Searching for painting : 451 results found | RSS Feed for this search

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18

4.602 Modern Art and Mass Culture (MIT) 4.602 Modern Art and Mass Culture (MIT)

Description

This class provides an introduction to modern art and theories of modernism and postmodernism. It focuses on the way artists use the tension between fine art and mass culture to mobilize a critique of both. We will examine objects of visual art including painting, sculpture, architecture, photography, and video. These objects will be viewed in their interaction with advertising, caricature, comics, graffiti, television, fashion, folk art, and so-called "primitive" art. This class provides an introduction to modern art and theories of modernism and postmodernism. It focuses on the way artists use the tension between fine art and mass culture to mobilize a critique of both. We will examine objects of visual art including painting, sculpture, architecture, photography, and video. These objects will be viewed in their interaction with advertising, caricature, comics, graffiti, television, fashion, folk art, and so-called "primitive" art.

Subjects

modern art; high art; mass culture; modernist aesthetic; modernism; 19th Century Art; 20th Century Art; modernization; urbanization; globalization; photography; cinema; painting; sculpture; postmodernism; visual arts; multimedia; pop art; popular culture | modern art; high art; mass culture; modernist aesthetic; modernism; 19th Century Art; 20th Century Art; modernization; urbanization; globalization; photography; cinema; painting; sculpture; postmodernism; visual arts; multimedia; pop art; popular culture | modern art | modern art | high art | high art | mass culture | mass culture | modernist aesthetic | modernist aesthetic | modernism | modernism | 19th Century Art | 19th Century Art | 20th Century Art | 20th Century Art | modernization | modernization | urbanization | urbanization | globalization | globalization | photography | photography | cinema | cinema | painting | painting | sculpture | sculpture | postmodernism | postmodernism | visual arts | visual arts | multimedia | multimedia | pop art | pop art | popular culture | popular culture

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

Site sourced from

http://ocw.mit.edu/rss/all/mit-allarchivedcourses.xml

Attribution

Click to get HTML | Click to get attribution | Click to get URL

All metadata

See all metadata

21M.606 Introduction to Stagecraft (MIT) 21M.606 Introduction to Stagecraft (MIT)

Description

Offered annually in the spring term, Introduction to Stagecraft is a hands-on course that gets students working with the tools and techniques of theatrical production in a practical way. It is not a design course but one devoted to artisanship. Among the many remarkable final projects that have been proposed and presented at the end of the course have been a Renaissance hourglass blown in the MIT glass shop and set into a frame turned on our set shop lathe; a four harness loom built by a student who then wove cloth on it; a number of chain mail tunics and coifs; a wide variety of costume and furniture pieces and electrified period lighting fixtures. Offered annually in the spring term, Introduction to Stagecraft is a hands-on course that gets students working with the tools and techniques of theatrical production in a practical way. It is not a design course but one devoted to artisanship. Among the many remarkable final projects that have been proposed and presented at the end of the course have been a Renaissance hourglass blown in the MIT glass shop and set into a frame turned on our set shop lathe; a four harness loom built by a student who then wove cloth on it; a number of chain mail tunics and coifs; a wide variety of costume and furniture pieces and electrified period lighting fixtures.

Subjects

stagecraft | stagecraft | shop skills | shop skills | shop machines | shop machines | basic handwork | basic handwork | tools | tools | scenery | scenery | costume | costume | set constuction | set constuction | props | props | stage management | stage management | lighting | lighting | make-up | make-up | scene painting | scene painting

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

Site sourced from

http://ocw.mit.edu/rss/all/mit-allarchivedcourses.xml

Attribution

Click to get HTML | Click to get attribution | Click to get URL

All metadata

See all metadata

1. Introduction to the Elements of Drawing

Description

Stephen Farthing R.A. presents eight practical drawing classes using John Ruskin's teaching collections to explain the basic principles of drawing. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing | draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Site sourced from

http://mediapub.it.ox.ac.uk/feeds/129207/video.xml

Attribution

Click to get HTML | Click to get attribution | Click to get URL

All metadata

See all metadata

2. The Tip of the Pencil

Description

Lesson 1. We use line to define spaces and things. It is not a question of magically getting the line right first time, but of first turning a contour into a line, and then systematically correcting that line until it looks right. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing | draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Site sourced from

http://mediapub.it.ox.ac.uk/feeds/129207/video.xml

Attribution

Click to get HTML | Click to get attribution | Click to get URL

All metadata

See all metadata

3. The Edge of the Pencil

Description

Lesson 2. We use tone, light, dark and the shades in-between to create illusions of volume and depth. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing | draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Site sourced from

