Book
Teaching art : academies and schools from Vasari to Albers
Record details
- ISBN: 9780521480994 (hc)
- ISBN: 052148099X (hc)
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Physical Description:
print
xvi, 350 p. : ill ; 26 cm. - Publisher: Cambridge [England] ; New York, NY, USA : Cambridge University Press, 1996.
Content descriptions
| Bibliography, etc. Note: | Includes bibliographical references (p. 321-339) and index. |
Search for related items by subject
| Subject: | Art schools -- Curricula Art -- Study and teaching Art -- Historiography |
Search for related items by series
Available copies
- 1 of 1 copy available at Emily Carr University of Art + Design.
Holds
- 0 current holds with 1 total copy.
Show Only Available Copies
| Location | Call Number / Copy Notes | Barcode | Shelving Location | Circulation Modifier | Holdable? | Status | Due Date | Courses |
|---|---|---|---|---|---|---|---|---|
| Emily Carr University of Art + Design | N85 .G62 1996 (Text) | 30017966 | Teaching and Learning | Volume hold | Available | - |
- Choice Reviews : Choice Reviews 1996 September
In this well-conceived and imaginatively illustrated book, Goldstein (Univ. of North Carolina, Greensboro) explores the origin and development of the teaching of art from the Renaissance and in the Renaissance tradition until the apparent subversion and rejection of this tradition with the advent of modernism. Neatly establishing the historical setting as well as the complex relationship between theory and practice, he analyzes the formation of the academy of art as a teaching institution and its effect on artists and their work. The academy's influence went beyond the formation of taste--a sense of proper style and subject matter and the exaltation of the great masters--to the creation of group values and group practices in Rome, Paris, and London from the 16th to the 18th centuries. Practice depended on drawing, especially from the figure, on the study of the antique, on transmitted copies of great works through black-and-white prints, and on scientific principles. The lofty position of the Italian masters, sanctified by Vasari, Bellori, and the academies, was challenged by modernists and by the progressive democratization of the arts. To cap off a fine achievement, Goldstein has aptly characterized the Bauhaus and its American descendants as a nonacademic academy for the teaching of the practice of art, if not for its making. Upper-division undergraduate; graduate; faculty. Copyright 1999 American Library Association
