Australian National University. Department of Art History PDF Download

Author: Australian National University. Department of Art History
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Languages : en
Pages : 0

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Author: Michael Agostino
Publisher:
ISBN: 9780731530663
Category : Australian National University
Languages : en
Pages : 0

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From the very first art classes in the early 1940s at the Canberra Technical College, the School gradually evolved, finally gaining independence in 1976 as the Canberra School of Art. In the years that followed the School underwent two important amalgamations. The first with the Canberra School of Music, the second with the ANU.

Author: Glen St. John Barclay
Publisher: ANU E Press
ISBN: 0975122983
Category : Education
Languages : en
Pages : 421

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A history of the HRC at the ANU, but also an examination of the role and predicament of the humanities within universities and the wider community, and contributes substantially to the ongoing debate on an Australian identity.

Author: Elizabeth Mansfield
Publisher: Psychology Press
ISBN: 9780415228695
Category : Art
Languages : en
Pages : 352

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"What is art history? The answer depends on who asks the question. Museum staff, academics, art critics, collectors, dealers and artists themselves all stake competing claims to the aims, methods, and history of art history. Dependent on and sustained by different - and often competing - institutions, art history remains a multi-faceted field of study. Art History and Its Institutions focuses on the professional and institutional formation of art history, showing how the discourses that shaped its creation continue to define the field today. Grouped into three sections, articles examine the sites where art history is taught and studied, the role of institutions in conferring legitimacy, the relationship between modernism and art history, and the systems that define and control it. From museums and universities to law courts and photography studios, the contributors explore a range of different institutions, revealing the complexity of their interaction and their impact on the discipline of art history." --BOOK JACKET.

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Category :
Languages : en
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Features the Department of Art History and Visual Studies of the Australian National University based in Canberra, Australian Capital Territory, Australia. Discusses the academic programs and lists the courses offered. Describes internships for students at the art gallery and museum of the department.

Author: Stephen Glynn Foster
Publisher: ANU E Press
ISBN: 1921536632
Category : Education
Languages : en
Pages : 475

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First published 1996. This edition-with new introduction-published July 2009. The Australian National University has always been a university with a difference. Conceived in the mid-1940s to serve Australia's post-war needs for advanced research and postgraduate training, it quickly embraced the ideals and traditions of Oxford and Cambridge. Undergraduate teaching was introduced in 1960, following amalgamation with Canberra University College. The University continued to adapt to changes in Australian society, while retaining much of its unique structure and objectives. Stephen Foster and Margaret Varghese trace the ANU's history from its wartime origins to its fiftieth anniversary in 1996, featuring many of the prominent Australians who contributed to its making: 'Nugget' Coombs, Howard Florey, Mark Oliphant, W.K. Hancock, Douglas Copland, John Crawford, Peter Karmel; and others who stood out in particular fields, such as J.C.Eccles, Arthur Birch, Manning Clark, Russell Mathews, Ernest Titterton, Beryl Rawson, John Mulvaney, John Passmore and Frank Fenner. The Making of The Australian National University explores many themes in higher education during the last half century, including academic freedom, relations between universities and politicians, recruitment practices, the 'two cultures' of science and the humanities, collegial versus managerial structures, equality of opportunity, student politics, academics and architecture and universities in the marketplace. This is an affectionate and critical account of a remarkable Australian institution; and, more broadly, a fascinating study of how institutions work.

Author: Dr Keren Rosa Hammerschlag
Publisher: Ashgate Publishing, Ltd.
ISBN: 1472414357
Category : Art
Languages : en
Pages : 265

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Offering a timely reexamination of the late Victorian period’s most institutionally powerful artist, Keren Rosa Hammerschlag undertakes close readings of Frederic Lord Leighton’s paintings, sculptures, frescos and drawings, and situates them in the context of contemporaneous debates about death and resurrection in theology, archaeology and medicine. The author reconfigures what it meant to be not just a late-Victorian neoclassicist and royal academician, but President of the Victorian Royal Academy.

Author: Bernard Smith
Publisher: Macmillan Education AU
ISBN: 9781876832339
Category : Art
Languages : en
Pages : 148

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In this well-illustrated book Professor Bernard Smith, who is often referred to as the father of art history in Australia, condenses the arguments presented in an earlier publication Modernisms History, 1998) into a very accessible and helpful text will prove useful for students and arts-interested readers. He begins by listing and carefully explaining those terms which frequently occur in arts literature dealing with the modern period and then goes on to show that modernism has become an historical period with its art forms both 'institutionalised' and 'globalised'. Now an historical entity, art historys basic tools can be employed to explain and describe it. They include an investigation of the periods 'style', use of 'form' and attitudes to meaning. In his defence of art historys traditions and methodologies he argues that the period that encompasses modernism in the arts might now be known as The Formalesque .

Author: Robert Wellington
Publisher: Routledge
ISBN: 1351576399
Category : Art
Languages : en
Pages : 292

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Antiquarianism and the Visual Histories of Louis XIV: Artifacts for a Future Past provides a new interpretation of objects and images commissioned by Louis XIV (1638-1715) to document his reign for posterity. The Sun King's image-makers based their prediction of how future historians would interpret the material remains of their culture on contemporary antiquarian methods, creating new works of art as artifacts for a future time. The need for such items to function as historical evidence led to many pictorial developments, and medals played a central role in this. Coin-like in form but not currency, the medal was the consummate antiquarian object, made in imitation of ancient coins used to study the past. Yet medals are often elided from the narrative of the arts of ancient r?me France, their neglect wholly disproportionate to the cultural status that they once held. This revisionary study uncovers a numismatic sensibility throughout the iconography of Louis XIV, and in the defining monuments of his age. It looks beyond the standard political reading of the works of art made to document Louis XIV's history, to argue that they are the results of a creative process wedded to antiquarianism, an intellectual culture that provided a model for the production of history in the grand si?e.