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Arts Education Matters

 Though the arts receive relatively little attention from policymakers and school leaders, exposing young people to art and culture can have a big impact on their development. The problem is that almost no one is bothering to study and document the extent to which the arts and culture can affect students. Instead, policymakers, researchers, and schools are typically focused on what is regularly and easily measured: math and reading achievement. This leads defenders of the arts to attempt to connect the arts to improved math and reading scores—a claim for which there is almost no rigorous evidence. Other arts advocates believe that the benefits cannot and need not be measured.

But the important effects of art and cultural experiences on students can be rigorously measured. In fact, we recently conducted two studies that used random-assignment research designs to identify causal effects of exposure to the arts through museum and theater attendance. In the museum study, we held a lottery with nearly 11,000 students from 123 Arkansas, Missouri, and Oklahoma schools, roughly half of whom were assigned to visit Crystal Bridges of American Art in Bentonville, Ark., while

A taste for the landscape

 Within that boisterous artistic period that was the American 19th century, no tendency or movement is more interesting and suggestive than the Hudson River School. The painters of this school gave a radical turn to the developing of landscape painting, making the landscape no longer a mere foreground for a composition, and turning it into the authentic reason and protagonist of the picture. But there is more, much more of which to speak. In this small essay we are going to try to discover some less evident aspects of this sensational artistic period.

There is much to say about the artists who may have influenced this movement. Some of them are quite evident, such as the late Baroque landscape painters -Meindert Hobbema, Claude Lorrain- in works by Cole or Durand. More complex, but maybe even more important, is the influence of the greatest American writers of that time, like Ralph Waldo Emerson or Henry David Thoreau, with his writings aimed to proclaim the American cultural independence to Europe. We will study this complex influence in later chapters. Also, it is necessary

The Fake and Real From Leonardo da Vinci

1. INDISPUTABLE WORKS BY THE MASTER

“Portrait of a woman (Ginevra Benci)”
1474-76
Washington , National Gallery
Although that in late 19th and early 20th century some discordant voices were heard (5) now nobody doubt of the authorship of this little jewel, appropriately called “cossa belissima (very beautiful thing)” by Vasari. First masterwork by Leonardo

“Saint Jerome”
c.1480
Roma, Pinacoteca Vaticana
Nobody have ever doubted of this unfinished work

“The adoration of the magi”
1481-82
Florencia, Uffizi
As the above, unquestionable

“The Virgin of the rocks”
1483-86
Paris , Louvre
Unquestionable work by Leonardo, with abundant documentation

“The Virgin of the rocks”
1483-86
London , National Gallery
The attribution of Leonardo, unquestionable in the 19th and early 20 th century, was questioned in the late 20th century due to the stylistic differences with the Louvre version. Nevertheless, recent in-depth studies of the work (6) have proved the authorship of Leonardo. The work was probably unfortunately repainted, and it is even possible that the two wings of the triptych were painted by a pupil, but

Red House – The Birth of Arth and Crafts

The nineteen-year-old Jane Burden agreed to marry Morris. His friend, the architect Philip Webb whose acquaintance Morris had made during his year at Street’s architectural firm, was commissioned to build Red House, their first married home. Red House is distinctly medieval in appearance. Moreover, the location of Red House was no coincidence. It was built along the path the pilgrims would have taken on their way to Canterbury, in Chaucher’s Canterbury Tales.

Red House defines the early Arts & Crafts style — with its steep roof, brock fireplaces, and ordinary materials such as stones and tiles. William and Jane were dissatisfied with the type and quality of the mass-produced furnishing they found in the shops. Morris and Burne-Jones had commissioned some pieces of furniture when they shared bachelor quarters in London, but Red House was largely unfurnished.

And now reader, look around this English room of yours, about which you have been proud so often, because the work of it was so good and strong, and the ornaments of it so finished. Examine again all those accurate mouldings, and perfect polishing, and unerring adjustments of the seasoned wood and tempered steel. Many a time you

What is Arts and Crafts?

