Careers Dealing With Children


  • A son or daughter of any age
  • An immature or irresponsible person
  • (child) a human offspring (son or daughter) of any age; “they had three children”; “they were able to send their kids to college”
  • (child) a young person of either sex; “she writes books for children”; “they’re just kids”; “`tiddler’ is a British term for youngster”
  • A young human being below the age of full physical development or below the legal age of majority
  • (child) an immature childish person; “he remained a child in practical matters as long as he lived”; “stop being a baby!”


  • An occupation undertaken for a significant period of a person’s life and with opportunities for progress
  • (career) move headlong at high speed; “The cars careered down the road”; “The mob careered through the streets”
  • The time spent by a person in such an occupation or profession
  • The progress through history of an institution or organization
  • (career) the particular occupation for which you are trained
  • (career) the general progression of your working or professional life; “the general had had a distinguished career”; “he had a long career in the law”


  • A business relation or transaction
  • A personal connection or association with someone
  • The activity of buying and selling a particular commodity
  • transaction: the act of transacting within or between groups (as carrying on commercial activities); “no transactions are possible without him”; “he has always been honest is his dealings with me”
  • (dealings) social or verbal interchange (usually followed by `with’)
  • method or manner of conduct in relation to others; “honest dealing”

careers dealing with children

careers dealing with children – Smart Moves:

Smart Moves: How to Succeed in School, Sports, Career, and Life
Smart Moves: How to Succeed in School, Sports, Career, and Life
How can young people enrich their lives, become more effective, and enlarge their personal power? As with adults, it’s a matter of “smart moves”. “Smart Moves”, by Dick Devenzio, shows young people how to confront any circumstance, achieve any goal, and deal with any setback, by cultivating an attitude that mixes youthful optimism with tough realism. There is no preaching or false “hip” tone in the book. The writing is clear and the message is practical, addressing the basic concerns of young people – from effective studying to getting along better with others to mastering a winning attitude about dieting or sports. Success, advises DeVenzio, is a highly personal matter.Addressing the youthful reader in the first chapter, he writes: ‘You may worry that a so-called motivator will try to get you to do things your parents or teachers want you to do. Please let me shatter that concept from the start. My reason for writing this book is to help you unlock your own personal power for whatever you want to do. Dropping out or rebelling is fine – as long as it is done energetically. But don’t waste your life putting in listless time, just getting by’.

Vuillard, Edouard (1868-1940) – 1891c. Child Wearing a Red Scarf (National Gallery of Art, Washington, DC)

Vuillard, Edouard (1868-1940) - 1891c. Child Wearing a Red Scarf (National Gallery of Art, Washington, DC)
Oil on cardboard; 29.2 x 17.5 cm.

Vuillard studied art from 1886 to 1888 at the Academie Julian and the Ecole des Beaux-Arts in Paris. In 1889 he joined a group of art students that included Maurice Denis, Pierre Bonnard, Paul Serusier, Ker-Xavier Roussel, and Felix Vallotton. They called themselves the Nabis (Hebrew for “Prophets”), and they drew their inspiration from the Synthetist paintings of Paul Gauguin’s Pont-Aven period. Like Gauguin, the Nabis advocated a symbolic, rather than a naturalistic, approach to color, and they usually applied their paint in ways that emphasized the flat surface of the canvas. Their admiration of Japanese woodcuts, which were then in vogue in Europe, inspired them to use simplified shapes and strong contours. Many of his works deal with domestic and dressmaking scenes set in his mother’s bourgeois home. In the paintings and prints of his Nabi period, he often created flattened space by filling his compositions with the contrasting rich patterns of wallpaper and women’s dresses. Because of their focus on intimate interior scenes, both Vuillard and Bonnard were also called Intimists.

In addition to painting, Vuillard, like most of the other Nabis, was involved in book illustration, poster design, and designs for the theatre. In 1893 Vuillard helped found Aurelien Lugne-Poe’s Theatre de l’Oeuvre, which produced Symbolist plays. Vuillard designed stage sets and illustrated programs. In 1899 the Nabis exhibited together for the last time. That year Vuillard began to paint in a more naturalistic style. He also executed two series of masterful lithographs that reveal his great debt to Japanese woodcuts. Vuillard continued to receive numerous commissions to paint portraits and decorative works for private patrons as well as for public buildings. His public paintings included the decorations in the foyer of the Theatre des Champs-Elysees (1913) and murals in the Palais de Chaillot (1937) and in the League of Nations in Geneva (1939).

Vuillard retained an Intimist sensibility for his entire career; even when painting portraits and landscapes, he instilled his compositions with a sense of quiet domesticity. In the early 20th century, when European art was influenced by the development of avant-garde styles such as Cubism and Futurism, many critics and artists viewed Vuillard as conservative. Paintings from his Nabi period received the most popular and critical approval, with critics often dismissing his later work. However, in the late 20th century, historians and critics began to devote more attention to Vuillard’s achievements as a decorative painter and designer.

Denis, Maurice (1870-1943) – 1919 Around a Child with Dog (Private Collection)

Denis, Maurice (1870-1943) - 1919 Around a Child with Dog (Private Collection)
Oil on canvas; 49.3 x 35.3 cm.

French painter, designer, lithographer, illustrator, and writer on art theory. Early in his career he was a Symbolist and a member of the Nabis. He was the chief theorist of the group and one of his articles, ‘Definition of Neo-Traditionalism’ (1890), contains a pronouncement that has become famous as an anticipation of the underlying principle of much modern—especially abstract—art: ‘Remember that a picture—before being a war horse or a nude woman or an anecdote—is essentially a flat surface covered with colors assembled in a certain order.’ Denis’s early work, strongly influenced by Gauguin, did indeed place great emphasis on flat patterning, but he did not intend to encourage non-representational art, for he was also very much concerned with subject matter; he was a devout Catholic and wanted to bring about a revival of religious painting.

Many of his easel paintings have religious subjects, and in 1899 he carried out his first large-scale religious commission—a mural in the Chapelle de la Sainte-Croix at Vesinet. Numerous others followed, and in 1919 he founded the Ateliers d’Art Sacre with Georges Desvallieres (1861–1950) to provide church decorations of various kinds, including mosaics and stained glass. Typically Denis’s style in his religious work was tender and mild, with pale colors and relaxed lines. He also did a good deal of secular decoration, but his most famous work is probably Homage to Cezanne (1900, Mus. d’Orsay, Paris) showing Denis himself and a number of Cezanne’s other admirers, including Bonnard, Redon, Serusier, and Vuillard, gathered round a still-life by the master. His best paintings were done early in his career; after about 1900 they became more classical in style (influenced by visits to Italy) and increasingly bland. From 1914 Denis lived in a 17th-century building in Saint-Germain-en-Laye; it has been attractively converted into the Musee du Prieure, housing a fine collection of works by him and his associates.

careers dealing with children

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