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To Theo Van Gogh. Antwerp, on Or About Tuesday, 2 February 1886
To Theo van Gogh. Antwerp, on or about Tuesday, 2 February 1886. on or about Tuesday, 2 February 1886 Metadata Source status: Original manuscript Location: Amsterdam, Van Gogh Museum, inv. nos. b488 a-b V/1962 Date: Van Gogh writes that the painting course ended last week; this happened at the end of January 1886. He also thanks Theo for sending the regular allowance, which almost always arrived at the beginning of the week. We have therefore dated the letter on or about Tuesday, 2 February 1886. Additional: Original [1r:1] Waarde Theo, Dank voor Uw brief en het ingeslotene. Het is iets dat mij fameus veel pleizier doet, dat gij het plan van bij Cormon te gaan nu ook zelf voorstelt. 1 Laat mij U zeggen hoe t mij hier nog verder is gegaan. De schildercursus is verl. week geeindigd, 5 daar er voor het eind van den cursus nog 1 This earlier plan is mentioned in the previous letter, letter 556. Van Gogh knew that Breitner2 had studied with Cormon3 (see letter 465) and may also have heard about him at the academy in Antwerp. Cormon opened his studio at number 104 boulevard de Clichy in 1882. While he did receive his students there, corrections were also done in the studio in rue La Bruyre. The syllabus did not differ much from that of his predecessor Lon Bonnat4. Cormons was less rigidly structured, though, and it was above all this more liberal attitude that won him a favourable reputation among a younger generation of artists. Students drew (classical) plaster casts and from life, and Cormon demanded from his students an extremely accurate, lifelike drawing. -
Van Gogh Alive at Birmingham Hippodrome, Which Opened on 8 Oct 2020
Accessible Information Pack The experience has been created by Grande Exhibitions WHAT IS SENSORY4™? Developed by Grande Exhibitions, SENSORY4™ is a unique system that combines multichannel motion graphics, cinema quality surround sound and up to forty high-definition projectors to provide one of the most exciting multiscreen environments in the world. This Accessible Information Pack has been created by Birmingham Hippodrome, Deaf Explorer and Sightlines; to accompany visits to the UK premiere of Van Gogh Alive at Birmingham Hippodrome, which opened on 8 Oct 2020. Van Gogh Alive Van Gogh’s works have been home, in London and Paris, displayed and enjoyed around the planting the seed for an enduring world for over a century - but passion for painting. never like this. Forget traditions In his early 20s, Vincent of tiptoeing through silent unsuccessfully studied theology galleries and viewing paintings then briefly served as a from afar - Van Gogh Alive will missionary. In 1880, at the age of have you interacting with art in 27, Vincent finally turned to art: ways you never imagined. inspired by Impressionism and From the moment you enter, a Post-Impressionism, and heavily powerful and vibrant symphony influenced by artists of the time of light, colour and sound such as Monet and Gauguin. compels you to leave the world He had found his calling. behind and immerse yourself in Completely self-taught, Van Gogh Van Gogh’s paintings. was one of the most prolific Vincent Willem van Gogh was artists of his time. In only ten born in 1853 in a small town in years, he produced more than the south of the Netherlands. -
HAGAS Impressions the Master at Work
HAGAS Impressions Henley and Grange Arts Society October 2016 Atkin Street, Henley Beach :: PO Box 215, Henley Beach SA 5022 Clubrooms phone: 8353 3710 Email: [email protected] Website: www.hagas.com.au The Master at Work Although now retired, Andris kindly agreed to demonstrate his technique and skills of mixing colours and completing an oil painting over the course of a day. Andris originally studied architecture and You could hear worked as a draftsman where he became familiar with the concepts of design and a pin drop at the perspective. Mostly self taught and with a recent demo by natural talent, he became a master at Andris Jansons depicting light and