, however, is that it can bore the viewer. Analogous uh-nal-uh-gus colors are colors that are side by side on the color wheel and share a hue. Red-violet, red, and red-orange are analogous colors that share the hue red. Analogous colors in an artwork can tie one shape to the next.
Red, yellow, and orange remind us of sunshine, fire, and other warm things. For this reason, they are known as warm colors. Blue, green, and violet make us think of cool things, like water and grass. They are known, therefore, as cool colors. When used in an artwork, warm colors seem to move toward the viewer. Cool colors appear to recede, or move back and away. You will produce paintings using a variety of art materials and tools in traditional ways.
Select an object from within your classroom such as a plant or vase. On a sheet of paper use direct observation to draw a large image of your object. Select bright colors to paint your object. Paint your background using dull colors. You can dull a color by adding its complement a little at a time. P o r t f o l i o Make another painting of the same image, but this time experiment by reversing the color intensities.
Use dull colors for your object and bright colors in your background. Participate in an individual critique by comparing relationships in your artworks.
What differences do you notice? Write a short paragraph comparing and contrasting the changes you observed when using different intensities of color. Place your reflection and the two paintings in your portfolio. What are the three primary hues? Describe how value is changed with tints and shades. Define intensity.
What are complementary colors? Give an example. Describe an analogous color scheme. Color schemes can make a painting look vibrant or can create the illusion of movement.
Consider the painting in Figure 2— Do the squares approaching the center of the painting appear to bulge toward you in a big semicircle? That is precisely the effect the artist set out to achieve. It is worth noting that he creates this illusion of three dimensions using the element of color. Notice which values of red, yellow, and blue the artist uses near the center of the circle. What values of these colors does he use near the outer edge of the bulge, or perimeter?
You will organize geometric shapes to create the illusion of depth. Your goal will be to create the illusion of movement. Victor Vasarely. Albright-Knox Art Gallery. Buffalo, New York. Gift of Seymour H. Knox Jr. In Vega-Noir Vasarely uses distorted geometric shapes and vibrant colors to create the illusion of movement. What shapes do you see? What happens to the shapes as they move away from the center of the painting? Do you recognize the color scheme?
Can you see how the painting can be divided into four equal sections, each a mirror image of itself? Do you recognize any of the color schemes? Start by lining up your ruler flush against the top edge of the paper. Mark off a dot with your pencil every 2 inches. Repeat this on the other three edges of the paper. Next, connect the dots. Align your ruler along the left-most dots on the top and bottom of your paper. Draw a line connecting the dots. The line should be vertical. Connect the remaining dots in the same fashion.
Now do the same with the dots on the left and right side to make horizontal lines. Measure and cut two 2-inch squares from the tag board scraps. Draw a different geometric shape on each square. One square might have a diamond, the other a circle. Carefully cut out the shapes along the outlines. Center one of the two outline shapes in the top left square of your grid.
Using a pencil, trace around the shape. Select a color scheme that uses two or three bright hues. Begin painting your work. Mix the tints and shades of each color before you use them in the painting. Analyze your artwork in progress with peers and participate in a group critique. Give your completed painting a title and display it in a class exhibition.
Analyze the original artworks of your peers in the class exhibition. Examine the optical-illusion paintings they created and form conclusions about formal properties and intent. For example, did the use of shape and color enhance the optical illusion of the artwork? Is it what they intended? Explain your procedures. Which color scheme did you use to enhance the optical illusion in your painting?
Optical-illusion painting. Visual Art Journal Experiment with different shapes and colors to create a variety of optical illusions. Define a variety of concepts directly related to these art elements using vocabulary accurately.
For example, concepts relating to color include color properties and color schemes. Write your thoughts in your journal. Every object—a tree, a house, your friend—has height, width, and depth. Imagine awaking one day to the discovery that depth had vanished.
You would still be able to identify the shapes, or outlines, of objects. You would not, however, be able to see their forms—their three-dimensionality. He used bright colors and geometric shapes to create art that expressed his intellectual attitude toward painting.
His work influenced the Hard Edge and Op art painters of the s. Auguste Herbin. Life No. Gift of the Seymour H. Knox Foundation, Inc. Along with a third term—space—they represent three related art elements. In this lesson you will learn more about this relationship. You will also learn—and see—how these elements are used in works of art.
The torn paper in the background is made of free-form, irregular shapes. Charles White. Freedom Now. Collection of the California African American Museum.
SHAPE In art a shape is an element that refers to an area clearly set off by one or more of the other six visual elements of art. Shapes are flat. They are limited to only two dimensions: height and width. A shape may have an outline or boundary around it.
Some shapes show up because of color. Others are set off purely by the space that surrounds them. These are precise shapes that look as if they were made with a ruler or other drawing tool. The square, the circle, the triangle, the rectangle, and the oval are the five basic geometric shapes.
