D. Atkinson: Art in Education : Identity and Practice - new book
ISBN: 9780306479571
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 surv… More...
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.; PDF; Art & Photography > General arts, Springer Netherlands<
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G.C. Leder: Art in Education : Identity and Practice - new book
ISBN: 9780306479571
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 surv… More...
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.; PDF; Art & Photography > General arts, Springer Netherlands<
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Mustafa Celik: Art in Education : Identity and Practice - new book
ISBN: 9780306479571
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 surv… More...
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.; PDF; Art & Photography > General arts, Springer US<
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No. 9780306479571. Shipping costs:Instock, Despatched same working day before 3pm, zzgl. Versandkosten., plus shipping costs Details...
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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 sur… More...
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., Springer<
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Art in Education : Identity and Practice - new book
ISBN: 9780306479571
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 surv… More...
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.; PDF; Art & Photography > General arts, Springer Netherlands<
No. 9780306479571. Shipping costs:Instock, Despatched same working day before 3pm, zzgl. Versandkosten., plus shipping costs
Art in Education : Identity and Practice - new book
ISBN: 9780306479571
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 surv… More...
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.; PDF; Art & Photography > General arts, Springer Netherlands<
No. 9780306479571. Shipping costs:Instock, Despatched same working day before 3pm, zzgl. Versandkosten., plus shipping costs
Mustafa Celik: Art in Education : Identity and Practice - new book
ISBN: 9780306479571
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 surv… More...
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.; PDF; Art & Photography > General arts, Springer US<
No. 9780306479571. Shipping costs:Instock, Despatched same working day before 3pm, zzgl. Versandkosten., plus shipping costs
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 sur… More...
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., Springer<
Nr. 978-0-306-47957-1. Shipping costs:Worldwide free shipping, , DE. (EUR 0.00)
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Book in our database since 2015-12-20T06:49:59-05:00 (New York) Detail page last modified on 2024-02-07T07:55:02-05:00 (New York) ISBN/EAN: 9780306479571
ISBN - alternate spelling: 978-0-306-47957-1 Alternate spelling and related search-keywords: Book author: atkinson, parrish michael Book title: art
Information from Publisher
Author: D. Atkinson Title: Landscapes: the Arts, Aesthetics, and Education; Art in Education - Identity and Practice Publisher: Springer; Springer Netherland 206 Pages Publishing year: 2005-12-28 Dordrecht; NL Language: English 96,29 € (DE) 99,00 € (AT) 118,00 CHF (CH) Available IX, 206 p. 45 illus.
EA; E107; eBook; Nonbooks, PBS / Pädagogik/Schulpädagogik, Didaktik, Methodik; Fachspezifischer Unterricht; Verstehen; children; curriculum; education; learning; learning and instruction; B; Creativity and Arts Education; Education; Instructional Psychology; Assessment and Testing; Education; Kunst; Pädagogik; Pädagogische Psychologie; Pädagogik: Prüfungen und Beurteilungen; BB
Interpretation and Practice.- Semiotics and Hermeneutics.- Semiotics, Hermeneutics and Observational Drawings.- The Semiotics of Children’s Drawing Practices.- Experience and the Hermeneutics and Semiotics of Visuality.- Identity and Practice.- The Construction of Identity.- Identity and Psychoanalysis.- The Field of Art in Education.- Difference and Practice.- Experience, Difference and Practice.- Experience and Practice: Theorising New Identifications. Includes supplementary material: sn.pub/extras
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