http://mediapub.it.ox.ac.uk/feeds/129207/video.xml

Attribution

Click to get HTML | Click to get attribution | Click to get URL

All metadata

See all metadata

4. Toned Paper

Description

Lesson 3. How toned paper can be used to provide the mid-tone in a drawing, which records where light and shade fall as a means of picturing an object. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing | draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Site sourced from

http://mediapub.it.ox.ac.uk/feeds/129207/video.xml

Attribution

Click to get HTML | Click to get attribution | Click to get URL

All metadata

See all metadata

5. Making a Livelier Drawing

Description

Lesson 4. Making a livelier drawing, where the line and tone have an energy because they have been applied at speed with a brush. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing | draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Site sourced from

http://mediapub.it.ox.ac.uk/feeds/129207/video.xml

Attribution

Click to get HTML | Click to get attribution | Click to get URL

All metadata

See all metadata

6. Measured Drawing

Description

Lesson 5. Making a drawing that is dependent for its success on mathematical accuracy. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing | draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Site sourced from

http://mediapub.it.ox.ac.uk/feeds/129207/video.xml

Attribution

Click to get HTML | Click to get attribution | Click to get URL

All metadata

See all metadata

7. With Colour

Description

Lesson 6. The most complex form of drawing. Starting with a pencil outline, the drawing is developed with a brush in clearly defined layers. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing | draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Site sourced from

http://mediapub.it.ox.ac.uk/feeds/129207/video.xml

Attribution

Click to get HTML | Click to get attribution | Click to get URL

All metadata

See all metadata

8. Field Notes

Description

Lesson 7. Strategies for collecting information and recording ideas as an aid to memory. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing | draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Site sourced from

http://mediapub.it.ox.ac.uk/feeds/129207/video.xml

Attribution

Click to get HTML | Click to get attribution | Click to get URL

All metadata

See all metadata

9. Creativity

Description

Lesson 8. Invention! Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing | draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Site sourced from

http://mediapub.it.ox.ac.uk/feeds/129207/video.xml

Attribution

Click to get HTML | Click to get attribution | Click to get URL

All metadata

See all metadata

Man with a blue scarf: On sitting for a portrait by Lucian Freud

Description

Art critic Martin Gayford (A Bigger Message: Conversations with David Hockney and Man With a Blue Scarf: On Sitting for a Portrait by Lucian Freud) delivers the first annual Weinrebe lecture on Life-Writing and Portraiture. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

visual arts | portrait painting | lucian freud | visual arts | portrait painting | lucian freud

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Site sourced from

http://mediapub.it.ox.ac.uk/feeds/129040/audio.xml

Attribution

Click to get HTML | Click to get attribution | Click to get URL

All metadata

See all metadata

4.602 Modern Art and Mass Culture (MIT) 4.602 Modern Art and Mass Culture (MIT)

Description

This class provides an introduction to modern art and theories of modernism and postmodernism. It focuses on the way artists use the tension between fine art and mass culture to mobilize a critique of both. We will examine objects of visual art, including painting, sculpture, architecture, photography, prints, performance and video. These objects will be viewed in their interaction with advertising, caricature, comics, graffiti, television, fashion, folk art, and "primitive" art. This class provides an introduction to modern art and theories of modernism and postmodernism. It focuses on the way artists use the tension between fine art and mass culture to mobilize a critique of both. We will examine objects of visual art, including painting, sculpture, architecture, photography, prints, performance and video. These objects will be viewed in their interaction with advertising, caricature, comics, graffiti, television, fashion, folk art, and "primitive" art.

Subjects

modern art | modern art | high art | high art | mass culture | mass culture | modernist aesthetic | modernist aesthetic | modernism | modernism | 19th Century Art | 19th Century Art | 20th Century Art | 20th Century Art | modernization | modernization | urbanization | urbanization | globalization | globalization | photography | photography | cinema | cinema | painting | painting | sculpture | sculpture | postmodernism | postmodernism | visual arts | visual arts | multimedia | multimedia | pop art | pop art | popular culture | popular culture