Arts & Crafts is more a philosophy of design than a set of characteristics. At the center of the Arts and Crafts Movement is something holy, a reactionary vision standing against materialism. The the spirit of Arts and Crafts is a kind of kairos, the moment when the spiritual breaks through or incarnates the spiritual into the material worlds of architecture, furnishings and the decorative arts — and it is from that center of understanding that we can trace its lineage and its future.

John Ruskin and William Morris

Although it was William Morris whose name became known as the cornerstone of the Arts and Crafts movement, it was John Ruskin’s second chapter on the Nature of the Gothic in his book, The Stones of Venice wherein he expounded the Arts and Crafts heresy against 19th century industrialization:

You must either make a tool of the creature, or a man of him. You cannot make both. Men were not intended to work with the accuracy of tools, to be precise and perfect in all their actions. If you will have that precision out of them, and make their fingers measure degrees like cog-wheels and

Dutch Old Masters on world tour

The largest private collection of 17th-century Dutch painting will tour the globe, starting in February 2017. The first survey of the Leiden Collection, assembled by the US commodities magnate Thomas Kaplan and his wife Daphne Recanati Kaplan, is due to open at the Musée du Louvre (22 February-20 May) as part of a season at the museum celebrating the Dutch Golden Age. A larger presentation of around 60 works is scheduled to travel to the Long Museum in Shanghai, the National Museum in Beijing and the Louvre Abu Dhabi later this year and in 2018.

The travelling show includes the largest number of paintings by Rembrandt ever shown in China and marks the first time Vermeer has ever been shown there, according to Kaplan. He says he views the tour as an opportunity “to build bridges at a time when so many are being burned all over the world”.

The Kaplans have assembled the Leiden Collection at breakneck speed—over just 14 years—with the assistance of Old Master dealers Johnny van Haeften, Otto Naumann and Salomon Lilian. (The collection also has a three-person in-house research and registrar team.) Since 2003, they have acquired more than 200 works, including 13 Rembrandts—11 paintings and two drawings,

Paris blockbuster Modern art collection extended

French billionaire Bernard Arnault’s Fondation Louis Vuitton has announced that it is extending its blockbuster exhibition in Paris of Impressionist and Modernist masterpieces collected by the pre-revolutionary Russian arts patron Sergei Shchukin. Icons of Modern Art, which opened to the public on 22 October and was initially scheduled to run through 20 February, will remain on view until 5 March. The opening hours will also be extended in the final week from 7am to 11pm.

Featuring 130 works by artists such as Picasso, Matisse and Gauguin, the show has already drawn over 600,000 visitors, the foundation said in a press release on 9 January. The display brings Shchukin’s collection together for the first time since it was seized by the Soviet state after the Bolshevik Revolution and ultimately divided between the State Pushkin Museum of Fine Arts in Moscow and the State Hermitage Museum in St Petersburg.

Shchukin’s French grandson, André-MarcDelocque Fourcaud, worked for years to organise an exhibition of the collection and finally succeeded with the backing of Arnault, the chief executive of the luxury firm LVMH. Putin did not attend the show’s opening after Russia’s international relations deteriorated due to events in Syria, but he thanked the luxury goods titan

Career of Arts Education

An Arts Education Coordinator works full or part-time in an art institution such as an art gallery, art museum, or experimental art center.

The main objective of working as an Arts Education Coordinator is to coordinate and assist with educational programs and interactive encounters between visitors and the art and artists.

Education Needed to Be an Arts Education Coordinator

To be hired as an Arts Education Coordinator, it is typically required to have a Bachelor’s degree with having studied subjects such as art, communications, education and marketing.

Duties Required to Be an Arts Education Coordinator

An Arts Education Coordinator acts as the institution’s advocate and administrator to the art institution’s staff, by supporting exhibitions and events, educational outreach and community programs, and working with the wide range of the art institution’s visitors of all age groups.

The administrative Arts Education Coordinator focuses on specific areas pertaining to the operation of various programs, and includes promoting activities and events, scheduling, and maintaining the various gallery spaces.

