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Full Product Details

Author:   Matthew C. Potter
Publisher:   Taylor & Francis Ltd
Imprint:   Routledge
Weight:   0.453kg
ISBN:  

9781138279025

ISBN 10:   1138279021
Pages:   312
Publication Date:   17 November 2016
Audience:   College/higher education ,  General/trade ,  Tertiary & Higher Education ,  General
Format:   Paperback
Publisher's Status:   Active
Availability:   In Print  
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Table of Contents

Contents: Preface; Learning from the masters: an introduction, Matthew C. Potter; Naturalising tradition: why learning from the masters?, Iris Wien; A free market in mastery: re-imagining Rembrandt and Raphael from Hogarth to Millais, Paul Barlow; The John Frederick Lewis Collection at the Royal Scottish Academy: watercolour copies of old masters as teaching aids, Joanna Soden; British art students and German masters: W.B. Spence and the reform of German art academies, Saskia Pütz; Standing in Reynolds’ shadow: the academic discourses of Frederic Leighton and the legacy of the first President of the Royal Academy, Matthew C. Potter; Opening doors: the entry of women artists into British art schools, 1871-1930, Alice Strickland; Struggling with the Welsh masters, 1880-1914, Matthew C. Potter; Emulation and legacy: the master-pupil relationship between William Orpen and Seán Keating, Éimear O’Connor; Prototype and perception: art history and observation at the Slade in the 1950s, Emma Chambers; The pedagogy of capital: art history and art school knowledge, Malcolm Quinn; Study the masters? On the ambivalent status of art history within the contemporary art school, Katerina Reed-Tsocha; ’Without a master’: learning art through an open curriculum, Joanne Lee; Bibliography; Index.

Reviews

In reading this work, several of the chapters reminded me of what I had clearly forgotten about the history of art teaching, as well as that which, in a corresponding way, made me want to re-examine and extend my own knowledge and understanding of fine-art teaching. -- Howard Cannatella, Journal of Aesthetic Education

'The reflections in these essays are relevant to the education of artists in the contemporary world and especially to anyone teaching historical and theoretical studies to student artists.' Irish Arts Review In reading this work, several of the chapters reminded me of what I had clearly forgotten about the history of art teaching, as well as that which, in a corresponding way, made me want to re-examine and extend my own knowledge and understanding of fine-art teaching. -- Howard Cannatella, Journal of Aesthetic Education

Author Information

Matthew C. Potter is a Senior Lecturer in Art and Design History at Northumbria University, UK. His research interests include national identity in British art, and the history of art education.

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