shadow. Andris is a well recognised painter and has exhibited as everyone was and sold works throughout Australia and spell bound by his overseas. We were very lucky to be able amazing talent. to see this wonderful painter at work. Attendance Books Exhibit For safety and security reasons (and to comply with our insurance and OH&S) all members are now obliged to sign the studio attendance book when they are using at the fete ... the studios at any time other than a tutored class. The Seasiders Club in Henley Beginning term 4, attendance books will be placed in the Beach is having a fete on Saturday art and ceramics studios alongside the tin for your $2 utility 26 November. There is an opportu- fee. This fee is payable for all members utilising the facilities nity to have a table at the fete for for ‘open studio’. -
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fiEOHSTERED AS A NEWSPAPER. &>ff) jotTfCK^ ^di^KCs<. dltaf xoittiffi foiflj Spiritualism m <&xmt §ntaitt( THE SPIRITUALIST is regularly on Sale at the following places:—LONDON : xr, Ave Maria-lane, St. Paul’s Churchyard, E.C. PARIS: Kiosque 246, Boule- vard des Capucines, and 7, Rue de Lille. LEIPZIG: 2, Lindenstrasse. FLORENCE: Signor G. Parisi, Via della Maltonaia. ROME: Signor Bocca, Libraio, Via del Corso. NAPLES: British Reading Rooms, 267, Riviera di Chiaja, opposite the Villa Nazionale. LIEGE: 37, Rue Florimont. BUDA- PESTH : Josefstaadt Erzherzog, 23, Alexander Gasse. MELBOURNE : 96, Russell-street. SHANGHAI : Messrs. Kelly & Co. NEW YORK: Harvard Rooms, Forty-second-street & Sixth-avenue. BOSTON, U.S.: “Banner of Light” Office, 9, Montgomery-place. CHICAGO : “ Religio-Philosophical Journal” Office. MEMPHIS, U.S.: 7, Monroe-street. SAN FRANCISCO: 319, Kearney-street. PHILADELPHIA: 918, Spring Garden-street. WASHINGTON": No. xoio, Seventh-street. No. 316. (VOL. XIII.—No. 11.) LONDON: FRIDAY, SEPTEMBER 13, 1878. Published Weekly; Price Twopence. (Contents. BRITISH NATIONAL ASSOCIATION THE PSYCHOLOGICAL SOCIETY OF OF SPIRITUALISTS, GREAT BRITAIN, Suggestions for the Future ... ...121 The Cure of Diseases near Sacred Tombs:—Extract 38, GREAT RUSSELL STREET, BLOOMSBURY W.O. 11, Chandos Street, Cavendish Square, London, W from a Letter Written by a Physician at Rome to his Entrance in Woburn Street. PRESIDENT—MR. SERJEANT COX. Sister, a Carmelite Nun, at Cavaillon, dated May 1, 1783—Extract from a Letter from an English Gentle- This Society was established in February. 1875, for the pro- man at Rome, dated June 11, 1783—Extract from a CALENDAR FOR SEPTEMBER. motion of psychological science in all its branches. -
Van Gogh Museum, Amsterdam (Vincent Van Gogh Stichting)
(detail), 1887. Van Gogh Museum, Amsterdam (Vincent van Gogh Stichting) van (Vincent Gogh Museum, Amsterdam Van 1887. (detail), Courtisane (naar Eisen) Courtisane Vincent van Gogh, van Vincent Van Gogh Museum Jaarverslag 2018 Inhoud Voorwoord Raad van Toezicht 3 1 Verslag van de directie 4 2 Jaaroverzicht 12 2.1 Museale Zaken 13 2.2 De Mesdag Collectie 21 2.3 Publiekszaken 25 2.4 Bedrijfsvoering 35 2.5 Van Gogh Museum Enterprises 39 De ondernemingsraad 43 3 Bijlagen jaarverslag 44 Overzicht organisatie 45 Sociaal jaarverslag 47 Aankopen 49 Schenkingen 53 Steungevers 54 Behandelde werken 58 Bibliotheek en documentatie 64 Bruikleenoverzicht uitgaand 65 Langdurige bruiklenen aan het VGM 83 Langdurige bruiklenen VGM aan andere musea 85 Onderzoeksprojecten 86 Museumpublicaties 88 Relevante nevenactiviteiten 89 Lezingen en academische activiteiten 91 Publicaties medewerkers 94 Voorwoord Raad van Toezicht 2018 was voor het Van Gogh Museum opnieuw een bijzonder succesvol jaar. Vincent van Gogh en zijn tijdgenoten blijven een inspiratiebron voor veel mensen over de hele wereld, wat blijkt uit de onverminderd hoge bezoekersaantallen aan het museum en online. Afgelopen jaar bezochten 2.165.000 kunstliefhebbers uit binnen- en buitenland het museum, en groeide de online fanbase explosief. De tentoonstelling Van Gogh en Japan, die feestelijk werd geopend door koning Willem-Alexander, was met 430.000 bezoekers een enorm succes. Afgelopen jaar is Van Gogh ambieert geïntroduceerd, het Strategisch Plan 2018-2020, waarin is uitgestippeld hoe de strategische pijlers van het museum de komende jaren zullen worden verwezenlijkt. In het nastreven van de missie, visie en kernwaarden van het museum ligt de focus op drie dimensies: lokaal, mondiaal en digitaal. -
