Archive for December, 2009

23
Dec
09

Eric connects Eugène Carrière’s “The Sick Child” to Child Abuse

Here Eric presents a very moving description of child abuse as inspired by Eugène Carrière’s “The Sick Child” 1885.

The painting, ‘’The Sick Child, ’’ published in 1892, perspicuously conveys the image of maternity. In this masterpiece, we can feel a mother’s vehement love for her kid in that her child was diagnosed as a severe communicable infirmity. Not afraid that she would be infected by her ailing child, she tenaciously held her kid in her arms, wishing that her child would be emancipated from the tortures of malady. This painting, nevertheless, is no longer the placid and tranquil image of mother and child in the era replete with religious faith, but, in fact, represents the pessimism of that century. We can, too, perceive that the purpose of the painter’s using brown hue in this work is to accentuate an image of maternity exhibiting the dismal thoughts of the mother. By making use of such vivid painting skills, the creator of this drawing consummated the composition.


23
Dec
09

Ariel’s blog post on Jules Breton

In this blog assignment Ariel compares the work of Jules Breton, Edward Hedouin, and Jean Francois  Millet to environmental pollution.

This picture is “Le rappel des glaneuses” by Jules Breton. It depicts village women who are picking up wheat on the field. This picture tries to show the beautiful pastoral life. The women in this picture are trying to help to pick the wheat and their appearance is confident and modest.

People in the 21rst century have a good lifestyle but we are changing the environment and our way of life. Industrialization is destroying our beautiful land and we are living in dirty cities.  We need to protect the environment and our world.

21
Dec
09

Linda Liu’s blog assignment on Millet, Monet, and Renior

Here is Linda’s blog assignment which contains an excellent synopsis of the works of Millet, Monet, and Renior.

Millet, The Angelus, 1859

Jean-François Millet, extended the idea from landscape to figures — peasant figures, scenes of peasant life, and work in the fields. In The Angelus (1859), Millet portrays a couple in prayer after working at the harvest. There is no drama and no story told, merely the couple in a field.  Millet here shifted the focus, the subject matter, from the rich and prominent to those at the bottom of the social ladders. Millet also didn’t paint their faces to emphasize their anonymity and marginalized position. Their bowed bodies are representative of their every day hard work.

Monet, Blue Water Lilies, 1919

Monet reduced detail in his painting, including only the essence of the seen, or the impression of the reflection, water, and lily flower.  The French poet Paul Claudel said: “Thanks to water, [Monet] has become the painter of what we cannot see. He addresses that invisible spiritual surface that separates light from reflection. Airy azure captive of liquid azure … Color rises from the bottom of the water in clouds, in whirlpools.” (Quotes source: p262 Art of Our Century, by Jean-Louis Ferrier and Yann Le Pichon)

Renoir, Dance at the Moulin de la Galette, 1876

Renoir delighted in `the people’s Paris’, of which the Moulin de la Galette near the top of Montmartre was a characteristic place of entertainment, and his picture of the Sunday afternoon is one of his happiest compositions.  The girl in the striped dress in the middle foreground was said to be Estelle, the sister of Renoir’s model, Jeanne. Another of Renoir’s models, Margot, is seen to the left dancing. At the foreground table at the right are the artist’s friends, Frank Lamy, Norbert Goeneutte and Georges Rivière who in the short-lived publication L’Impressionniste extolled the Moulin de la Galette as a page of history, a precious monument of Parisian life depicted with rigorous exactness. Nobody before him had thought of capturing some aspect of daily life in a canvas of such large dimensions.

20
Dec
09

Here’s to 2009

2009 was a great year that I will look back on fondly and be thankful for.  Many marvelous events happened and in this blog post I will take a moment to remember.

The National Art Education Association national convention, Minneapolis, April 2009.

1. Every few years or so you may attend an event, party, or conference which will introduce new people and ways of thinking that transforms your life.  The NAEA 2009 National Convention in Minneapolis was a truly life changing event that altered my perceptions of art education and the direction of my career.  I will forever be grateful to Ann Kuo for sharing this experience with me.  At NAEA I met Karen Keifer-Boyd and became involved with the Women’s Caucus advocacy group.

Karen Keifer-Boyd performing Wrinkles in Visual Culture and Gender at NAEA  Minneapolis, April 2009.

2. Women’s Caucus and the Enacting Change project.  This project is a result of the NAEA Women’s Caucus 2009 Enacting Change lobby session lead by Keifer-Boyd. From there I initiated the Enacting Change activism project where members of NAEA Women’s Caucus were interviewed to create a record of their leadership, research, and pedagogy for an article currently under review at the journal of Visual Culture & Gender (VCG).

Spike Rees was very glad to have Ranjit home, July 2009.

3. After being separated for almost a year, my husband Ranjit returned to Taiwan from Quebec City, Canada.  It meant the world to me and it feels so good to have him back home.

Good times in Taipei, April 2009.

4. Did I mention how much I appreciate my job at Huafan University and life in Taipei?  Huafan U. is where the heart is and I feel so lucky to have my new office and connection with students.

At Ann Kuo’s retirement party, June 2009

5. The M.I.C.Y. colloquium in Ljubljana Slovenia.  A wonderful experience that was culturally, intellectually, and artistically transformative.

Dinner with Ann in Ljubljana, Slovenia, October 2009

6. Letting go of the negative.  In 2009 I decided to let go of some personal relationships there were more negative than positive.  This was hard to do at first but I’m much happier now.

The Franciscan Church, Ljubljana, Slovenia, October 2009.

7. Getting published. After almost two years my article on research trends in Canadian art education will be published in the upcoming issue of the International Journal of Education through Art.  Last fall the 2008 World Creativity Summit proceedings were published, on which I served as associate editor with editors Ann Kuo and Michael Day.

Image from the wet drapery photo series, May 2009.

8. My photography became more fine art focused.  This is a wonderful development that was inspired by the wet drapery series for Jo Chen’s Women Art and Society PhD course.  Although I am continuing to freelance with Verve, Eva Air’s in-flight magazine my focus is shifting to the fine arts.  Upcoming projects include a feminist art photo series called “Womb” for Linda Hoeptner Poling ‘s alphabet project and the 2010 NAEA Women’s Caucus juried slide show on the theme of social justice.

Alice Arnold receives a service award at at NAEA  Minneapolis, April 2009.

9. Future project and plans.  I am looking to 2010 for big changes and progress.  Alice Arnold and I are still working on our book project Children’s Art from Around the World.  There is also the 2010 NAEA Baltimore Women’s Caucus lobby session with Keifer-Boyd and Read Dicket; in addition to developing our collaborative research project questioning the definition of feminism in art education.

Images from the Lin family mansion and garden as seen in Verve magazine, February 2009.

20
Dec
09

Gilbert’s blog on Johan Axel Gustav Acke

Here is Gilbert’s blog on Johan Axel Gustav Acke

In his blog Gilbert connects Acke’s painting Water Mirror (1894) to natural disasters impacting Taiwan.

20
Dec
09

Ranjit and Jo

16
Dec
09

Natasha’s blog assignment on Jean Francois Millet

Here is Natasha‘s blog assignment on Jean Francois Millet.

In her blog Natasha connects the poverty depicted by Jean Francois Millet in The Gleaners, (1865) to the economic hardships suffered by farmers in contemporary Taiwan.




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