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

Site sourced from

http://ocw.mit.edu/rss/all/mit-allcourses.xml

Attribution

Click to get HTML | Click to get attribution | Click to get URL

All metadata

See all metadata

4.651 Art Since 1940 (MIT) 4.651 Art Since 1940 (MIT)

Description

This subject focuses on the objects, history, context, and critical discussion surrounding art since World War II. Because of the burgeoning increase in art production, the course is necessarily selective. We will trace major developments and movements in art up to the present, primarily from the US; but we will also be looking at art from Europe, Asia, Africa, Latin America, and the Middle East, as well as art "on the margins" — art that has been overlooked by the mainstream critical press, but may have a broad cultural base in its own community. We will ask what function art serves in its various cultures of origin, and why art has been such a lightning rod for political issues around the world. This subject focuses on the objects, history, context, and critical discussion surrounding art since World War II. Because of the burgeoning increase in art production, the course is necessarily selective. We will trace major developments and movements in art up to the present, primarily from the US; but we will also be looking at art from Europe, Asia, Africa, Latin America, and the Middle East, as well as art "on the margins" — art that has been overlooked by the mainstream critical press, but may have a broad cultural base in its own community. We will ask what function art serves in its various cultures of origin, and why art has been such a lightning rod for political issues around the world.

Subjects

contemporary art | contemporary art | modernism | modernism | minimalist art | minimalist art | Warhol's factory | Warhol's factory | Jackson Pollock | Jackson Pollock | painting | painting | expression | expression | art and politics | art and politics | fluxus | fluxus

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

Site sourced from

http://ocw.mit.edu/rss/all/mit-allcourses.xml

Attribution

Click to get HTML | Click to get attribution | Click to get URL

All metadata

See all metadata

4.184 Architectural Design Workshop: Collage - Method and Form (MIT) 4.184 Architectural Design Workshop: Collage - Method and Form (MIT)

Description

This class investigates the theory, method, and form of collage. It studies not only the historical precedents for collage and their physical attributes, but the psychology and process that plays a part in the making of them. The class was broken into three parts, changing scales and methods each time, to introduce and study the rigor by which decisions were made in relation to the collage. The class was less about the making of art than the study of the processes by which art is made. This class investigates the theory, method, and form of collage. It studies not only the historical precedents for collage and their physical attributes, but the psychology and process that plays a part in the making of them. The class was broken into three parts, changing scales and methods each time, to introduce and study the rigor by which decisions were made in relation to the collage. The class was less about the making of art than the study of the processes by which art is made.

Subjects

collage | collage | modern art | modern art | painting | painting | art theory | art theory | deconstructivism | deconstructivism | semantics | semantics | syntactics | syntactics | art history | art history | id | id | ego | ego | superego | superego | psychology of art | psychology of art | meaning and representation | meaning and representation

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

Site sourced from

http://ocw.mit.edu/rss/all/mit-allcourses.xml

Attribution

Click to get HTML | Click to get attribution | Click to get URL

All metadata

See all metadata

21M.342 Composing for Jazz Orchestra (MIT) 21M.342 Composing for Jazz Orchestra (MIT)

Description

Includes audio/video content: AV selected lectures, AV special element audio. This class explores composition and arrangement for the large jazz ensemble from 1920s foundations to current postmodern practice. Consideration given to a variety of styles and to the interaction of improvisation and composition. Study of works by Basie, Ellington, Evans, Gillespie, Golson, Mingus, Morris, Nelson, Williams, and others. Open rehearsals, workshops, and performances of student compositions by the MIT Festival Jazz Ensemble and the Aardvark Jazz Orchestra.   Includes audio/video content: AV selected lectures, AV special element audio. This class explores composition and arrangement for the large jazz ensemble from 1920s foundations to current postmodern practice. Consideration given to a variety of styles and to the interaction of improvisation and composition. Study of works by Basie, Ellington, Evans, Gillespie, Golson, Mingus, Morris, Nelson, Williams, and others. Open rehearsals, workshops, and performances of student compositions by the MIT Festival Jazz Ensemble and the Aardvark Jazz Orchestra.  

Subjects

jazz band | jazz band | large ensemble jazz | large ensemble jazz | modern jazz | modern jazz | contemporary jazz | contemporary jazz | big band | big band | swing | swing | Duke Ellington | Duke Ellington | George Russell | George Russell | Bill Lowe | Bill Lowe | Mulatu Astatke | Mulatu Astatke | Ethiojazz | Ethiojazz | Ethio-jazz | Ethio-jazz | ethiopian jazz | ethiopian jazz | Ethiopiques | Ethiopiques | Either-Orchestra | Either-Orchestra | Russ Gershon | Russ Gershon | Aardvark Jazz Orchestra | Aardvark Jazz Orchestra | Gil Evans | Gil Evans | Miles Davis | Miles Davis | Birth of the Cool | Birth of the Cool | Steve Lajoie | Steve Lajoie | jazz arranging | jazz arranging | jazz composition | jazz composition | improvisation | improvisation | Walter Thompson | Walter Thompson | Soundpainting | Soundpainting