An Investigation of Children's Abilities to Form and Generalize Visual Concepts from Visually Complex Art Reproductions
DOCUMENT RESUME ED 061 228 TE 499 769 AUTHOR Clark, Gilbert A. TITLE An Investigation of Children's Abilities to Form and Generalize Visual Concepts from Visually Complex Art Reproductions. Final Report. INsTITUTION Ohio state Univ., Columbus. SPONS AGENCY Office of Education (DHEw), Washington, D.C. Bureau of Research. BUREAU NO BR-0-I-060 PUB DATE Jan 72 GRANT OEG-9-70-0031(057) NOTE 85p. EDRS PRICE MF-$0.65 HC-$3.29 DESCRIPTORS *Ability Identification; *Art; *children; Classification; *Concept Formation; Correlation; Data Analysis; Data Collection; Discrimination Learning; Individual Differences; Interaction; Rating Scales; Research; Standards; Stimuli; Student Evaluation; Tape Recordings; Task Performance: Test Results; Verbal Ability; *Visual Perception ABSTRACT The re earch reported here was designed to measure the abilities of school-age children to form and generalize "visual concepts" on the basis of their observation of prepared sets of art reproductions. The art reproduction sets displayed similarities based upon various visual attributes. Discrimination of theattributes common to any given set was taken as evidence of concept formation. Selection of similar reproductions in additional displays was taken as evidence of concept generalization. Additionally,tape-recorded discussions of the test administrations were analyzed. These discussions yielded additional evidence of successful test performance (on a verbal dimension) and were useful in describing the character of children's abilities to discuss the visual attributes of art reproductions. Evidence gathered indicates that students at all grades (except, possibly, kindergarten) are able to form visual concepts from their observation of selected sets of art reproductions. Subjects also successfully described their classification of observed visual similarities when discussing the items. -
St. Vincent De Paul and the Homeless
WELCOMING THE STRANGER ST. VINCENT DE PAUL AND THE HOMELESS Robert Maloney, CM An earlier version of this article was published in Vincentiana 61, #2 (April-June 2017) 270-92. “There was no room for them in the inn.”1 Those stark words dampen the joy of Luke’s infancy narrative, which we read aloud every Christmas. No room for a young carpenter and his pregnant wife? Was it because they asked for help with a Galilean accent that identified them as strangers?2 Was there no room for the long-awaited child at whose birth angels proclaimed “good news of great joy that will be for all people”?3 No, there was no room. Their own people turned Mary and Joseph away. Their newborn child’s first bed was a feeding trough for animals. Matthew, in his infancy narrative, recounts another episode in the story of Jesus’ birth, where once again joy gives way to sorrow.4 He describes the death-threatening circumstances that drove Joseph and Mary from their homeland with Jesus. Reflecting on this account in Matthew’s gospel, Pius XII once stated, “The émigré Holy Family of Nazareth, fleeing into Egypt, is the archetype of every refugee family." 5 Quoting those words, Pope Francis has referred to the plight of the homeless and refugees again and again and has proclaimed their right to the “3 L’s”: land, labor and lodging.6 Today, in one way or another, 1.2 billion people share in the lot of Joseph, Mary and Jesus. Can the Vincentian Family have a significant impact on their lives? In this article, I propose to examine the theme in three steps: 1. -
The Letters of Vincent Van Gogh