The painting shown in Figure 2—19 is made up largely of geometric shapes. These are not regular or even. Their outlines curve to make freeform shapes. Organic shapes are often found in nature. Objects in the painting shown in Figure 2—20 are based on organic, free-form shapes.
Forms, however, have a third dimension: depth. In fact, form is defined as an element of art that refers to an object with three dimensions. A tree is a three-dimensional form. So are you. As with shapes, forms are grouped as either geometric or organic. Examples of organic forms are a stone, a leaf, and a person.
Shapes and forms are closely linked in art Figure 2— The end of a cylinder is a circle. One side of a cube is a square. SPACE Space is an element of art that refers to the distance or area between, around, above, below, and within objects.
Space is empty until objects fill it. All objects take up space. You, for instance, are a living, breathing form moving through space. Space occurs in both two- and threedimensional art. In a two-dimensional work such as a painting or drawing, space is often represented as areas of color between and around shapes. Such space is known as negative space. In three-dimensional artworks, such as sculpture, space is real.
The space in and around a freestanding sculpture, like the one in Figure 2—22, permits the viewer to move around the work and see it from different angles. Creating the Illusion of Space in Two-Dimensional Art Although drawings and paintings are created in two dimensions, they can be made to appear three-dimensional. Artists have developed techniques for giving the feeling of depth in paintings and drawings.
Having one shape cover part of another shape. Making distant shapes smaller than closer ones. Look again at Figure 1—2 on page 4. Adding more detail to closer objects, less detail to distant objects. Placing distant objects higher up in the picture, closer ones lower down.
Using colors that are lower in intensity and lighter in value for objects in the distance. Slanting the horizontal lines of buildings and other objects so they seem to come together at a point on the horizon.
What is shape? What are the two types of shapes? What is form? What are the two types of forms? Name two techniques that artists use for creating a feeling of space. Henry Moore — Historical Connection. What do underground bomb shelters have in common with the art of Africa? Both played a role in shaping the sculpture of Henry Moore.
After the war, he attended art school on grant money issued to war veterans. As a student, he developed a keen interest in African tribal sculpture. He would later adopt features of this style in his own abstract sculpture. They asked him to create drawings depicting life in underground bomb shelters. From to , he focused almost entirely on drawing. These drawings, mostly of families or rounded forms of people, had an enormous impact on his later sculptures.
Henry Moore. Reclining Figure. Room of Contemporary Art Fund, She is considered a leading American folk painter of the twentieth century. She painted landscapes. A landscape is a drawing or painting of mountains, trees, or other natural scenery. Look closely at the painting in Figure 2— Moses organized her landscape using foreground, middle ground, and background. The foreground is the area closest to the viewer.
Background is the most distant area. Moses captured the feeling of depth by making the animals and people larger in the foreground and placed them in front of the white house.
Your artwork will integrate a theme found through personal experiences such as the changing of the seasons. Your landscape will be divided into a foreground, middle ground, and background. This work shows visitors coming to call in their horse and buggy.
It also shows fields being plowed, animals grazing, and buildings in the distance. The artist became a celebrity in the s because her paintings helped people recall a time when life was simpler. Grandma Moses. Oil on pressed wood. Renewed Look again at Figure 2— Notice the point of view Grandma Moses has chosen. The point of view is the angle from which the viewer sees the scene.
Beyond the fence are the fields of a farm. Some of the fields have horses, cows, and people. Farther back, at the horizon, is a range of mountains. Notice how size and color are used to suggest distance. Integrate a theme found through personal experiences by illustrating an outdoor event that you would like to portray. The event might be a picnic, a lawn party, or a hiking trip. Picture the natural setting—the landscape features—in which this event took place.
Make notes and pencil sketches about this event. In your sketch, illustrate the landscape features, such as mountains, clouds, and plant life, as well as people, animals, and objects. Be sure to note the time of year. Plan the areas for foreground, middle ground, and background. Refer to your notes and sketches.
Draw the landscape details on your drawing paper. Paint your sky and the land. Remember to use three of the six techniques shown on pages 36 and Think about the colors you will need in order to portray the season. Experiment by mixing colors on a piece of scrap paper with your tempera paint.
Allow the background features of your work to dry. Then add people, animals, and objects, including trees. Display your work alongside those of your classmates. Can you find similar stories? Can you tell the season in which the various stories take place?
Compare and contrast the use of space in your work with the work of your classmates. Which people, animals and objects did you include in this work? What season did you depict? Explain which perspective techniques you used to create the feeling of depth. Explain how your use of color helped convey the season in which your event took place. Student work. Landscape painting. Looking at portfolios of others can often provide inspiration for your own. Analyze portfolios by peers and others, such as your teacher or older students.
Form conclusions about formal properties, historical and cultural contexts, intents, and meanings. For example, what principles of art are used to organize the elements of art? Visual Art Journal Create another landscape painting, this time experimenting with different colors. Use different perspective techniques. Compare the relationship between color choices and perspective techniques in your experimental painting and your first landscape.
