Watercolour painting is a key part of the Waldorf curriculum, and is important in the healthy development of a child.This lovely book is a thorough overview of watercolor painting in the Waldorf curriculum, up to Class 12 (age 18). It includes practical advice for teachers and clear exercises. It discusses Goethe's theory of colour as well as how to paint with different ages and grades.

Leading international artists and art educators consider the challenges of art education in today's dramatically changed art world. The last explosive change in art education came nearly a century ago, when the German Bauhaus was formed. Today, dramatic changes in the art world—its increasing professionalization, the pervasive power of the art market, and fundamental shifts in art-making itself in our post-Duchampian era—combined with a revolution in information technology, raise fundamental questions about the education of today's artists. Art School (Propositions for the 21st Century) brings together more than thirty leading international artists and art educators to reconsider the practices of art education in academic, practical, ethical, and philosophical terms. The essays in the book range over continents, histories, traditions, experiments, and fantasies of education. Accompanying the essays are conversations with such prominent artist/educators as John Baldessari, Michael Craig-Martin, Hans Haacke, and Marina Abramovic, as well as questionnaire responses from a dozen important artists—among them Mike Kelley, Ann Hamilton, Guillermo Kuitca, and Shirin Neshat—about their own experiences as students. A fascinating analysis of the architecture of major historical art schools throughout the world looks at the relationship of the principles of their designs to the principles of the pedagogy practiced within their halls. And throughout the volume, attention is paid to new initiatives and proposals about what an art school can and should be in the twenty-first century—and what it shouldn't be. No other book on the subject covers more of the questions concerning art education today or offers more insight into the pressures, challenges, risks, and opportunities for artists and art educators in the years ahead. Contributors Marina Abramovic, Dennis Adams, John Baldessari, Ute Meta Bauer, Daniel Birnbaum, Saskia Bos, Tania Bruguera, Luis Camnitzer, Michael Craig-Martin, Thierry de Duve, Clémentine Deliss, Charles Esche, Liam Gillick, Boris Groys, Hans Haacke, Ann Lauterbach, Ken Lum, Steven Henry Madoff, Brendan D. Moran, Ernesto Pujol, Raqs Media Collective, Charles Renfro, Jeffrey T. Schnapp, Michael Shanks, Robert Storr, Anton Vidokle

A finalist for the National Book Critics Circle Award, this memoir of one woman's later in life career change is “a smart, funny and compelling case for going after your heart's desires, no matter your age” (Essence). Following her retirement from Princeton University, celebrated historian Dr. Nell Irvin Painter surprised everyone in her life by returning to school––in her sixties––to earn a BFA and MFA in painting. In Old in Art School, she travels from her beloved Newark to the prestigious Rhode Island School of Design; finds meaning in the artists she loves, even as she comes to understand how they may be undervalued; and struggles with the unstable balance between the pursuit of art and the inevitable, sometimes painful demands of a life fully lived. How are women and artists seen and judged by their age, looks, and race? What does it mean when someone says, “You will never be an artist”? Who defines what an artist is and all that goes with such an identity, and how are these ideas tied to our shared conceptions of beauty, value, and difference? Bringing to bear incisive insights from two careers, Painter weaves a frank, funny, and often surprising tale of her move from academia to art in this "glorious achievement––bighearted and critical, insightful and entertaining. This book is a cup of courage for everyone who wants to change their lives" (Tayari Jones, author of An American Marriage).

Greek and Roman art methods, medieval techniques, tempera painting, van Eyck's revolutionary use of oil paints, Flemish methods of preparing colors, methods of 18th-century British artists, technical secrets of Italian schools, including such masters as Leonardo, Raphael, Correggio, Andrea del Sarto, and more.

Painting and drawing are key artistic expressions and play important roles in children's physical, emotional, and spiritual development. This comprehensive teachers' guide provides a complete artistic curriculum for Waldorf school classes 1 to 8 (ages 6 to 14). At each stage, the book shows the skills that teachers can help children to develop. Included are 280 practical exercises for teachers, and more than 800 children's drawings and paintings that serve as inspiring examples of artistic possibilities. The curriculum moves from free to guided color exercises and precise perspective drawing. Throughout, the author draws on art theory and shows that art is truly a universal language. Painting and Drawing in Waldorf Schools is also suitable for adult self-study.

A Complete Documentation of the New York Painting and Sculpture Annuals: 1951-1957.

With the sudden and immature death of the Author, this work, which was planned to comprise 2I volumes has had to end with the I8th. From a number of students and art critics requests have reached the publisher and myself that an index should be made of the volumes which have been published. Herein their desire has been satisfied. This general index is divided into two parts: one for names of places, so that with the greatest ease and without loss of time the student can find all the Italian paintings from early Christian times up to the end of the Quattrocento, which are scattered throughout the churches, galleries and private collections of Europe and America. For the larger towns the material is divided into the following headings: I Churches and Monasteries. II Public Collections. III Public Buildings and Streets. IV Private Collections. and this order, though not indicated, has always been followed for the smaller localities. The second division contains the names of artists, each one accom panied by dates and where possible an indication of the site of his activity. The chief aim of this index is to make it easier to consult the enormous amount of material treated in the I8 volumes. For the traveller who desires to know what paintings are to be found in any town this index should be a valuable vade-mecum.

At the outset of this work I thought it possible that I might have to lay down my pen at the end of the fifth volume, but it is with con siderable pleasure I learn that my readers have been in great enough number and sufficiently satisfied with the work for my editor and myself to continue the enterprise and undertake a study of the fifteenth century, similar to that which has already appeared on the fourteenth. The spontaneous manifestations of sympathy that I have received from many different countries give me the impression that there exists a group of readers who will not be disappointed to hear of my intention to continue this history of Italian painting, at least until the end of the fifteenth century which is a period not rn any way less glorious than those with which I have already dealt. I should like to give one word of warning to the authorities of galleries and to private collectors who of late have started buying pictures of the thirteenth century. Notwithstanding the fact that the interest in this form of art is of recent date, the amount of facticious paintings of this period is already very considerable. Many of them are half-length figures of the Madonna painted on late Byzantine panels of the same subject; Greek Madonnas of the sixteenth and seven teenth centuries are in this way transformed into Italian pictures of the thirteenth.

He also addresses the phenomenon of art critiques as a microcosm for teaching art as a whole and dissects real-life critiques, highlighting presuppositions and dynamics that make them confusing and suggesting ways to make them more helpful. Elkins's no-nonsense approach clears away the assumptions about art instruction that are not borne out by classroom practice. For example, he notes that despite much talk about instilling visual acuity and teaching technique, in practice neither teachers nor students behave as if those were their principal goals. He addresses the absurdity of pretending that sexual issues are absent from life-drawing classes and questions the practice of holding up great masters and masterpieces as models for students capable of producing only mediocre art. He also discusses types of art--including art that takes time to complete and art that isn't serious--that cannot be learned in studio art classes.