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Books > Arts & Architecture > Art forms, treatments & subjects
Foto's het nog altyd sterk emosies ontlok - spesiale herinnerings
wat op kamera vasgele word, het hul eie besondere bekoring. Daardie
bekoring kan egter slegs met ander gedeel word as die foto's
uitgestal word. En daarvoor bestaan daar veel meer moontlikhede as
om hulle bloot in 'n album te sit of in 'n raam op te hang. Hierdie
boek bevat meer as 75 idees om jou foto's op aantreklike en
interessante maniere te vertoon. Dit is die resultaat van baie
proefskote en eksperimentering. Sommige van die projekte is
funksioneel en dekoratief, en ander weer heerlik prettig. Almal het
egter een ding in gemeen: die kreatiewe gebruik van foto's, en wat
jy ook al byderhand het om dit mee te versier. Basisse sluit in
skilderdoek, glas, porselein en keramiek, hout en harde bord, lap,
kerse en vloerlyste. Daar is trouens bitter min oppervlakke wat nie
op een of ander manier met foto's bedek kan word nie. Verskeie
tegnieke word gebruik, waaronder verskillende oordragmetodes,
decoupage, fotomontage en hars-deklae. Gebruik die idees om jou
foto's in persoonlike geskenke te omskep deur alledaagse artikels
daarmee te versier, of om treffende dekoritems vir jou huis te
maak. Wanneer jy eers begin, sal jy dalk nie weer wil ophou nie!
Die stap-vir-stap-illustrasies en aantreklike foto's van die
voltooide projekte sal jou leer en inspireer. Gee dus jou
skeppendheid vrye teuels en vul jou lewe met jou spesiale
oomblikke.
Ars Judaica is an annual publication of the Department of Jewish
Art at Bar-Ilan University. It showcases the Jewish contribution to
the visual arts and architecture from antiquity to the present from
a variety of perspectives, including history, iconography,
semiotics, psychology, sociology, and folklore. As such it is a
valuable resource for art historians, collectors, curators, and all
those interested in the visual arts. In this volume, Sarit
Shalev-Eyni considers the Mahzor as a cosmological calendar, while
Katrin Kogman-Appel looks at the work of Elisha ben Abraham, known
as Cresques, in fourtheenth-century Mallorca. Evelyn M. Cohen
discusses a surprising model for Charlotte Rothschild's Haggadah of
1842 and Ronit Sternberg examines sampler embroidery past and
present as an expression of merging Jewish identity. Jechezkiel
David Kirszenbaum's exploration of personal displacementis the
subject of an article by Caroline Goldberg Igra, and the Great
Synagogue on Tlomackie Street in Warsaw one by Eleanora Bergman.
The Special Item by Sergey R. Kravtsov and Vladimir Levin is
devoted to Perek Shirah on a wall of the Great Synagogue in
Radyvyliv. The volume also includes book reviews and an
appreciation of the life of Alfred Moldovan by William L. Gross.
Contributors: Ziva Amishai-Maisels, Professor, History of Art
Department, Hebrew University of Jerusalem, Eleonora Bergman,
Emanuel Ringelbaum Jewish Historical Institute, Warsaw, Evelyn M.
Cohen, Professor, Jewish Theological Seminary (JTS), New York,
Caroline Goldberg Igra, Guest Curator, Beit Hatfusot, Tel Aviv,
William L. Gross, Collector, Tel Aviv, Katrin Kogman-Appel,
Professor, Ben-Gurion University of the Negev, Beersheva, Sergey R.
Kravtsov, Center for Jewish Art, Hebrew University of Jerusalem,
Vladimir Levin, Center for Jewish Art, Hebrew University of
Jerusalem, Sarit Shalev-Eyni, History of Art Department, Hebrew
University of Jerusalem, Larry Silver, History of Art Department,
University of Pennsylvania, Ronit Steinberg, History and Theory
Department, Bezalel Academy of Arts and design, Jerusalem Volumes
of Ars Judaica are distributed by the Littman Library of Jewish
Civilization throughout the world, except Israel. Orders and
enquiries from Israeli customers should be directed to: Ars Judaica
Department of Jewish Art Bar-Ilan University Ramat-Gan 52900
telephone 03 5318413 fax 03 6359241 email [email protected]
Not only does it contain full place settings, flowers, centrepieces
and everything else for tables for 25 different occasions, it also
offers more than 50 mouth-watering recipes and shows you how to
make table elements such as napkin rings, name tags, boxes for
favours, place mats and other decorative accessories. Practical
information on basic planning, from compiling a mood board and
finding unusual under plates to selecting music and finding the
perfect guest favour, is complemented by extended captions
providing the know-how to replicate the settings. A separate
section contains full recipes as well as instructions and templates
for DIY ideas not detailed in captions. Hints and tips on
presentation techniques, scheduling tasks to ensure that you can be
relaxed and enjoy your guests and ways to add a personal touch
abound.
