Post-Enlightenment notions of culture, which have been naturalized in the West for centuries, require that art be autonomously beautiful, universal, and devoid of any practical purpose. The authors of this multidisciplinary volume seek to complicate this understanding of art by examining art objects from across Asia with attention to their functional, ritual, and everyday contexts. From tea bowls used in the Japanese tea ceremony to television broadcasts of Javanese puppet theater; from Indian wedding chamber paintings to art looted by the British army from the Chinese emperor’s palace; from the adventures of a Balinese magical dagger to the political functions of classical Khmer images—the authors challenge prevailing notions of artistic value by introducing new ways of thinking about culture. The chapters consider art objects as they are involved in the world: how they operate and are experienced in specific sites, collections, rituals, performances, political and religious events and imagination, and in individual peoples’ lives; how they move from one context to another and change meaning and value in the process (for example, when they are collected, traded, and looted or when their images appear in art history textbooks); how their memories and pasts are or are not part of their meaning and experience. Rather than lead to a single universalizing definition of art, the essays offer multiple, divergent, and case-specific answers to the question "What is the use of art?" and argue for the need to study art as it is used and experienced. Contributors: Cynthea J. Bogel, Louise Cort, Richard H. Davis, Robert DeCaroli, James L. Hevia, Janet Hoskins, Kaja McGowan, Jan Mrázek, Lene Pedersen, Morgan Pitelka, Ashley Thompson.

Based on clinical work, this book presents a discussion on the use of art in counselling sexually abused children,their families and sex offenders. Current theoretical models such as the "trauma model" have been effective in therapy. The author's clinical experience will provide valuable insight to therapists using art therapy techniques.

From the celebrated cultural historian and bestselling author, a provocative history of the evolution of our ideas about art since the early nineteenth century In this witty, provocative, and learned book, acclaimed cultural historian and writer Jacques Barzun traces our changing attitudes to the arts over the past 150 years, suggesting that we are living in a period of cultural liquidation, nothing less than the ending of the modern age that began with the Renaissance. He challenges our conceptions and misconceptions about art “in order to reach a conclusion about its value and its drawbacks for life at the present time.”

66 Art Nouveau stencils: sea horse, peacocks, florals, butterflies, swirling lines, etc.

Scores of authentic early American patterns for stenciling — birds, florals, sleighs, much more. Decorate walls, floors, furniture, and other flat surfaces. Also applicable to needlework, wood burning, and other crafts. 77 designs. Introduction. Instructions.

Based on a simplification of design rules derived from nature, the organic form and delicate yet forceful line of Art Nouveau are wonderfully evident in this outstanding collection of typefaces. Dan X. Solo, noted typographer and printing historian, presents an impressive as well as practical selection of Art Nouveau type, representative of the elegantly ornamental design style that has remained popular through the years. Eight exquisite typefaces make up this collection: Artistik, Bocklin, Baldur, Auriol, Carmen, Franconia, Siegfried, and Edda Bold. Each royalty-free style is conveniently shown in 24-, 36-, and 48-point sizes and is clearly printed on one side only on repro-quality stock so you can cut and combine letters directly from this book. And each font is complete with uppercase characters, numerals, and punctuation; most include lowercase characters, too. Perfect for adding the flavor of Art Nouveau to any creative project, these classic turn-of-the-century typefaces also work well with contemporary design concepts. Use them to add a touch of romantic nostalgia and fantasy to letterheads and greeting cards, point-of-purchase and packaging, display advertising and direct-mail pieces — any personal or commercial design projects that will come alive with the special sparkle of Art Nouveau.

Among the most successful applications of the curvilinear style of Art Nouveau movement were the frames, borders, and similar decorations that filled the books, magazines, posters, and advertising of the time. Today, a century later, working artists continue to rely on Art Nouveau ornamentation, embellishing a wide range of copy and typography with fin de siècle aesthetics. This indispensable collection presents 315 royalty-free Art Nouveau frames and borders for the designer, artist, and advertiser looking for an affordable way to enliven any graphic message. Choose from floral and foliate motifs, butterflies and peacocks, female figures, sensuous cherubs, asymmetrical shapes, and undulating lines — in a variety of shapes and sizes. All illustrations are directly and immediately usable. Printed in crisp black-and-white images on repro-quality paper, they are perfect, inexpensive embellishments for whatever your graphic project — menu, invitation, advertisement, greeting card, catalog, or poster.

920 royalty-free decorative initials in astonishing array of sizes, styles: entwined in lush thickets of florals and foliates, embellished with figures, more.

Arthur W. Dow's 'Composition: A Series of Exercises in Art Structure for the Use of Students and Teachers' is a foundational text in the realm of art education and aesthetics. This book delves into the intricacies of art composition, offering a series of exercises that guide students and teachers in understanding the underlying principles of visual organization. Dow's eloquent prose and thoughtful insights provide readers with a deep exploration of art structure, emphasizing the importance of balance, harmony, and rhythm in creating compelling visual compositions. Rooted in the principles of Japanese art and design, 'Composition' stands out for its unique perspective on the practice of art-making. Arthur W. Dow, a prominent American artist and educator, was known for his innovative approach to teaching art. His experiences studying in Europe and Asia influenced his views on art composition, leading him to write this seminal work. Dow's expertise and passion for art education are evident throughout the book, making it a valuable resource for aspiring artists and seasoned educators alike. I highly recommend 'Composition' to anyone interested in deepening their understanding of art composition and design principles. Dow's timeless exercises and teachings are as relevant today as they were when the book was first published, making it a must-read for anyone seeking to enhance their artistic skills.

To many, chance and art are antagonistic terms. But a number of 20th century artists have turned this notion on its head by attempting to create artworks based on randomness. Among those, three in particular articulated a well-argued and thorough theory of the radical use of chance in art: André Breton (writer), John Cage (composer) and François Morellet (visual artist). The implications of such a move away from established aesthetics are far-reaching, as much in conceptual as in practical terms, as this book hopes to make clear. Of paramount importance in this coincidentia oppositorum is the suggested possibility of a correlation between the artistic use of chance and a system of thought itself organised around chance. Indeed placing randomness at the centre of one’s art may have deeper philosophical consequences than just on the aesthetical level.