Jane Munro

  • En bois ou en cire, les mannequins articulés ont été, dès le XVIe siècle, particulièrement appréciés des peintres européens. Ils leur permettaient en effet d'étudier à loisir les proportions anatomiques de leur sujet ou le rendu des drapés et des vêtements. Au XIXe siècle, toutefois, le mannequin sort progressivement de l'atelier pour devenir un sujet à part entière ; d'abord traité sur le mode de l'humour, il apparaît vite comme une figure psychologiquement troublante, réaliste mais artificielle, ressemblante mais inanimée.
    Mannequin d'artiste, mannequin fétiche retrace cette évolution et replace le mannequin parmi les nombreux substituts de la figure humaine - poupées, automates, figures de cire, mannequins de vitrine. A partir du milieu du XIXe siècle, ce compagnon muet en vient à occuper une place de plus en plus importante dans le paysage urbain comme dans la création artistique. Artistes, écrivains, photographes et cinéastes n'ont cesse de jouer avec son étrange pouvoir de suggestion et de séduction.

  • Le toucher est notre sens premier. Avec celui-ci, nous revendiquons ce que nous possédons et ceux que nous aimons, nous exprimons notre foi, notre croyance, notre colère. Le toucher nous permet de laisser notre marque et de trouver notre place dans le monde. Le toucher est un moyen de connexion.
    Puisant son inspiration des travaux artistiques s'étendant sur 4000 ans et couvrant le monde entier, The Human Touch est un voyage à travers l'anatomie du toucher, sa force créative et son pouvoir émotionnel.

  • In the eighteenth century the tradition of open-air painting was based in Italy, Rome in particular. Artists came from all over Europe to study classical sculpture and architecture, as well as masterpieces of Renaissance and Baroque art. During their studies, groups of young painters visited the Italian countryside, training their eyes and their hands to transcribe the effects of light on a range of natural features. The practice became an essential aspect of art education, and spread throughout Europe in the nineteenth century. This exhibition focuses on the artists' wish to convey the immediacy of nature observed at first hand.

  • Evidence based practice is now widely accepted as a fundamental tenet of midwifery. The importance of evidence in defining midwifery policy and practice in the UK health system, and others, is acknowledged and enduring. While the development and evaluation of research in midwifery is well charted, the question of how such evidence is incorporated into practice has, to date, received less attention and discussion in the midwifery profession. Answering this need, Evidence Based Midwifery focuses on the dissemination and use of evidence for midwifery practice, and explores midwives' experiences in using the evidence base to inform policy and enhance clinical practice. Written by a highly-regarded and diverse group from the UK and international midwifery community, Evidence Based Midwifery addresses issues of relevance to all midwives whether clinical practitioners or educators, students or supervisors, researchers or managers. Issues that influence evidence based midwifery are discussed, and topics covered include problem based learning, implementation of evidence based guidelines and the involvement of service users. Edited by founder members of the Evidence Based Midwifery Network International collaboration with contributions from the UK, Greece, Canada and the Netherlands Primary focus on the incorporation of evidence into midwifery practice Real-life examples throughout

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