Iranian art; treasures from the Imperial collections and museums of Iran.

Mode of access: Internet.

Philosophy and development of religion /

"Translation of the Lectures from my German manuscript"--Pref.

National Galleries of History and Art. The aggrandizement of Washington ...

Cover-title.

Lectures on art, delivered before the University of Oxford in Hilary term, 1870 /

First published at the Claredon Press, Oxford, 1870.

The art of Florence, an interpretation,

Originally published under title "Mornings with masters of art".

Critical essays on a few subjects connected with the history and present condition of speculative philosophy /

Locke and the transcendentalists -- Kant and his philosophy -- Fichte's exposition of Kant : philosophy applied to theology -- The philosophy of Cousin -- Paley : the argument for the being of a God -- Subject continued : the union of theology and metaphysics -- Berkeley and his philosophy -- Elements of moral science -- Political ethics.

Studies in southern history and politics; inscribed to William Archibald Dunning, PH.D., LL.D., Lieber professor of history and political philosophy in Columbia university,

Deportation and colonization: an atempted solution of the race problem, by W.L. Fleming.--The literary movement for secession, by U.B. Phillips.--The frontier and secession, by C.W. Ramsdell.--The French consuls in the Confederate States, M.L. Bonham, jr.--The judicial interpretation of the Confederate constitution, by S.D. Brummer.--Southern legislation in respect to freedmen, 1865-1866, by J.G. de R. Hamilton.--Carpet-baggers in the United States Senate, by C. Mildred Thompson.--Grant's southern policy, by E.C. Woolley.--The federal enforcement acts, by W.W. Davis.--Negro suffrage in the South, by W.R. Smith.--Some phases of educational history in the South since 1865, by W.K. Boyd.--The new South, economic and social, by H. Thompson.--The political philosophy of John C. Calhoun, by C.E. Merriam.--Southern political theories, by D.Y. Thomas.--Southern politics since the civil war, by J.W. Garner.

De luxe illustrated catalogue of the notable art collection formed by the late George A. Hearn ... to be sold at unrestricted public sale, as directed by the terms of the will, Clarkson Cowl, Herbert Spencer Greims and George E. Schank, executors, on the afternoons and evenings at the places herein stated ...

Foreign paintings described by W. Roberts, American paintings by W. A. Coffin, ivory carvings by M. W. Brockwell, miniatures and other art objects by H. Townsend.

General guide to the collections of the Pennsylvania museum and school of industrial art in Memorial hall, Fairmount park, Philadelphia, Pa.

Preface signed: E. A. B. [i.e. Edwin Atlee Barber]

Emergence of Special Art Exhibits in Shopping Malls in Shanghai

Thesis (Master's)--University of Washington, 2016-06

Analyzing Visitor Perceptions of Personalization in Art Museum Interactive Technology

Thesis (Master's)--University of Washington, 2016-06

Levinas and the defination of philosophy: An ethical approach

Emmanuel Levinas’ thought seems to be strictly neither rational, phenomenological nor ontological, and it thus intentionally exposes itself to the asking of the question ‘why call it philosophy at all’? While we may have trouble containing Levinas’ thought within our traditional philosophical boundaries, I argue that this gives us no reason to exclude him from philosophy proper as a mere poser, but rather provides the occasion for reflection on just what it means, in an ethical manner, to call something ‘philosophical’. Instead of asking whether or not philosophy can ‘contain’ Levinas’ thought, I contend that it would be more ethical to instead re-phrase the question in terms of ‘sociality’. When we do this, I argue, we can indeed justifiably call Levinas’ thought philosophy.

The manufacture and utilisation of architectural terracotta and faience.