THE LETTERS OF VINCENT VAN GOGH ‘Van Gogh’s letters… are one of the greatest joys of modern literature, not only for the inherent beauty of the prose and the sharpness of the observations but also for their portrait of the artist as a man wholly and selessly devoted to the work he had to set himself to’ - Washington Post ‘Fascinating… letter after letter sizzles with colorful, exacting descriptions … This absorbing collection elaborates yet another side of this beuiling and brilliant artist’ - The New York Times Book Review ‘Ronald de Leeuw’s magnicent achievement here is to make the letters accessible in English to general readers rather than art historians, in a new translation so excellent I found myself reading even the well-known letters as if for the rst time… It will be surprising if a more impressive volume of letters appears this year’ — Observer ‘Any selection of Van Gogh’s letters is bound to be full of marvellous things, and this is no exception’ — Sunday Telegraph ‘With this new translation of Van Gogh’s letters, his literary brilliance and his statement of what amounts to prophetic art theories will remain as a force in literary and art history’ — Philadelphia Inquirer ‘De Leeuw’s collection is likely to remain the denitive volume for many years, both for the excellent selection and for the accurate translation’ - The Times Literary Supplement ‘Vincent’s letters are a journal, a meditative autobiography… You are able to take in Vincent’s extraordinary literary qualities … Unputdownable’ - Daily Telegraph ABOUT THE AUTHOR, EDITOR AND TRANSLATOR VINCENT WILLEM VAN GOGH was born in Holland in 1853. -
Working in Fields of Sunshine by HEIDI J
42 Work Due to copyright restrictions, this image is only available in the print version of Christian Reflection. Van Gogh celebrates the peasant workers who toil in this vineyard in southern France. They enjoy the open air and sunshine the artist loved. Vincent van Gogh (1853-1890), THE RED VINEYARD (1888). Oil on canvas. 29.5” x 36.3”. Puskin Museum of Fine Arts, Moscow, Russia. Photo: Scala / Art Resource. Used by permission. Copyright © 2015 Institute for Faith and Learning at Baylor University 43 Working in Fields of Sunshine BY HEIDI J. HORNIK he workers depicted here by Vincent van Gogh are the subject of the only painting by the artist known to have been purchased during This lifetime. It is believed that he painted the vineyard from memory. Van Gogh had worked and studied in London, Antwerp, and The Hague. But it is not until seeing the paintings of the Impressionists and Post-Impressionists in Paris that he changed his palette dramatically in 1887 to use brighter, less opaque colors. Like the Impressionists, he painted from life, preferred the use of natural light, and employed the synthetic evocation of color through Divisionism (the juxtaposition of small touches of pure, unmixed pigment directly on the canvas). This last characteristic became the expressive trademark of his later works.1 In February 1888, Van Gogh left the bustle of Paris to live in Arles, a small town in southern France. He was inspired by Jean-Francois Millet’s paintings that focused on the work of the common peasant. Van Gogh enjoyed studying the workers as he viewed the golden wheat fields, the blossoming orchards, and sunflowers that appear in his later and most famous paintings. -
Burning News from the Ipswich Incinerator
5467 91Burning51 News from the Ipswich Incinerator The MAY 2005 newsletter of Ipswich Little Theatre Strange ‘Times’ A young girl who was blown Wolf Lullaby is a compelling play about the disturbing subject of juvenile out to sea on a set of murderers. It asks not only why they occur but how we deal with it. inflatable teeth was rescued A small child is murdered and suspicion falls on Lizzie. Her mother by a man on an inflatable lobster. A coastguard believes her daughter could be guilty, but her father is full of denial. spokesman commented, Set in an Australian country town, this play holds up a mirror to society "This sort of thing is all too and reflects reality rather than what we’d like to see. It is a piece of drama common". The Times not to be missed! Ipswich Little Theatre, in 2005, has a relationship with