An Arts Education Coordinator works closely with the art institution’s departments such as: Collections, Education, Exhibition, Marketing and

Everybody Knows … Elizabeth Murray

While she achieved a good deal of recognition in her lifetime, Elizabeth Murray, the subject of this fine yet too-short documentary, remains an American artist who hasn’t quite gotten her due. One hopes “Everybody Knows … Elizabeth Murray” changes that at least a little.

This cogent, fascinating portrait of the artist, who died in 2007 at 66, was made over several years by Kristi Zea, best known for her work as a production designer on notable films directed by Martin Scorsese and Jonathan Demme (among them “Goodfellas” and “The Silence of the Lambs”). The movie shows the great variety of Murray’s always vivid, colorful work, and culminates with a triumph not just for Murray but also, as the film takes pains to point out, for women in American art: a retrospective at the Museum of Modern Art. (An exhibition of her work is at the gallery Canada through Jan. 29.)

Murray comes across as personable, friendly, extremely thoughtful and wholly admirable. The movie, perhaps without intending to, demonstrates that one needn’t be a prickly person to be a wonderful artist. Meryl Streep, reading from

Deadpool on List of Nominess

La La Land,” “Manchester by the Sea” and “Moonlight,” three films that have been pulling in top honors all awards season, were among the Producers Guild Award nominees announced Tuesday. The list of 10 also included “Deadpool,” which was a huge hit at the box office but not so much among prize-givers.

Contending for the Darryl F. Zanuck Award, the producers’ equivalent of best picture, are:

“Arrival”

“Deadpool”

“Fences”

“Hacksaw Ridge”

“Hell or High Water”

“Hidden Figures”

“La La Land”

“Lion”

“Manchester by the Sea”

“Moonlight”

The Producers Guild also revealed its animation nominees on Tuesday: “Finding Dory,” “Kubo and the Two Strings,” “Moana,” “The Secret Life of Pets” and “Zootopia,” which won the Golden Globe on Sunday.

The guild had previously announced its best documentary nominees: “Dancer,” “The Eagle Huntress,” “Life, Animated,” “O.J.: Made in America” and “Tower.” All except “Dancer” are on the shortlist for the Oscar for best documentary

The Deco Dreams of Brazil’s

Some Brazilians write off Goiânia, far from São Paulo and Rio de Janeiro, as their version of Midwestern flyover country. But farming and ranching generates much of the country’s wealth and influences Brazilian culture these days, even if the region sometimes neglects its own complex and sophisticated history.

Goiânia’s creators envisioned the city as an outpost of civilization preceding the so-called March to the West that began in 1940 and prioritized the colonization of Brazil’s vast interior. Brasília, the futuristic federal capital inaugurated in 1960, was perhaps the ultimate example of this push.

As envisaged by the pioneering architect Attílio Corrêa Lima, Goiânia seems to have had a more inviting feel than Brasília’s austere modernism. Here’s the same gazebo in the early 1940s, back when Goiânia was planned for just 50,000 residents.

More than 1.4 million people now live in Goiânia, which is emerging as a bastion of the conservative views reshapingBrazilian politics. With its cavernous steakhouses and clubs featuring sertanejo universitário (Brazil’s version of upscale country music), Goiânia exemplifies the ranching aspirations of much of Brazil’s heartland.

Three lucky artists work in Alexander Calder’s Loire Valley studio

Three artists have been chosen this year to move in to Alexander Calder’s former home studio in Saché, in France’s Loire Valley, which the artist designed and built in 1962. The three-month Atelier Calder residencies, organised in collaboration with the US-based Calder Foundation, provide artists who produce three-dimensional works with a stipend for living expenses, funding and technical support to create new work. “Our mission is to offer the time and space to make work, so although we do open the studio to the public for two days at the end of each artist’s stay, our emphasis is not on exhibiting,” the Calder Foundation’s president, Alexander S.C. Rower, told The Art Newspaper over email.

