From the INTRODUCTION:
The Florentine painter Andrea del Castagno (c. 1419-1457) was a central figure of the Italian Renaissance, and his work appears in every major survey textbook on the period. Giorgio Vasari described him a master of drawing and a constant innovator. Vasari also however claimed that Andrea was a cold-blooded assassin, a man who left a self-portrait as Judas and who had murdered a fellow painter to obtain the secret of painting in oil. When Andrea del Castagno drew, he drew blood. The story is untrue; the few documents on the artist suggest an uneventful life and a very successful short career. Yet Vasaris tale is suggestive, and it serves as the starting point of this book, the first monograph study of Andrea del Castagno in more than three decades. Many of the painter's visual experiments were artistic dead-ends, seldom or never repeated, and they reveal the limits of a whole emerging visual system. This is painting that struggles to update old schemata for new antiquarian concerns and a new artistic order; natural, supernatural, and imaginary phenomena are all uneasily subject to the same norms of depiction and the same totalizing visibility. In a series of close analyses of key works, this book argues that Andrea del Castagno's art of creative disruption lays bare the problems and paradigms of early Western art. It is a limit case at the moment when the idea of art was itself coming into being.
Starting from the premise that we all want to make marks to record the world around us, this book aims to give basic guidelines that will help anyone to express themselves through different media but especially watercolours, oils and pastels. Professional artist Mike Chaplin demonstrates that anyone can paint if they are taught the necessary techniques in a simple and structure way.
As one of the eighteen field-specific reports comprising the comprehensive scope of the strategic general report of the Chinese Academy of Sciences, this sub-report addresses long-range planning for developing science and technology in the field of oil and gas resources. They each craft a roadmap for their sphere of development to 2050. In their entirety, the general and sub-group reports analyze the evolution and laws governing the development of science and technology, describe the decisive impact of science and technology on the modernization process, predict that the world is on the eve of an impending S&T revolution, and call for China to be fully prepared for this new round of S&T advancement. Based on the detailed study of the demands on S&T innovation in China's modernization, the reports draw a framework for eight basic and strategic systems of socio-economic development with the support of science and technology, work out China's S&T roadmaps for the relevant eight basic and strategic systems in line with China's reality, further detail S&T initiatives of strategic importance to China's modernization, and provide S&T decision-makers with comprehensive consultations for the development of S&T innovation consistent with China's reality. Supported by illustrations and tables of data, the reports provide researchers, government officials and entrepreneurs with guidance concerning research directions, the planning process, and investment. Founded in 1949, the Chinese Academy of Sciences is the nation's highest academic institution in natural sciences. Its major responsibilities are to conduct research in basic and technological sciences, to undertake nationwide integrated surveys on natural resources and ecological environment, to provide the country with scientific data and consultations for government's decision-making, to undertake government-assigned projects with regard to key S&T problems in the process of socio-economic development, to initiate personnel training, and to promote China's high-tech enterprises through its active engagement in these areas.
Much is made of the spiritual aspects of creating artwork, from subject matter to techniques, dark nights of the soul, and painterly frustration. The most important component in painting spiritually is, of course, the artist. The experience of creating art is not always a blissful one. Often the peace needed to find inspiration is not present. Ms. Bryant presents her readers with meditative essays that are art lessons in both watercolor and spirituality designed to help artists "get out of their own way" and create more soulfully.
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