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

Site sourced from

http://ocw.mit.edu/rss/all/mit-allavcourses.xml

Attribution

Click to get HTML | Click to get attribution | Click to get URL

All metadata

See all metadata

21M.606 Introduction to Stagecraft (MIT) 21M.606 Introduction to Stagecraft (MIT)

Description

Offered in the spring and fall terms, Introduction to Stagecraft is a hands-on course that gets students working with the tools and techniques of theatrical production in a practical way. It is not a design course but one devoted to artisanship. Among the many remarkable final projects that have been proposed and presented at the end of the course have been a Renaissance hourglass blown in the MIT glass shop and set into a frame turned on our set shop lathe; a four harness loom built by a student who then wove cloth on it; a number of chain mail tunics and coifs; a wide variety of costume and furniture pieces and electrified period lighting fixtures. Offered in the spring and fall terms, Introduction to Stagecraft is a hands-on course that gets students working with the tools and techniques of theatrical production in a practical way. It is not a design course but one devoted to artisanship. Among the many remarkable final projects that have been proposed and presented at the end of the course have been a Renaissance hourglass blown in the MIT glass shop and set into a frame turned on our set shop lathe; a four harness loom built by a student who then wove cloth on it; a number of chain mail tunics and coifs; a wide variety of costume and furniture pieces and electrified period lighting fixtures.

Subjects

stagecraft | stagecraft | shop skills | shop skills | shop machines | shop machines | basic handwork | basic handwork | tools | tools | scenery | scenery | costume | costume | set constuction | set constuction | props | props | stage management | stage management | lighting | lighting | scene painting | scene painting | student project | student project | safety | safety | knots | knots

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

Site sourced from

http://ocw.mit.edu/rss/all/mit-allcourses.xml

Attribution

Click to get HTML | Click to get attribution | Click to get URL

All metadata

See all metadata

Slade Lectures 2010: Week 2: Beyond painting: collage, objects, installations

Description

Dawn Ades, Professor of Art History and Theory at Essex University gives the second Slade lecture in Surrealism and Art History on 27th January 2010. The Slade Professorship of Fine Art is the oldest professorship of art at the universities of Cambridge, Oxford and London. The chairs were founded concurrently in 1869 by a bequest from the art collector and philanthropist Felix Slade, with studentships also created in the University of London. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

art history | surrealism | dali | art | painting | art history | surrealism | dali | art | painting | 2010-01-27

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Site sourced from

http://mediapub.it.ox.ac.uk/feeds/129032/audio.xml

Attribution

Click to get HTML | Click to get attribution | Click to get URL

All metadata

See all metadata

, Georges Bataille and Documents

Description

Dawn Ades, Professor of Art History and Theory at Essex University, gives the third lecture in the Slade lecture series on Surrealism and Art History. The Slade Professorship of Fine Art is the oldest professorship of art at the universities of Cambridge, Oxford and London. The chairs were founded concurrently in 1869 by a bequest from the art collector and philanthropist Felix Slade, with studentships also created in the University of London. Please see the following link to the Southbank's Undercover Surrealism Exhibition from 2006 - http://ticketing.southbankcentre.co.uk/minisites/docs2/undercover/ Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

art history | bataille | art | dali | surrealism | painting | art history | bataille | art | dali | surrealism | painting | 2010-02-03

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Site sourced from

http://mediapub.it.ox.ac.uk/feeds/129032/audio.xml

Attribution

Click to get HTML | Click to get attribution | Click to get URL

All metadata

See all metadata

s Angelus

Description

Fourth Slade lecture from Dawn Ades, Professor of Art History and Theory at Essex University, given on 10th February 2010. The Slade Professorship of Fine Art is the oldest professorship of art at the universities of Cambridge, Oxford and London. The chairs were founded concurrently in 1869 by a bequest from the art collector and philanthropist Felix Slade, with studentships also created in the University of London. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

art history | art | dali | surrealism | painting | film | art history | art | dali | surrealism | painting | film | 2010-02-10

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Site sourced from

http://mediapub.it.ox.ac.uk/feeds/129032/audio.xml

Attribution

Click to get HTML | Click to get attribution | Click to get URL

All metadata

See all metadata

Slade Lectures 2010: Week 5: Poetry, politics, and sexuality: Surrealism in Latin America