The spring 2017 artist-in-residence is the Tehran-born, Toronto-based artist Abbas Akhavan, whose previous works explore the domestic space and domesticated landscapes, including site-specific ephemeral installations, drawing, video and performance. Akhavan’s exhibitions this year have included the group shows Making Nature: How We See Animals at the Wellcome Collection in London, and But a Storm Is Blowing from Paradise at the Solomon R. Guggenheim Museum in New York.

The Vancouver-born, New York-based artist Rochelle Goldberg, who is the summer 2017 artist-in-residence, creates sculpture in both organic and

10 Museum Acquisitions of 2016

J. Paul Getty Museum, Los Angeles
Orazio Gentileschi’s Danaë
The J. Paul Getty Museum paid a record $30.5m at auction for this Baroque painting of Zeus sneaking into the bedroom of a princess as a shower of gold coins (1621). Another work from the three-part series, Lot and His Daughters (1622), has been in the Getty’s collection since 1988. Their reunion “not only makes art-historical sense but multiplies the visual impact of both works”, says Timothy Potts, the Getty Museum’s director.

Musée d’Orsay, Paris
Post-Impressionist art collection
The US collectors Marlene and Spencer Hays pledged around 600 post-Impressionist works by artists including Pierre Bonnard, Edouard Vuillard and Odilon Redon. The gift is the most important a French museum has received from a foreigner since 1945. The Musée d’Orsay has promised to display the entire collection in a dedicated gallery space.

Museo del Prado, Madrid
Fra Angelico’s The Virgin of the Pomegranate
Strengthening its collection of early Renaissance Italian art, the Prado purchased this 15th-century Florentine painting of Christ and the Virgin Mary—one of the last great works by the artist in private hands—from the 19th Duke of Alba de Tormes. The Spanish aristocrat also donated another

George Lucas picks Los Angeles over San Francisco to build $1bn museum

In the battle between Los Angeles and San Francisco the force was with the former yesterday (10 January) when George Lucas announced plans to build a museum to house his collection of art and memorabilia in Exposition Park. The Star Wars creator abandoned plans to establish the Lucas Museum of Narrative Art in Chicago last summer after a two-year legal fight with conservationists, setting his sights on California instead.

The decision to build the futuristic-looking museum in Los Angeles comes after nearly a decade and a close-fought competition with San Francisco, which had recently offered Treasure Island as an alternative home. Thanking the mayor of San Francisco, Ed Lee, and the city’s board of supervisors “for their tremendous efforts and engagement”, the directors of the Lucas Museum acknowledged the decision had been a difficult one “precisely because of the desirability of both sites and cities”.

However, Los Angeles won through because the city’s Promise Zone “best positions the museum to have the greatest impact on the broader community”, the board said. The Lucas Museum, which will house the film-maker’s extensive personal collection that includes 10,000 paintings and illustrations by Norman Rockwell, N.C. Wyeth and Robert Crumb, among others, will nestle

Why Using Art in The Classroom ?

1. Responding to art can be very stimulating and can lead onto a great variety of activities. In its simplest form this might be describing a painting, but with a little creativity all sorts of things are possible. For example, the well-known ‘grammar auction’ activity can be redesigned as an art auction, where the students have to say a sentence about the piece of art – anything they like – and then the rest of the students bid according to how accurate they feel the sentence is.

2. Using art provides a useful change of pace. While many teachers use visual images to introduce a topic or language item, actually asking the students to engage with and respond to the piece of art can encourage students to become involved on quite a different level.

3. Incorporating art into the class or syllabus can take the students out of the classroom and encourage them to use their language skills in the real world. A visit to an art exhibition or an assignment that involves research on the internet can generate all sorts of language.

4. Thinking about or even creating art can be very motivating. It can take the emphasis off of

Digital Art’s Aesthetics

While borrowing many of the conventions of traditional media, digital art can draw upon aesthetics from many other fields. But various criticisms have been made against it: for example, given the variety of tools at their disposal, how much effort do digital artists really have to put into their work?

I asked Jan Willem Wennekes, also known as Zeptonn, for his opinion on this. He is a freelancer who specializes in illustrative design and art direction, with a focus on eco-friendly and environmental projects.

