Basic Principles Of Artistic Expression

Creative Art: Methods and Materials educates readers about a variety of art methods and the ways different civilizations have used them in artistic expression. Each of the fourteen chapters is designed around a specific art method and material, and includes examples of art works and the artists who created them. Students learn about bronze casting, stone carving, clay sculpture, woodcuts and posters, glass work, and installation art. Each method is matched to artists both ancient and modern. Rather than adhering to a standard approach that focuses on white, male, European artists, the book broadens the student's perspective by including often overlooked female artists. Global in approach and comprehensive in coverage of arts forms, representations, and styles throughout history, Creative Art has been developed for sixteen-week courses in art appreciation, or introductory survey courses in art history.

Religion in India is an ideal first introduction to India's fascinating and varied religious history. Fred Clothey surveys the religions of India from prehistory and Indo-European migration through to the modern period. Exploring the interactions between different religious movements over time, and engaging with some of the liveliest debates in religious studies, he examines the rituals, mythologies, arts, ethics and social and cultural contexts of religion as lived in the past and present on the subcontinent. Key topics discussed include: Hinduism, its origins and development over time minority religions, such as Christianity, Judaism, Islam, Sikhism, Zoroastrianism, Jainism and Buddhism the influences of colonialism on Indian religion the spread of Indian religions in the rest of the world the practice of religion in everyday life, including case studies of pilgrimages, festivals, temples and rituals, and the role of women Written by an experienced teacher, this student-friendly textbook is full of clear, lively discussion and vivid examples. Complete with maps and illustrations, and useful pedagogical features, including timelines, a comprehensive glossary, and recommended further reading specific to each chapter, this is an invaluable resource for students beginning their studies of Indian religions.

This textbook places the relationship between law and economics in its international context, explaining the fundamentals of this increasingly important area of teaching and research in an accessible and straightforward manner. In presenting the subject, Alan Devlin draws on the neoclassical tradition of economic analysis of law while also showcasing cutting- edge developments, such as the rise of behavioural economic theories of law. Key features of this innovative book include: case law, directives, regulations, and statistics from EU, UK, and US jurisdictions are presented clearly and contextualised for law students, showing how law and economics theory can be understood in practice; succinct end- of-chapter summaries highlight the essential points in each chapter to focus student learning; further reading is provided at the end of each chapter to guide independent research. Making use of tables and diagrams throughout to facilitate understanding, this text provides a comprehensive overview of law-and-economics that is ideal for those new to the subject and for use as a course text for law-and-economics modules.

Discusses all basic principles of ballet, grouping movement by fundamental types. Diagrams show clearly the exact foot, leg, arm, and body positions for the proper execution of many steps and movements. Offers dancers, teachers, and ballet lovers information often difficult to locate in other books. 118 illustrations.

I do not think of aesthetic theory as an attempt to investigate and expound eternal verities concerning the nature of an eternal object called Art, but as an attempt to reach, by thinking, the solution of certain problems arising out of the situation in which artists find themselves here and now. Everything written in this book has been written in the belief that it has a practical bearing, direct or indirect, upon the condition of art in England in 1937, and in the hope that artists primarily, and secondarily persons whose interest in art is lively and sympathetic, will find it of some use to them. Hardly any space is devoted to criticizing other people’s aesthetic doctrines; not because I have not studied them, nor because I have dismissed them as not worth considering, but because I have something of my own to say, and think the best service I can do to a reader is to say it as clearly as I can. Of the three parts into which it is divided, Book I is chiefly concerned to say things which any one tolerably acquainted with artistic work knows already; the purpose of this being to clear up our minds as to the distinction between art proper, which is what aesthetic is about, and certain other things which are different from it but are often called by the same name. Many false aesthetic theories are fairly accurate accounts of these other things, and much bad artistic practice comes from confusing them with art proper. These errors in theory and practice should disappear when the distinctions in question are properly apprehended. In this way a preliminary account of art is reached; but a second difficulty is now encountered. This preliminary account, according to the schools of philosophy now most fashionable in our own country, cannot be true; for it traverses certain doctrines taught in those schools and therefore, according to them, is not so much false as nonsensical. Book II is therefore devoted to a philosophical exposition of the terms used in this preliminary account of art, and an attempt to show that the conceptions they express are justified in spite of the current prejudice against them; are indeed logically implied even in the philosophies that repudiate them. The preliminary account of art has by now been converted into a philosophy of art. But a third question remains. Is this so-called philosophy of art a mere intellectual exercise, or has it practical consequences bearing on the way in which we ought to approach the practice of art (whether as artists or as audience) and hence, because a philosophy of art is a theory as to the place of art in life as a whole, the practice of life? As I have already indicated, the alternative I accept is the second one. In Book III, therefore, I have tried to point out some of these practical consequences by suggesting what kinds of obligation the acceptance of this aesthetic theory would impose upon artists and audiences, and in what kinds of way they could be met. This book is organized as follows: I. Introduction Book I. Art and Not Art II. Art and Craft III. Art and Representation IV. Art as Magic V. Art as Amusement VI. Art Proper: (1) As Expression VII. Art Proper: (2) As Imagination Book II. The Theory of Imagination VIII. Thinking and Feeling IX. Sensation and Imagination X. Imagination and Consciousness XI. Language Book III. The Theory of Art XII. Art as Language XIII. Art and Truth XIV. The Artist and the Community XV. Conclusion

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The Pocket Universal Principles of Art is a portable but still comprehensive reference for all artists, and a companion volume to Rockport Publishers' best-selling Universal Principles of Design. This new, pocket volume of ThePocket Universal Principles of Art provides a handy, portable, reference for art enthusiast, art students, and any artist on the go. This is the same excellent information as the original Universal Principles of Art, but now in a condensed, easy-to-navigate format. This pocket edition presents one hundred principles and fundamental ideas and approaches to making art. The principles explore key techniques and concepts, making this a book for anyone interested in learning more about what makes art work.