Write your notes in your visual art journal. How would you describe the way it feels? Timelines with thumbnail images help students easily draw chronological connections between works, and detailed world maps illustrate geographical relevance. In addition to new works, the fifth edition offers expanded representation of contemporary artists from around the globe.
Important Notice: Media content referenced within the product description or the product text may not be available in the ebook version. How can community art build connection in diverse communities?
Where is the art in contemporary libraries? How do you bring subway art into the classroom? She shows the myriad art forms, media expressions, and design professions that have the influence and potential to shape the local environment, reaching far beyond the traditional museum and gallery venue.
Underpinned by a clear philosophical foundation, the field-tested approaches show readers how to go beyond the study of reproductions or dwelling on of the masters who are framed in art museums, instead having meaningful art experiences using everyday objects and diverse collective experiences. She also shows that innovative and exciting art lessons don't need large amounts of funding, transportation or even a museum within the local community.
Each chapter includes photographs, talking points and key lesson ideas along with links to further resources. Artventure is a compilation of real life stories of the art scene painting, music, poetry, and etc. Join feature writer Miel Hontucan in her sit-down conversations with established and upcoming artists, visit art galleries, and attend the theatre gala--all in a year of artistic exploration that will make you completely fall in love with art.
Focusing on the elements and principles of art, students learn about various media and techniques, such as drawing, painting, printmaking and sculpting, as the chapters interweave compelling lessons on art, art history, aesthetics, and art criticism with opportunities for studio production. Exploring Digital Technologies for Art-Based Special Education details the use of digital technologies for inclusive art education, and showcases strategies for implementing arts-oriented technologies in primary- and secondary-level special education classrooms.
With contributions from a range of disciplinary angles—including art education, special education, educational philosophy, and educational technology—this book will cover a variety of digital tools for teaching art to students with disabilities, as well as the theoretical underpinnings specific to this interdisciplinary area of education research.
Compatible with any devices. Reading art from a semiotic perspective, this book offers a new interpretation of the development of Chinese landscape painting and outlines a new framework for contemporary semiotics and critical theory. It will appeal to those interested in visual art, Chinese studies, critical theory, semiotics, and other relevant fields, and will allow the reader to learn how to put theory into the practice of studying art, how to give new life to an important theory, and how to acquire a new point of view in appreciating and enjoying art with a certain critical theory.
Focusing provides an effective way of listening to the innate wisdom of the body, while art therapy harnesses and activates creative intelligence. Museum Innovation explores the role of contemporary museums in society.
It is essential reading for academics, students and practitioners working in the museum and heritage studies field. The recent exhibitions dedicated to Botticelli around the world show, more than ever, the significant and continued debate about the artist. Botticelli Past and Present engages with this debate. Each part comprises a number of essays and includes a short introduction which positions them within the wider scholarly literature on Botticelli.
The parts are organised chronologically beginning with discussion of the artist and his working practice in his own time, moving onto the progressive rediscovery of his work from the late eighteenth to the turn of the twentieth century, through to his enduring impact on contemporary art and design. Expertly written by researchers and eminent art historians and richly illustrated throughout, the broad range of essays in this book make a valuable contribution to Botticelli studies.
Its practical structure and learning features help you to recognise your own learning needs and set your own targets. Learning is an adventure—now students can see just how exciting it can be with Psychology: A Journey. In a course where professors are frequently confronted with students who haven't actually read their textbooks, Psychology: A Journey offers a proven and trusted solution: this popular text presents psychology in a way that sparks readers' curiosity, insights, imagination, and interest—getting students ""hooked"" on psychology and making them eager to read on.
The first psychology textbook to integrate the proven SQ4R Survey, Question, Read, Recite, Reflect, and Review active learning system, Journey helps readers grasp major concepts, develop a broad understanding of psychology's diversity, and see for themselves how psychology relates to the challenges of everyday life. Because readers become actively involved with the material, they develop a basic understanding of psychology that they take with them into their future courses and careers. This dystopian classic is 'exciting, relevant and thought-provoking' Stephen King.
When a group of schoolboys are stranded on a desert island, what could go wrong? Or animals? Or savages? What's grown-ups going to think? Going off-hunting pigs-letting fires out-and now! A plane crashes on a desert island. The only survivors are a group of schoolboys.
By day, they explore the dazzling beaches, gorging fruit, seeking shelter, and ripping off their uniforms to swim in the lagoon. At night, in the darkness of the jungle, they are haunted by nightmares of a primitive beast. Orphaned by society, they must forge their own; but it isn't long before their innocent games devolve into a murderous hunt An apocalyptic novelist [who writes with] humanist rage and defiance.
Forster 'A fragment of nightmare. A cult classic. Such a strong statement about the human heart. This is what we are. Excellent read. One of the best books I've ever read. Insel and Roth, Core Concepts in Health pioneered the concept of personal responsibility for health and individual behavior change back in Now in its 11th edition, it is still the market leader and is known for its scientific research base and its currency, comprehensiveness, and accuracy.
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