Jan Willem Wennekes: The question seems a bit ambiguous. On the one hand, there seems to be a question about the effort required to create digital art. That is, some people may think that using digital media to create art is easier than using traditional media. On the other hand, there seems to be a question of whether digital art is an art form in itself (or maybe at all?).

With respect to the first question, I think that working with digital media (mostly the computer, mouse, Wacom, scanner, software, etc.) does not have to differ from creating art in other media. The computer and all the tools generated by the

What is Art ?

Art Is…

This question pops up often, and with many answers. Many argue that art cannot be defined. We could go about this in several ways. Art is often considered the process or product of deliberately arranging elements in a way that appeals to the senses or emotions. It encompasses a diverse range of human activities, creations and ways of expression, including music, literature, film, sculpture and paintings. The meaning of art is explored in a branch of philosophy known as aesthetics. At least, that’s what Wikipedia claims.

Art is generally understood as any activity or product done by people with a communicative or aesthetic purpose—something that expresses an idea, an emotion or, more generally, a world view.

It is a component of culture, reflecting economic and social substrates in its design. It transmits ideas and values inherent in every culture across space and time. Its role changes through time, acquiring more of an aesthetic component here and a socio-educational function there.

Everything we’ve said so far has elements of truth but is mainly opinion.According to Wikipedia, “Art historians and philosophers of art have long had classificatory disputes about art regarding whether a particular cultural form or piece of work should be classified as

Art Makes You Smart

A few years ago, however, we had a rare opportunity to explore such relationships when the Crystal Bridges Museum of American Art opened in Bentonville, Ark. Through a large-scale, random-assignment study of school tours to the museum, we were able to determine that strong causal relationships do in fact exist between arts education and a range of desirable outcomes.

Students who, by lottery, were selected to visit the museum on a field trip demonstrated stronger critical thinking skills, displayed higher levels of social tolerance, exhibited greater historical empathy and developed a taste for art museums and cultural institutions.

Crystal Bridges, which opened in November 2011, was founded by Alice Walton, the daughter of Sam Walton, the founder of Walmart. It is impressive, with 50,000 square feet of gallery space and an endowment of more than $800 million.

Thanks to a generous private gift, the museum has a program that allows school groups to visit at no cost to students or schools.

Before the opening, we were contacted by the museum’s education department. They

Tips to Create an Excellent Observational Drawing

Tip 1: Look at what you are drawing

Failing to look at what you are drawing is one of the most fundamental errors an Art student can make

This sounds obvious, but it is the most common error made by art students. Many students attempt to draw things the way that they thinkthey should look, rather than the way they actually do look.

The only way to record shape, proportion and detail accurately is to look at the source of information. Human memory does not suffice. Forms, shadows and details are hard enough to replicate when they are right there in front of you; if you have to make them up, they appear even less convincing. In order to produce an outstanding observational drawing, you must observe: your eyes must continually dance from the piece of paper to the object and back again. Not just once or twice, but constantly.

Tip 2: Draw from real objects whenever possible

The phrase ‘observational drawing’ typically implies drawing from life (see the superb observational drawing exercise set by artist and teacher Julie Douglas). Ask any art teacher and they will list the benefits of drawing from

Tips for Draw and Paint Faster

1. Use a ground

There are many benefits to working on a ground. One of these is increased painting or drawing speed. A ground covers a painting or drawing surface from the outset. It can act as mid-tone, with only black and white used to apply dark and light areas (as in the examples below) or be left partially visible in the final work. This results in an artwork that is much faster to complete (see our article about painting on grounds for more information).

2. Incorporate mixed media /patterned surfaces / textural elements

As with using a ground, patterned, decorative or textural items can cover areas of an artwork quickly. Although this strategy should be used with care, selecting only materials which support or enhance your project (usually with reference to a relevant artist model) this can be a great way to speed up your project and introduce creative use of mixed media.

3. Work on several pieces at once

Working in series – completing several paintings or drawings at one time – is a very helpful strategy for Art students. This speeds work up for a number of reasons:

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