Description

Fifth lecture in the Slade lecture series given by Dawn Ades, Professor of Art History and Theory at Essex University in Surrealism and Art History on 17th February 2010. The Slade Professorship of Fine Art is the oldest professorship of art at the universities of Cambridge, Oxford and London. The chairs were founded concurrently in 1869 by a bequest from the art collector and philanthropist Felix Slade, with studentships also created in the University of London. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

art history | art | dali | surrealism | sexuality | painting | Latin America | art history | art | dali | surrealism | sexuality | painting | Latin America | 2010-02-17

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Site sourced from

http://mediapub.it.ox.ac.uk/feeds/129032/audio.xml

Attribution

Click to get HTML | Click to get attribution | Click to get URL

All metadata

See all metadata

Slade Lectures 2010: Week 6: Monuments and ruins: Surrealism and archaeology in the New World

Description

Sixth lecture in the Slade lecture series on Surrealism and Art given by Dawn Ades, Professor of Art History and Theory at Essex University on 24th February 2010. The Slade Professorship of Fine Art is the oldest professorship of art at the universities of Cambridge, Oxford and London. The chairs were founded concurrently in 1869 by a bequest from the art collector and philanthropist Felix Slade, with studentships also created in the University of London. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

art history | art | dali | surrealism | painting | archaeology | art history | art | dali | surrealism | painting | archaeology | 2010-02-24

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Site sourced from

http://mediapub.it.ox.ac.uk/feeds/129032/audio.xml

Attribution

Click to get HTML | Click to get attribution | Click to get URL

All metadata

See all metadata

Slade Lectures 2010: Week 7: Transnational Surrealism: Tropiques and the role of the little magazine

Description

Seventh lecture in the Slade lecture series on Surrealism and Art History given by Dawn Ades, Professor of Art History and Theory at Essex University on 3rd March 2010. The Slade Professorship of Fine Art is the oldest professorship of art at the universities of Cambridge, Oxford and London. The chairs were founded concurrently in 1869 by a bequest from the art collector and philanthropist Felix Slade, with studentships also created in the University of London. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

art history | surrealism | dali | art | painting | art history | surrealism | dali | art | painting | 2010-03-03

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Site sourced from

http://mediapub.it.ox.ac.uk/feeds/129032/audio.xml

Attribution

Click to get HTML | Click to get attribution | Click to get URL

All metadata

See all metadata

Core Course: Art and Art History: Painting in China

Description

This lecture forms part of series entitled Introduction to the History of Art, a core course taught to the first year undergraduate History of Art students. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

visual arts | media | History of Art | painting | china | Ming | history | introduction | visual arts | media | History of Art | painting | china | Ming | history | introduction | 2013-11-15

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Site sourced from

http://mediapub.it.ox.ac.uk/feeds/129032/audio.xml

Attribution

Click to get HTML | Click to get attribution | Click to get URL

All metadata

See all metadata

4.663 History of Urban Form: Locating Capitalism: Producing Early Modern Cities and Objects (MIT) 4.663 History of Urban Form: Locating Capitalism: Producing Early Modern Cities and Objects (MIT)

Description

What was the early modern economy like, and how did monetization impact artistic production, consumption, and the afterlife of objects? This seminar-format class explores major topics and themes concerning interconnections between early modern artistic and architectural creation and the economy. We will approach capitalism not as an inevitable system, but rather as a particular historical formation. Core course themes: commodification, production, and consumption, using case studies of the impact of the mercantile economy on chapels; palaces; prints and paintings, and their replication; and other material objects, including coins. What was the early modern economy like, and how did monetization impact artistic production, consumption, and the afterlife of objects? This seminar-format class explores major topics and themes concerning interconnections between early modern artistic and architectural creation and the economy. We will approach capitalism not as an inevitable system, but rather as a particular historical formation. Core course themes: commodification, production, and consumption, using case studies of the impact of the mercantile economy on chapels; palaces; prints and paintings, and their replication; and other material objects, including coins.

Subjects

capital | capital | production | production | guild | guild | coin | coin | numismatic | numismatic | palace | palace | Florence | Florence | bank | bank | economy | economy | Renaissance | Renaissance | modern | modern | medieval | medieval | commodification | commodification | consumption | consumption | mercantile | mercantile | chapel | chapel | print | print | painting | painting | buy | buy | sell | sell | labor | labor | patron | patron | sponsor | sponsor | globalization | globalization | corporate | corporate

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

Site sourced from

http://ocw.mit.edu/rss/all/mit-allcourses.xml

Attribution

Click to get HTML | Click to get attribution | Click to get URL

All metadata

See all metadata