Wheat has a long history of serving as an important food crop to mankind. Especially in the Northern Hemisphere, it has been appreciated as a major source of energy through its carbohydrates, and in more recent times for its supply of valuable proteins. This combination of carbohydrates and proteins gives wheat its unique properties for making breads of different kinds of tastes. During the course of history, the quality of wheat has improved stead ily, undoubtedly for a long time by accident, and for reasons little under stood. Over the last 150 years our knowledge has increased on farming and crop husbandry, on bringing about improvements through goal-oriented plant breeding, and on milling and baking technology, leading to the standards that we enjoy today. This process will certainly continue as our knowledge of the genetic reservoir of wheat species increases. The European Cereal Atlas Foundation (ECAF) maintains the aim of in creasing and disseminating knowledge about cereal crops. Within that scope ECAF has decided to publish a book on the history of bread wheat in Europe, the development of associated bread-making technology, and the breeding of bread wheats during the twentieth century. As ECAF is a Dutch foundation, its Board is particularly pleased to have found three Dutch scientists willing to contribute to this volume. Two of them have served wheat science in the Netherlands for their entire scientific careers, spanning a period starting around 1955 and lasting for several decades of very productive wheat science development.
Wheat has a long history of serving as an important food crop to mankind. Especially in the Northern Hemisphere, it has been appreciated as a major source of energy through its carbohydrates, and in more recent times for its supply of valuable proteins. This combination of carbohydrates and proteins gives wheat its unique properties for making breads of different kinds of tastes. During the course of history, the quality of wheat has improved stead ily, undoubtedly for a long time by accident, and for reasons little under stood. Over the last 150 years our knowledge has increased on farming and crop husbandry, on bringing about improvements through goal-oriented plant breeding, and on milling and baking technology, leading to the standards that we enjoy today. This process will certainly continue as our knowledge of the genetic reservoir of wheat species increases. The European Cereal Atlas Foundation (ECAF) maintains the aim of in creasing and disseminating knowledge about cereal crops. Within that scope ECAF has decided to publish a book on the history of bread wheat in Europe, the development of associated bread-making technology, and the breeding of bread wheats during the twentieth century. As ECAF is a Dutch foundation, its Board is particularly pleased to have found three Dutch scientists willing to contribute to this volume. Two of them have served wheat science in the Netherlands for their entire scientific careers, spanning a period starting around 1955 and lasting for several decades of very productive wheat science development.
A remarkable selection covering all aspects of Vincent van Gogh’s life and offering valuable new insights into the creative process behind his many famous works. This captivating collection of Vincent van Gogh’s letters opens a window into the mind of one of history’s greatest artists. Giving rare insight into his complicated relationships with family, friends, and other fellow artists, the letters describe his personal doubts, fears, and above all his overriding passion for his art. Introductions by the letters editors from the Van Gogh Museum highlight the most recent discoveries and theories surrounding Van Gogh’s work and personal history. Illustrated with original manuscript letters, sketches, paintings, and photographs of correspondents, this book brings Van Gogh’s story and work to life. Vincent van Gogh: A Life in Letters is a valuable personal introduction to the artist’s life and work, with illuminating commentaries by experts on the subject.
It is so good, after so many years of public indifference, even hostility towards Vincent and his work, to feel towards the end of my life that the battle is won.' JO VAN GOGH-BONGER TO GUSTAVE COQUIOT, 1922 'It is a sacrifice for the sake of Vincent's glory.' JO VAN GOGH-BONGER ON THE SALE OF 'THE SUNFLOWERS' TO THE NATIONAL GALLERY, UK, 1924 Little known but no less influential, Jo van Gogh-Bonger was sister-in-law of Vincent van Gogh, wife of his brother, Theo. When the brothers died soon after each other, she took charge of Van Gogh's artistic legacy and devoted the rest of her life to disseminating his work. Despite being widowed with a young son, Jo successfully navigated the male-dominated world of the art market-publishing Van Gogh's letters, organizing exhibitions in the Netherlands and throughout the world, and making strategic sales to private individuals and influential dealers-ultimately establishing Van Gogh's reputation as one of the finest artists of his generation. In doing so, she fundamentally changed how we view the relationship between the artist and his work. She also lived a rich and fascinating life-not only was she friends with eminent writers and artists, but she also was active within the Social Democratic Labour Party and closely involved in emerging women's movements. Using rich source material, including unseen diaries, documents and letters, Hans Luijten charts the multi-faceted life of this visionary woman with the drive to shake the art world to its core.
Combining an economic perspective with sociological and historic insights, this book investigates the separation of ‘popular’ and ‘serious’ art over a period of almost two centuries. As the boundaries between our perceptions of established art and popular become more porous, Abbing considers questions such as: Who benefitted from the separation? Why is exclusivity in the established arts so important? Did exclusivity lead to high cost, high subsidies and high prices? Were and are underprivileged groups excluded from art consumption and production? How did popular music become so successful in the second half of the twentieth century? Why does the art profession remain extraordinarily attractive for youngsters in spite of low incomes? The book also discusses the evolution of art in the twenty-first century, considering for example how the platform economy affects the arts, whether or not the established arts are joining the entertainment industry, and the current level of diversity in art. Written from the dual perspective of the author as an artist and social scientist, the book will be of interest for cultural economists and academics as well as artists and general readers interested in art.
This book gathers case studies presented at the International Conference on Responsible Research and Innovation in Science, Innovation and Society (RRI-SIS2017). It highlights European initiatives and projects in various domains and contexts, each of which explores how to create guidelines and good practices for Responsible Research and Innovation and how to promote them among citizens, industry stakeholders, policy and decision makers, research funders and educational institutions to foster their adoption as a potential benchmark in establishing RRI processes. Further, the book discusses gender and ethical issues, which are highly relevant for RRI initiatives in connection with representativeness, risks and in some cases, minority rights.
Is art for everybody? Why do art lovers attach so much value to authenticity, autonomy and authorship? Why did the arts become so serious in the first place? Why do many artists reject commerce and cultural entrepreneurship? Crucially, are any of the answers to these questions currently changing? Hans Abbing is uniquely placed to answer such questions, and, drawing on his experiences as an economist and sociologist as well as a professional artist, in this volume he addresses them head on. In order to investigate changes in the social economy of the arts, Abbing compares developments in the established arts with those in the popular arts and proceeds to outline key ways that the former can learn from the latter; by lowering the cost of production, fostering innovation, and becoming less exclusive. These assertions are contextualized with analysis of the separation between serious art and entertainment in the nineteenth century, lending credence to the idea that government-supported art worlds have promoted the exclusion of various social groups. Abbing outlines how this is presently changing and why, while the established arts have become less exclusive, they are not yet for everybody.
This reader is a collection of writings in Swedish by Hans Hedberg (1954?2016), a photographer, teacher, curator and mentor who played a pivotal part in the establishment of the postmodern perspective in photography in Sweden in the 1990s, as well as the development of artistic research practices. He worked at both Konstfack and Valand Academy and wrote a vast number of texts as critic, curator and lecturer. This is collection spans over twenty-five years of texts that were published in newspapers and journals, or in exhibition contexts.
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