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|Albert Kostenevitch||Parkstone International|
(1865-1925) he “foreign Nabi” stood out among the members of the group, not so much because of his nationality – he was
Swiss – as because of his manner of painting, which was quite unlike that of his fellow artists. For this reason some critics have regarded his affiliation with the Nabis as purely formal. For instance Charles Chassé, whose book on the Nabis was published in Switzerland, the artist’s homeland,13 scarcely mentions Vallotton, whereas he sets aside whole chapters to artists who did not belong to this group at all and played a lesser part in the history of painting at the turn of the century. Nevertheless, the Nabis must have had their reasons for admitting the newcomer from Lausanne into their circle, even if they did hesitate over it.
All the Nabis’ first efforts were remarkable for their maturity, but Vallotton achieved mastery even sooner than the others. His style was established very early and remained practically unchanged. While Bonnard’s fledgling canvases did not contain the promise of his later works, Vallotton displayed his talent to the full at the very outset of his career.See All Chapters
The author brings to bear an art historical perspective on the psychoanalytic understanding of creativity as an object relationship, proposing that the creative endeavour is determined by a wider, more complex network of internal and external object relationships than is usually assumed. The workings of tradition, language, contemporary practices, methods, and materials are explored. Creative block is considered in the context of the determining relationships, with particular reference to the role of aggression. The position of the latter within psychoanalytic theories of creativity is surveyed and it is proposed that aggression has a pivotal place not primarily in instituting sublimation, reparation or reaction formation but simply because the processes of creativity demand it. Virginia Woolf’s image of Killing the angel in the house is analysed and used to track the implications of gender, focusing on the concept of the muse. It is pointed out that traditionally, the fear, guilt, and anxiety associated with aggressive creativity has been mediated by the muse, which is compared to the internal good object. Drawing on art history, artists’ statements, and clinical material, the author illustrates the disparate means by which the presence of “muse“ can be internalized to infuse the relationships that constitute creativity.See All Chapters
|Emde, Robert N.||Karnac Books||ePub|
This is about a little girl and how I understood her difficulties. The little girl was twenty two months old when she came to see me and started treatment in what we call baby analysis (Norman, 2001). In other words, she was not actually an infant but a very young child. She was a child who had just started to talk in one- and two-word sentences. The girl was in treatment with me together with her mother and the analysis went on till she was a little more than two and a half years old, thirty-two months.
The title of my chapter is “From nameless dread to bearable fear”. I will later explain what is meant by nameless dread and how I worked together with the little girl and her mother according to a model developed by a Swedish colleague, Johan Norman. It is psychoanalytic work with infants and little children up to about two and a half years old (Norman, 2001).
First I will tell you about the little girl whom I will call Hilda in this chapter.
Hilda was twenty-two months old when I met her for the first time. Hilda's mother had called me on the telephone and briefly told me about their concerns. So I knew a little about their problems when we first met, Hilda, the mother, and I.See All Chapters
|Ryan Boyd||O'Reilly Media||ePub|
|Robson, Elisabeth||O'Reilly Media||ePub|
Smile and say cheese. Actually, smile and say gif, jpg, or png these are going to be your choices when developing pictures for the Web. In this chapter youre going to learn all about adding your first media type to your pages: images. Got some digital photos you need to get online? No problem. Got a logo you need to get on your page? Got it covered. But before we get into all that, dont you still need to be formally introduced to the <img> element? So sorry, we werent being rude, we just never saw the right opening. To make up for it, heres an entire chapter devoted to <img>. By the end of the chapter youre going to know all the ins and outs of how to use the <img> element and its attributes. Youre also going to see exactly how this little element causes the browser to do extra work to retrieve and display your images.
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