Caps: Ontwerp Graad 10 Leerderboek
R300‘The first ever full colour Design textbook designed for designers by designers’
Afrikaans Version
Available in English and Afrikaans
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‘The first ever full colour Design textbook designed for designers by designers’
Afrikaans Version
Available in English and Afrikaans
‘The first ever full colour Design textbook designed for designers by designers’
Afrikaans version
Available in English and Afrikaans
‘The first ever full colour Design textbook designed for designers by designers’
Afrikaans version
Available in English and Afrikaans
Wullschlager explores in detail Chagall’s complex relationship with Russia and makes clear the Russian dimension he brought to Western modernism. She shows how, as André Breton put it, “under his sole impulse, metaphor made its triumphal entry into modern painting,” and helped shape the new surrealist movement. As art critic of the Financial Times, she provides a breadth of knowledge on Chagall’s work, and at the same time as an experienced biographer she brings Chagall the man fully to life—ambitious, charming, suspicious, funny, contradictory, dependent, but above all obsessively determined to produce art of singular beauty and emotional depth.
Over a hundred years on from the riotous inception of Dada at the Cabaret Voltaire in Zurich in 1916, art historian Michael White provides a new introduction and commentary to a book that has become a legend in its own right, influencing a generation of performers and artists since its first publication in 1965 – David Bowie even quoted from Dada: Art and Anti-Art in his Scary Monsters album.
It is 2022, just over a century since the founding of arguably the world’s most widely celebrated art and design school. In 2019, on the occasion of the Bauhaus’ centenary, the world’s media focused on the various ‘legacies’ of this school. Such retrospective appraisals of Bauhaus moment(s), movement(s) and model(s) demonstrate that the school has certainly not gone missing. Using the notion of verfehlen/missing as a point of departure, these time-travelling and varied contributions from the Global South posit different ways in which the word missing may be applied to the Bauhaus: Contributors from arts, architecture and design backgrounds raise and critique a range of problematic aspects attached to a nostalgic position of longing for the Bauhaus and reveal numerous instances of how the school’s mythologised model, freighted with Western confidence and hardheadedness, often simply misses, and continues to miss the point.
Pop artist, painter of modern life, landscape painter, master of color, explorer of image and perception?for six decades, David Hockney has been known as an artist who always finds new ways of exploring the world and its representational possibilities.
Catalogue of the Exhibition, Wits arts Museum, 2014 This publication accompanies an exhibition of the same title at Wits art Museum, 20 August – 2 November 2014.
The exhibition catalogue features in-depth investigations of major themes and a wide variety of spotlight essays to shine a light on a remarkable artistic group: their travels and techniques, their interests and sources of inspiration, and the relationships that bound them together.
Statues are one of the most visible – and controversial – forms of historical storytelling. The stories we tell about history are vital to how we, as societies, understand our past and create our future. So whose stories do we tell? Who or what defines us? What if we don’t all agree? How is history made, and why? FALLEN IDOLS looks at twelve statues in modern history. It looks at why they were put up; the stories they were supposed to tell; why those stories were challenged; and how they came down. History is not erased when statues are pulled down. If anything, it is made.
This is a catalogue of Flemish paintings housed in South African public collections. It offers a unique and interesting account of the many important paintings overlooked in international scholarship through lack of exposure
Prof Bernadette Van Haute is Professor in Art History at the University of South Africa in the Department of Art and Music.
She studied Ethnic Art in Belgium and wrote her Master’s dissertation on selected art of Central Africa. After moving to South Africa in 1983, she redirected her research interest to Flemish Art of the 17th century. Her Doctoral thesis focused on a monograph and catalogue raisonné of the Flemish artist David III Ryckaert (2000, Turnhout: Brepols).
Because of the early Dutch presence in South Africa, she researched 17th century Flemish paintings in public collections in South Africa. This study project culminated in the richly illustrated book of Flemish Paintings (2006, Pretoria: Unisa Press).
Prof Van Haute joined Unisa in 1983 in the then Department of History of Art and Fine Arts. She was Chief Editor of the accredited journal de arte from 1996 to 2017.
This book covers 250 years of painting in Spain starting with works created at the splendid sixteenth-century court of Philip II to those produced at the Hapsburg and Bourbon courts of Madrid, and in the cities of Seville, Valencia, and Toledo
In the 1920s Germany was in the grip of social and political turmoil: its citizens were disillusioned by defeat in World War I, the failure of revolution, the disintegration of their social system, and inflation of rampant proportions. Curiously, as this important book shows, these years of upheaval were also a time of creative ferment and innovative accomplishment in literature, theater, film, and art.
In Greek and Roman Art, classical art expert Susan Woodford illuminates the achievements of classical art and architecture in a concise, coherent breakdown of styles from Archaic Greece to the Roman Empire. Intelligent, clear, and compelling, this indispensable guide gives readers all the information they need to approach ancient art with confidence.
Headrests from Southern Africa – The architecture of sleep presents the subject of southern African headrests in a fascinating new light. The book, richly illustrated – often with in situ photographs, offers unique historical and personal information collected from many of the original owners and carvers of the headrests. So, for the first time African headrests are brought to life with detailed information and the stories of their creation, ownership, use and significance.
In this remarkable book of discovery, art historian Ruth Butler coaxes three shadowy women out of obscurity and introduces them for the first time as individuals. Through unprecedented research, Butler has been able to create portraits of Hortense Fiquet, Camille Doncieux, and Rose Beuret—the models, and later the wives, respectively, of Cézanne, Monet, and Rodin, three of the most famous French artists of their generation
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