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Medium 9781742205823

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Lonely Planet Lonely Planet ePub
Medium 9781780427843

MAURICE DE VLAMINCK

Nathalia Brodskaya Parkstone International PDF

MAURICE DE VLAMINCK

1876-1958

«C

e qu’est le Fauvisme ? C’est moi. C’est ma manière de cette époque, ma façon de me révolter et de me délivrer ensemble, de refuser l’école, l’embrigadement ; mes bleus, mes rouges, mes jaunes, mes couleurs pures sans mélange de tons » 37, disait Maurice de Vlaminck. Il est difficile de l’accuser d’exagération : le peintre a corps et âme appartenu au Fauvisme et conserva pour toute sa vie le caractère intégral du « plus authentique des fauves ». 38 Pour Vlaminck, né de père et de mère musiciens le 4 août 1876 à Paris, il semblait tout naturel de se consacrer

à la musique, c’est d’ailleurs en donnant des cours qu’à l’âge de vingt-et-un ans, il gagnait sa vie. Peintre autodidacte, Vlaminck ne se consacra entièrement à cet art que plus tard, surtout lorsque ses tableaux attirèrent l’attention de ses camarades du service militaire et qu’il fit, par hasard, la connaissance d’un homme nommé André Derain avec qui il se lia d’amitié.

Dès son service militaire en Bretagne, Vlaminck fit partie d’un cercle d’anarchistes, auquel il resta longtemps fidèle. L’insurrection contre la pruderie bourgeoise et contre l’étroitesse d’esprit lui semblait tout aussi naturelle que la peinture. En 1901, Derain le présenta à Henri Matisse qui vint les voir dans leur atelier de Chatou. Matisse, enthousiasmé par leur travail, reconnut les deux jeunes gens en tant que peintres authentiques et les introduisit dans le cercle des futurs fauves. C’est ainsi que le « groupe de Chatou » se trouva relié à celui des élèves de

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Medium 9781442267787

Promoting Innovation: Standards and Dialogue for Public Art Resources

Collections Altamira Press ePub

R. Arvid Nelsen, Head of Special Collections, Rare Books, and Manuscripts, Curator of Northwest Architectural Archives, Rare Materials Conservation Coordinator, Elmer L. Andersen Library, University of Minnesota, Minneapolis, MN phone: 612-625-4867; email: nels0307@umn.edu

Helen Lessick, Independent Artist and Program Manager, Web Resources for Art in Public, Los Angeles, CA email: wresources4publicart@gmail.com

Abstract This paper aims to review practices in cataloguing public art collection archives and recent efforts to publicly present those records. We examine how to improve communication between knowledge bases to educate, inform and improve search results. Re-examining contemporary public art — a national, civic collection of permanent, temporary and ephemeral artworks — we explore current online standards and auxiliary applications. This paper reveals the failure of vocabulary standards in traditional collections to reflect contemporary artists’ diverse toolkit to address site and engage audience beyond traditional venues. With this paper we present the University of Minnesota’s digitization of Public Art Review, an international print magazine with 23 years of publication history published by Forecast Public Art, and examine municipal collections and grassroots efforts to promote dialog and sharing between communities through Web Resources of Art in Public (WRAP).

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Medium 9781855757103

Chapter Three: Emotional Development in the First Years

Gertraud Diem-Wille Karnac Books ePub

CHAPTER THREE

Emotional development in the first years

3.1 Prehistory of emotional development

All the factors that have an influence on the emotional development of the child I refer to as “prehistory”—even those occurring before birth: they originate in the time before birth, but have consequences later.

The parents' relationship to their baby starts long before the child's birth, as early as the questions of whether or not they want to have a child. In the play of girls and boys aged one-and-a-half years, we can already see how they caress a doll or a cuddly toy and perhaps immediately thereafter toss it away—an indication of ambivalent maternal or paternal images. In addition to the question of whether a child was desired or not, the circumstances of conception play a large role. Was procreation an expression of a loving relationship, where the parents both want to bestow permanence on their love through a creative act? Is the child conceived in order to deliver a successor to a business to the grandparents or to continue a dynasty? Was the child the product of a brutal rape, and used as a weapon against other ethnic groups, as was done systematically and cynically in the Yugoslavian war? Has the child been conceived accidentally from a short romance, without any stable emotional basis of the couple? Is the new baby intended as a substitute for the loss or death of a sibling? Behind the desire for children there are always many, often contradictory, motives, since all men and women also have conscious and unconscious anxieties about this new parental responsibility.

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Medium 9780596803360

10. Edit Your Sound Track

Chris, Dr Grover O'Reilly Media ePub

If you stay in the theater at the end of a movie as everyone else heads for the door, you may get a glimpse of seemingly endless credits. Somewhere in there, along with the drivers, caterers, publicists, assistants, and accountants, you'll see a credit for the sound designer. What a great description for the art of making a movie sound as good as it looks. Just as you build the visuals in your movie by layering video clips, special effects, and titles on top of each other, so you build its audio portion, with multiple tracks that may include music, sound effects, and narration.

Chapter3 explained how to get sound files into your computer. This chapter explains how you craft a Hollywood-style soundtrack by layering dialog, sound effects, music, and narration, and then fine-tuning those tracks using volume settings and all kinds of effects for sound that Premiere provides.

When a soundtrack is done right, your audience is moved emotionally. They may not realize how much the sound affected them, but they'll feel its influence.

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