Noted art critic Theodore Wolff provides a practical overview of how those who teach art can apply the principles and techniques of art criticism from kindergarten through high school. Connecting the practical to the pedagogical, George Geahigan provides a historical overview of art criticism in education literature. He rejects prevailing approaches that treat the discipline as a procedure for talking or writing about works of art, asserting instead that criticism is best construed as a mode of inquiry concerned with helping individuals see meaning and value in works of art. A rare combination of the practical and theoretical, Art Criticism and Education will be an invaluable aid to anyone who teaches art.

Art Criticism and Education (Disciplines in Art Education)

Arts & Photography

Wolff, Theodore F.

Geahigan, George

History & Criticism

University of Illinois Press

Art Criticism and Education completes the Disciplines in Art Education series. In the first section, Theodore Wolff deals with the role of the art critic in education. He gives a practical overview of how the principles and practices of art criticism can be applied to the teaching of art (k-12). In the second, George Geahigan begins with an historical overview of art criticism in education literature and provides a conceptualized approach to critical inquiry, asserting that the most effective form of that inquiry is the pursuit of meaning in works of art. A rare combination of the practical and theoretical, Art Criticism and Education will be an invaluable aid to anyone involved in art education. A volume in the series Disciplines in Art Education: Contexts of Understanding, edited by Ralph Smith Supported by the Getty Foundation

Art Criticism and Education (Disciplines in Art Education; Contexts of Understanding)

This visually stunning book will be a revelation to admirers of Northwest visionary artist Morris Graves (b. 1910) who know him chiefly through his profoundly original, metaphysically charged paintings of chalices, birds, snakes, and other small creatures. Graves’s national reputation began with the Museum of Modern Art’s exhibitions “Americans 1942--18 Artists from 9 States.” Throughout his long career as one of America’s most highly regarded painters of the transcendental, Graves has been less well known for his later flower paintings, represented here in more than fifty full-page color plates encompassing selected works from 1938 through 1992. A number of these paintings first captures public attention in 1983-84, during the course of a retrospective, “Morris Graves, Vision of the Inner Eye,” organized by the Phillips Collection, Washington, D.C., which travelled to six major American museums. In the past decade, Graves’s flower paintings have continued to command increasing critical and public acclaim. In the view of noted art critic Theodore Wolff, whose superb analysis informs this presentation, Graves has created several dozen of the finest American flower paintings of the century. A product of Graves’s later years, these serene and radiantly beautiful paintings show distinct compositional parallels with a significant number of his early symbolic and metaphoric works. At the same time, they incorporate the dramatic shift in emphasis that took place in his art during the 1970s, when flowers and light began to embody his evolving sense of what color could be and could do. To a very real degree, notes Wolff, the flower paintings are Graves’s culminating work, epitomizing and summarizing his lifelong attempts to translate the spiritually ineffableinto pictorial form. In addition to Theodore F. Wolff’s inspired and insightful essay, Morris Graves: Flower Paintings features an excellent introduction by John Yau, art critic and author of recent book on A.R. Penck and Andy Warhol. The book will be of significant interest to collectors as well as to art historians.

Morris Graves: Flower Paintings

University of Washington Press

Published in conjunction with an exhibit organized by the Museum of Northwest Art, La Conner, Washington. Wolffe discusses the early work of the painter who burst from a regional following in the Pacific Northwest to art-world celebrity when he was 31 years old, after a 1942 Museum of Modern Art exhibition. This exhibit catalogue offers a close look at the relatively little-known work Graves produced in his early years, between 1931 and 1938, when he was developing both his techniques and his personal vision. Distributed by the U. of Washington Press. 8x8

Morris Graves: The Early Works

Graves, Morris

Univ of Washington Pr

A collection of essays culled from those written between 1980 and 1988 for The Christian Science monitor by that publication's art critic. The essays are informed, personal, and accessible. The book is beautifully produced with color reproductions of works discussed. It would have been enhanced by a bibliography and index, both of which are lacking. Published by The Christian Science Monitor, One Norway Street, Boston, MA 02115. Annotation copyright Book News, Inc. Portland, Or.

The Many Masks of Modern Art

History

Christian Science Monitor

Frederic Whitaker and Eileen Monaghan Whitaker contributed with equal force and distinction to their field. The couple's watercolors are a delight of parallel and counterpoint, tension, and interplay. Frederic's watercolors fascinate with their intricate detail and highly structured composition; Eileen's work focuses on quietly startling and mysteriously poignant images. Eileen emphasizes individual expression and abstract elusiveness, while Frederic was devoted to accessibility and ready communication with the viewer. This volume collects an astonishing selection of still lifes, landscapes, figures, travel sketches, and atmospheric renderings. A close and personal biography opens up and contextualizes the artwork, while essays by noted art historians provide critical commentary.

Contrasts That Complement: Eileen Monaghan Whitaker And Frederic Whitaker

HOOPES, Donelson F.

Pincus, Robert L.

Jennings, Jan Noreus

Marquand Books, Inc.

Donati, the young Italian anointed Surrealism's Wunderkind by Andre Breton in 1942, has gone on to a rich career as an artist of the New York School, his vision transformed many times over through 55 years of highly provocative, richly textured, ravishingly colourful work.

Enrico Donati: Surrealism and Beyond

Individual Artists

Hudson Hills

The work and nearly 60-year career of John Wilde are an anomaly, inspired by the early Renaissance.

Wildeworld: The Art of John Wilde

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