the Queensland Conservatorium of Music whereby students of music composition have the INSIDE BURNING NEWS opportunity of working with directors of ILT plays to develop an original THIS MONTH: score for each play. QCM student, Raymond Lawrence, has worked with Group News Page 2 Suzanne and Liz to write a score that responds to the themes of Wolf Lullaby. This will add another interesting component to an already Vincent in Brixton Page 3 fascinating production. Selection C’tte news Page 3 Qld Poet in Residence Page 4 If you would like to support the Ipswich Arts Council, please Original image for Wolf Lullaby by Arts Alive student consider seeing Wolf Daajan Bain aged 7 (daughter of cast member Majella Gee) Lullaby on their social night – Wednesday 15 June from 7.30 pm. -
Van Gogh Museum Journal 2002
Van Gogh Museum Journal 2002 bron Van Gogh Museum Journal 2002. Van Gogh Museum, Amsterdam 2002 Zie voor verantwoording: http://www.dbnl.org/tekst/_van012200201_01/colofon.php © 2012 dbnl / Rijksmuseum Vincent Van Gogh 7 Director's foreword In 2003 the Van Gogh Museum will have been in existence for 30 years. Our museum is thus still a relative newcomer on the international scene. Nonetheless, in this fairly short period, the Van Gogh Museum has established itself as one of the liveliest institutions of its kind, with a growing reputation for its collections, exhibitions and research programmes. The past year has been marked by particular success: the Van Gogh and Gauguin exhibition attracted record numbers of visitors to its Amsterdam venue. And in this Journal we publish our latest acquisitions, including Manet's The jetty at Boulogne-sur-mer, the first important work by this artist to enter any Dutch public collection. By a happy coincidence, our 30th anniversary coincides with the 150th of the birth of Vincent van Gogh. As we approach this milestone it seemed to us a good moment to reflect on the current state of Van Gogh studies. For this issue of the Journal we asked a number of experts to look back on the most significant developments in Van Gogh research since the last major anniversary in 1990, the centenary of the artist's death. Our authors were asked to filter a mass of published material in differing areas, from exhibition publications to writings about fakes and forgeries. To complement this, we also invited a number of specialists to write a short piece on one picture from our collection, an exercise that is intended to evoke the variety and resourcefulness of current writing on Van Gogh. -
Van Gogh Museum Journal 1995
Van Gogh Museum Journal 1995 bron Van Gogh Museum Journal 1995. Waanders, Zwolle 1995 Zie voor verantwoording: http://www.dbnl.org/tekst/_van012199501_01/colofon.php © 2012 dbnl / Rijksmuseum Vincent Van Gogh 6 Director's Foreword The Van Gogh Museum shortly after its opening in 1973 For those of us who experienced the foundation of the Van Gogh Museum at first hand, it may come as a shock to discover that over 20 years have passed since Her Majesty Queen Juliana officially opened the Museum on 2 June 1973. For a younger generation, it is perhaps surprising to discover that the institution is in fact so young. Indeed, it is remarkable that in such a short period of time the Museum has been able to create its own specific niche in both the Dutch and international art worlds. This first issue of the Van Gogh Museum Journal marks the passage of the Rijksmuseum (National Museum) Vincent van Gogh to its new status as Stichting Van Gogh Museum (Foundation Van Gogh Museum). The publication is designed to both report on the Museum's activities and, more particularly, to be a motor and repository for the scholarship on the work of Van Gogh and aspects of the permanent collection in broader context. Besides articles on individual works or groups of objects from both the Van Gogh Museum's collection and the collection of the Museum Mesdag, the Journal will publish the acquisitions of the previous year. Scholars not only from the Museum but from all over the world are and will be invited to submit their contributions.