http://www.merlot.org:80/merlot/ A search of MERLOT materials Copyright 1997-2013 MERLOT. All rights reserved. Mon, 20 May 2013 07:04:38 PDT Mon, 20 May 2013 07:04:38 PDT http://www.merlot.org:80/merlot/images/merlot.gif http://www.merlot.org:80/merlot/ 44 34 http://www.merlot.org/merlot/viewMaterial.htm?id=79630 An in-depth, interactive study of this beautiful painting, examining it's subject, composition, technique, symbols and conservation. http://www.merlot.org/merlot/viewMaterial.htm?id=79631 In depth, interactive looks at nine works of art including Copley's Watson and the Shark, David's Napoleon in His Study, Kandinsky's Improvisation 31, and George Catlin's images of Native Americans. http://www.merlot.org/merlot/viewMaterial.htm?id=79637 This is an Open University/BBC site. Renaissance Secrets goes on three, half hour quests of discovery to uncover some enduring mysteries of the Renaissance: Van Eyck's Arnolfini Portrait (a discussion of this famous painting by the art historian Craig Harbison, Brunelleschi's Dome in Florence, and for the last one, "Secret of the Winter Garden," American art historian Claudia Swan travels from Krakow to Leiden on a mission to discover the secret of 1800 priceless botanical paintings hidden deep inside a Polish Library. http://www.merlot.org/merlot/viewMaterial.htm?id=689334 The following films explore the ways in which fragmentation may play a key role in the subject or theme of seven artists work. Each interviewed in turn, the artists discuss where material properties and the processes used to transform them have led to forms of fragmentation and how this has impacted upon the works expression. http://www.merlot.org/merlot/viewMaterial.htm?id=327706 This learning object has been developed to be delivered in a blended learning environment. That is, the e‑learning content, or e‑tivities, are used to extend and enhance the traditional classroom/lecture hall/studio method of teaching.In this case, e‑tivities have been developed to compliment a studio based drawing course, an area not traditionally used to using technology, where students are encouraged to use the e‑tivities to discuss their and others' work, thus developing their critical and reflective skills that they may not otherwise do. http://www.merlot.org/merlot/viewMaterial.htm?id=689867 Stage One Creative Strategies: Beginning ApproachesStage one offers methods to get ideas off the ground offering examples of ways to Identify and mobilize Ideas: Each approach is illustrated through student work either two dimensional or where appropriate short film footage with accompanying explanation attempting to demonstrate the common use of a method in the wider field of art and design. Methods include: Use of WordsFixing pointsask a questionforge connections http://www.merlot.org/merlot/viewMaterial.htm?id=689846 These films show examples of different approaches to display and its impact on the development of ideas. The presentation or curation of work should not necessarily be the last stage of creative practice. A viewers’ interpretation of an artwork can be drastically informed by its presentation - their first impression as they walk towards it, how their eyes are guided around it and move from one work to another. These considerations can become part of a works development, an artist making changes in order to manipulate the viewers’ experience.Stage three explores a range of ways in which curation can inform the development of ideas:Space as an Aesthetic PropertyMaking for DisplayPermeations on a ThemeClear Visual Access http://www.merlot.org/merlot/viewMaterial.htm?id=689870 Stage Two: Testing PossibilitiesThese films contain examples of tendencies and patterns in idea developed in art practice and explore developmental strategies. The following methods are interchangeable at any stage of development in two or three dimensions:Test Ideas in Practice:1.Define overarching aim 2.Work ideas through a variety of configurations: Juxtaposition Whole and Part Activity of Perception Expression and Representation Continuity Aims and Objectives Equivalents Between Material and Subject