This is the true story of a robin who lives in my garden among
fences, hedges, shrubs, trees, stacks of pots and bricks and the
vine on my balcony. Lickel Bird or LB, responded to human company
and showed remarkable trust and attachment. During my daily contact
with him I watched him perform many tasks. These observational
snapshots have given me a window into his world and allowed me to
share some of his busy life in all its ups and downs. He watched me
in my garden long before he trusted me enough to see I was on the
side of small birds and that I would be there for him in his hour
of need and what he needed most in his life was food.
This fully colour illustrated work covers the most artistically
progressive period for British table cutlery between 1870 and 1940,
and maps its evolution through a series of artistic periods,
including Art Deco and the Arts & Crafts revival, to the
present day. For the humble spoon, the Arts & Craft period
brought in new and exotic styles developed from the changing taste
that sprang from the Great Exhibition of 1851. The artistic styles
were largely based around natural form and many makers turned
against the mass production of the industrial age. The golden age
for Liberty & Company provided a platform for designers such as
Archibald Knox, Oliver Baker, Bernard Cuzner and the Silver Studio
with their bold, and often-colourful, designs for spoons. The rise
of women who rivalled their male counterparts in design and craft,
particularly in the fields of jewellery and small silverware, was
particularly significant at this time.
Since his death in 1942, St Ives has become marinated in the spirit
of the naive painter, Alfred Wallis. Naum Gabo, the Russian
Constructivist, felt that Wallis's gift as an artist was that he
never knew he was one. His unconventional approach and the
innocence of his personal method of making art marked Alfred
Wallis, even after his death, as a crucial figure in the modernist
movement. The art scene in St Ives during World War II is depicted
vividly in The Alfred Wallis Factor which illustrates the birth of
modernism in the small fishing port in the far south-west of
England. With dominant personalities like Sven Berlin, Ben
Nicholson, Barbara Hepworth, Adrian Stokes, Bernard Leach, Terry
Frost, Peter Lanyon, Wilhelmina Barns-Graham and Patrick Heron, it
was inevitable that personal relationships would both form and
fracture. Though causes would range from the banal to the bizarre,
David Wilkinson never loses focus on the high stakes for which
these characters were playing: the creation of their work, and
reputations, of lasting significance. Their passion was strong and
their ambition even stronger. The Alfred Wallis Factor tells the
story of this extraordinary painter's long-lasting influence on -
and beyond - modernism: David Wilkinson expounds the events around
and following the artist's death, assessing the roles of friends
and rivals in making Alfred Wallis a benchmark of modern British
art. The Alfred Wallis Factor is a comprehensive examination of a
troubled era, in which life met war and changed the destiny of the
art world.
This stunning book showcases the bold and original work of Royal
Designer Tony Meeuwissen. The artist also writes about his life at
the drawing board and the inspiration and ideas behind his imagery.
From the foreword by Peter Marren: Welcome to this gallery of the
work of a most individual and lovable artist. Many will have seen
Tony Meeuwissen's work without knowing the artist, for it has
appeared in so many decorative forms from books to playing cards,
from magazine and sheet music covers to postage stamps. His work
was described by the designer Mike Dempsey as 'inventive, intensely
detailed and full of wit and beauty'. Penguin Books art director
David Pelham praised him as an artist with the eye of an
illustrator and the mind of a designer, one able to solve visual
problems with 'remarkable originality, skill and panache.' To my
eye Tony's work is always affi rmative even in its darker moments.
It is playful but not saccharine, clever but not conceited. It
always wears a wry smile. Tony learned his craft in the market
place of commercial art. He learned how to handle a wide range of
media to develop graphic ideas while also discovering the beauty of
typefaces. In the process he evolved his very distinctive artistic
language, his own way of seeing the world: colourful, eye-catching,
beautifully executed, his work is a product of his unique vision.
He loves drawing animals, birds, insects and natural phenomena, but
usually with a characteristic twist: shape-changing fantastical
animals, a nuthatch hatching from a nut, a praying mantis in
bishop's vestments saying grace over a butterfly. On the memorable
Christmas stamps he designed for the Royal Mail in 1983, the Three
Kings are represented by chimney pots and the continents of the
world by melting snow slipping from an umbrella. His is a universe
where nothing is quite what it seems, where proverbs morph into
pictures and names turn out to have diff erent meanings. Words and
rhymes increase this pleasurable sense of an alternate world with
its own logic and rules. Tony Meeuwissen eschews computer-aided
methods preferring his drawing board, his pencils and his paintbox.
He has managed to inhabit the world of commercial art for more than
half a century without ever becoming commercial himself. His work
is always uncompromisingly his own: the product of a unique
imagination coupled with the skills and standards of a
perfectionist. Here for the fi rst time the full range of his work
is presented. Like the door to the magical garden in Alice, turn
the golden key and enter.
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