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Books on the topic 'Organic school (Group of artists)'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 January 2023

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1

The Organic school of the Russian avant-garde: Nature's creative principles. Farnham, Surrey, England: Ashgate, 2015.

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2

Modernist visions in Taos: Mabel Dodge Luhan and the artists of the Stieglitz circle. Marburg: Tectum, 2009.

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3

Hicks, Alistair. The School of London: The resurgence of contemporary painting. Oxford: Phaidon, 1989.

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4

1955-, Snyder Robert W., Mecklenburg Virginia M. 1946-, and National Museum of American Art (U.S.), eds. Metropolitan lives: The Ashcan artists and their New York. Washington, D.C: National Museum of American Art, 1995.

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5

Leeds, Valerie Ann. The independents: The Ashcan School & their circle from Florida collections. Winter Park, Fla: George D. and Harriet W. Cornell Fine Arts Museum, 1996.

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6

Richard, Calvocoressi, Long Philip, and Scottish National Gallery of Modern Art., eds. From London: Bacon, Freud, Kossoff, Andrews, Auerbach, Kitaj. London: British Council, 1996.

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7

Institute, San Francisco Art, and Grey Art Gallery, eds. Energy that is all around: Mission School : Chris Johanson, Margaret Kilgallen, Alicia McCarthy, Barry McGee, Ruby Neri. San Francisco, Calif: San Francisco Art Institute, 2014.

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8

Pascal, Aumasson, and Pigallet Mathilde, eds. Les peintres de Pont-Aven et les Nabis dans les collections du musée de Brest. Brest]: Musée des beaux-arts de Brest, 2013.

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9

Wünsche, Isabel. Organic School of the Russian Avant-Garde: Nature's Creative Principles. Taylor & Francis Group, 2018.

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10

Danskin, Gill. The Arts Initiative Project: Summer 1986 group : professional artists in school. 1986.

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11

Council, British, ed. A School of London: Six figurative painters. [London]: British Council, 1987.

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12

Hicks, Alistair. The School of London: The Resurgence of Contemporary Painting. Phaidon Press, 1990.

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13

William Glackens and the Eight. The Artists Who Freed American Art. Horizon Press, 1990.

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14

Glackens, Ira. William Glackens and the Eight: The Artists Who Freed American Art. Writers & Readers, 1990.

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15

author, Lampert Catherine, J. Paul Getty Museum, and Tate Modern (Gallery), eds. London calling: Bacon, Freud, Kossoff, Andrews, Auerbach, and Kitaj. Getty Publications, 2016.

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16

Painters of the Ashcan School: The Immortal Eight. Dover Publications, Incorporated, 2012.

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17

Perlman, Bennard B. Painters of the Ashcan School: The Immortal Eight. Dover Publications, Incorporated, 2012.

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18

Painters of the Ashcan School: The Immortal Eight. Dover Publications, 1988.

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19

Foundation Dina Vierny Musée Maillol., ed. L'École de Londres: De Bacon à Bevan. Paris: Réunion des Musées Nationaux, 1998.

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20

L'Ecole de Londres. Réunion des musées nationaux, 1998.

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21

LÉcole de Londres: De Bacon à Bevan. Fondation Dina Vierny-Musée Maillol, 1998.

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22

L' Ecole de Londres: De Bacon à Bevan. Paris: Fondation Dina Vierny-Musée Maillol, 1998.

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23

The School of London and Their Friends: The Collection of Elaine and Melvin Merians (Yale Center for British Art). Yale University Press, 2000.

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24

Baillie, Matthew. The Morbid Anatomy Of Some Of The Most Important Parts Of The Human Body. Kessinger Publishing, LLC, 2007.

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25

Baillie, Matthew. The Morbid Anatomy Of Some Of The Most Important Parts Of The Human Body. Kessinger Publishing, LLC, 2007.

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26

Tan, Sooi Beng. Community Musical Theatre and Interethnic Peace-Building in Malaysia. Edited by Brydie-Leigh Bartleet and Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.33.

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Abstract:
Community musical theatre projects have played important roles in engaging young people of diverse ethnicities in multicultural and religious Malaysia to cross borders, deconstruct stereotypes, appreciate differences, and build interethnic peace. This essay provides insights into the strategies and dialogic approaches employed in two such community musical theatre projects that promote peace-building in Penang. The emphasis is on the making of musical theatre through participatory research, collaboration, ensemble work, and group discussions about alternative history, social relationships and cultural change. The projects also stress partnerships with the multiethnic stakeholders, communities, traditional artists, university students, and school teachers who are involved in the projects. Equally important is the creation of a safe space for intercultural dialogue, skill training, research, and assessments to take place; this a working space that allows for free and open participation, communication, play, and creative expressions for all participants.
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