Isbn: 9781402010859 - art in education: identity and practice (landscapes: the arts, aesthetics, and education, 1, band 1) (5 Ergebnisse)

Paperback. Zustand: Good. Series: Landscapes: The Arts, Aesthetics and Education ix 206p paperback, white and tan cover, good condition, minimal wear to cover edges and surfaces, binding firm, light pencil marks to a few pages, otherwise all pages clean and bright, a very good pre-owned copy of an uncommon title Language: English.…

Zustand: Good. Your purchase helps support Sri Lankan Children's Charity 'The Rainbow Centre'. Ex-library, so some stamps and wear, but in good overall condition. Our donations to The Rainbow Centre have helped provide an education and a safe haven to hundreds of children who live in appalling conditions.…

Zustand: New. In.

Zustand: New. Art in Education Series: Landscapes: The Arts, Aesthetics and Education. Num Pages: 215 pages, 45 black & white illustrations, biography. BIC Classification: AB; JNA; JNU. Category: (P) Professional & Vocational; (UP) Postgraduate, Research & Scholarly; (UU) Undergraduate. Dimension: 235 x 157 x 13. Weight in Grams: 348. . 2003. Softcover reprint of the original 1st ed. 2002. Paperback. . . . . Books ship from the US and Ireland. …

Taschenbuch. Zustand: Neu. Druck auf Anfrage Neuware - Printed after ordering - MEMORY SEED My introduction to teaching art began in September 1971 when I took up a post as art teacher in a secondary school in the West Riding of Yorkshire. Apart from my desire to survive and establish myself amongst students and staff I remember holding firm ideas about what I should be teaching. In relation to drawing and painting I had clear expectations concerning practice and representation. Students' art work which did not correspond to these I rather naively) considered as weak and in need of correction. I assumed wrongly that when students were making paintings and drawings from observation of objects, people or landscape, they should be aiming to develop specific representational skills associated with the idea of 'rendering' a reasonable likeness. I was reasonably familiar with the development of Western art and different forms of visual representation and expression and I knew, for example, that the projection system perspective is only one and not the correct rep- sentational system for mapping objects and their spatial relations as viewed from a particular point into corresponding relations in a painting or drawing. Nevertheless I still employed this mode of projection as an expectation or a criterion of judgement when teaching my students.…