The revival of terracotta and faience in British architecture was widespread, dramatic in its results and, for two decades, the subject of intense debate. However the materials have been frequently denigrated and more generally disregarded by both architects and historians. This study sets out to record and explain the rise and fall of interest in terracotta and faience, the extent and nature of the industry and the range of architectural usage in the Victorian, Edwardian and inter-war periods. The first two chapters record the faltering use of terracotta as an 'artificial stone', until the material gained its own identity, largely through the appreciation of Italian architecture. In the mid-Victorian period, terracotta will be seen to have become symbolic of the philosophy of the Victoria and Albert Museum and its Art School in attempting to reform both architecture and the decorative arts. The adoption of terracotta was furthered as much by industrial as aesthetic factors; three chapters examine how the exploitation of coal-measure clays, developments in the processes of manufacture, the changing motivation of industrialists and differing economics of production served to promote and then to hinder expansion and adaptation. The practical values of economy, durability and fire-resistance and the aesthetic potential, seen in terms of colour and decorative and sculptural modelling, became inter-related in the work of the architects who made extensive use of architectural ceramics. A correlation emerges between the free Gothic style, exemplified by the designs of Alfred Waterhouse and the use of red terracotta supplied from Ruabon, and between the eclectic Renaissance style and a buff material produced by different manufacturers.These patterns were modified as a result of the adoption of faience for facing external walls as well as interiors, and because of the new architectural requirements and tastes of the twentieth century. The general timidity in exploiting the scope for polychromatic decoration and the increasing opposition to architectural ceramics is contrasted with the most successful schemes produced for cinemas, chain-stores and factories. In the last chapter, those undertaken by the Hathern Station Brick and Terracotta Company between 1896 and 1939 are used as a case study; they confirm that manufacturers, architects and clients were all committed to creating a modern and yet decorative architecture, appropriate for new building types and that would appeal to and be comprehensible to the public.

Analysis of the Distributions of Color Characteristics in Art Painting Images

In this paper we study some of the characteristics of the art painting image color semantics. We analyze the color features of differ- ent artists and art movements. The analysis includes exploration of hue, saturation and luminance. We also use quartile’s analysis to obtain the dis- tribution of the dispersion of defined groups of paintings and measure the degree of purity for these groups. A special software system “Art Paint- ing Image Color Semantics” (APICSS) for image analysis and retrieval was created. The obtained result can be used for automatic classification of art paintings in image retrieval systems, where the indexing is based on color characteristics.

From art for arts sake to art as means of knowing:a rationale for advancing arts-based methods in research, practice and pedagogy

This paper advances a philosophically informed rationale for the broader, reflexive and practical application of arts-based methods to benefit research, practice and pedagogy. It addresses the complexity and diversity of learning and knowing, foregrounding a cohabitative position and recognition of a plurality of research approaches, tailored and responsive to context. Appreciation of art and aesthetic experience is situated in the everyday, underpinned by multi-layered exemplars of pragmatic visual-arts narrative inquiry undertaken in the third, creative and communications sectors. Discussion considers semi-guided use of arts-based methods as a conduit for topic engagement, reflection and intersubjective agreement; alongside observation and interpretation of organically employed approaches used by participants within daily norms. Techniques span handcrafted (drawing), digital (photography), hybrid (cartooning), performance dimensions (improvised installations) and music (metaphor and structure). The process of creation, the artefact/outcome produced and experiences of consummation are all significant, with specific reflexivity impacts. Exploring methodology and epistemology, both the "doing" and its interpretation are explicated to inform method selection, replication, utility, evaluation and development of cross-media skills literacy. Approaches are found engaging, accessible and empowering, with nuanced capabilities to alter relationships with phenomena, experiences and people. By building a discursive space that reduces barriers; emancipation, interaction, polyphony, letting-go and the progressive unfolding of thoughts are supported, benefiting ways of knowing, narrative (re)construction, sensory perception and capacities to act. This can also present underexplored researcher risks in respect to emotion work, self-disclosure, identity and agenda. The paper therefore elucidates complex, intricate relationships between form and content, the represented and the representation or performance, researcher and participant, and the self and other. This benefits understanding of phenomena including personal experience, sensitive issues, empowerment, identity, transition and liminality. Observations are relevant to qualitative and mixed methods researchers and a multidisciplinary audience, with explicit identification of challenges, opportunities and implications.