Relevant bibliographies by topics / Harvard University. Department of Fine Arts

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  2. Dissertations / Theses
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  4. Book chapters
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Academic literature on the topic 'Harvard University. Department of Fine Arts'

Author: Grafiati
Published: 29 July 2024
Last updated: 31 July 2024

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Journal articles on the topic "Harvard University. Department of Fine Arts"

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Rosen, Alan. "Return from the vanishing point: a clinician's perspective on art and mental illness, and particularly schizophrenia." Epidemiologia e Psichiatria Sociale 16, no. 2 (June 2007): 126–32. http://dx.doi.org/10.1017/s1121189x00004747.

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SUMMARYAims - To examine earlier uses and abuses of artworks by individuals living with severe mental illnesses, and particularly schizophrenia by both the psychiatric and arts communities and prevailing stereotypes associated with such practices. Further, to explore alternative constructions of the artworks and roles of the artist with schizophrenia and other severe mental illnesses, which may be more consistent with amore contemporary recovery orientation, encompassing their potentials for empowerment, social inclusion as citizens and legitimacy of their cultural role in the community. Results - Earlier practices with regardto the artworks of captive patients of psychiatrists, psychotherapists, art therapists, occupational and diversional therapists, often emphasised diagnostic or interpretive purposes, or were used to gauge progress or exemplify particular syndromes. As artists and art historians began to take an interest in such artworks, they emphasised their expressive, communicative and aesthetic aspects, sometimes in relation to primitive art. These efforts to ascribe value to these works, while well-meaning, were sometimes patronising and vulnerable to perversion by totalitarian regimes, which portrayed them as degenerate art, often alongside the works of mainstream modernist artists. This has culminated in revelations that the most prominent European collection of psychiatric art still contains, and appears to have only started to acknowledge since these revelations, unattributed works by hospital patients who were exterminated in the so-called “euthanasia” program in the Nazi era. Conclusions - Terms like Psychiatric Art, Art Therapy, Art Brut and Outsider Art may be vulnerable to abuse and are a poor fit with the aspirations of artists living with severe mental illnesses, who are increasingly exercising their rights to live and work freely, without being captive, or having others controlling their lives, or mediating and interpreting their works. They sometimes do not mind living voluntarily marginal lives as artists, but they prefer to live as citizens, without being involuntarily marginalised by stigma. They also prefer to live with culturally valued roles which are recognised as legitimate in the community, where they are also more likely to heal and recover.Declaration of Interest: This paper was completed during a Visiting Fellowship, Department of Social Medicine, School of Public Health, & Department of Medical Anthropology, Faculty of Arts & Sciences, Harvard University, Cambridge, Mass, USA. A condensed version of this paper is published in “For Matthew & Others: Journeys with Schizophrenia”, Dysart, D, Fenner, F, Loxley, A, eds. Sydney, University of New South Wales Press in conjunction with Campbelltown Arts Centre & Joan Sutherland Performing Arts Centre, Penrith, 2006, to accompany with a large exhibition of the same name, with symposia & performances, atseveral public art galleries in Sydney & Melbourne, Australia. The author is also a printmaker, partly trained at Ruskin School, Oxford, Central St. Martin's School, London, and College of Fine Arts, University of New South Wales, Sydney.
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Bowen, Amanda. "Harvard’s Fine Arts Library: collections and services over 100 years." Art Libraries Journal 37, no. 1 (2012): 29–34. http://dx.doi.org/10.1017/s0307472200017314.

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The Fine Arts Library at Harvard University has served the needs of teaching faculty, art museum staff, art and architectural students, researchers and historians since the founding of the Fogg Art Museum in 1895. Library collections have been enhanced by gifts from faculty, museum publications received on exchange, and by the transfer of arts-related materials from other Harvard libraries. Although founded in the spirit of a museum library, the Fine Arts Library has increasingly developed its collections and services for a wide community of users in fields across the academic spectrum.
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Ardaman, F. Emel, Nesrin Dengiz, and O. Fikret Oguz. "ARCHITECTURAL EDUCATION IN MIMAR SINAN FINE ARTS UNIVERSITY IN GLOBALIZING TURKEY." Journal of Research in Architecture & Planning 07, no. 1 (December 30, 2008): 37–63. http://dx.doi.org/10.53700/jrap0712008_4.

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Due to the changing parameters of global economy and information technologies within the last two decades, both life and architecture are increasingly becoming multi-actored, more complex and instable.1 Accordingly, the need for redefinition of the profession has emerged. Global and continental economy based organisations, essentially enabling free movement of services internationally, gave rise to discussions on change and transformation processes in architectural discourse and education. The topics were professional practice, provision of services and the way they were applied, as well as improvement of profession in terms of the quality of life. International architectural organizations carried on discussions and published the consequent agreements and recommendations2 . This article aims at examining the reflections of these changes in the concepts of architectural education, within the frame of the international agreements and programmes, due to the EU membership process in particular, in the Department of Architecture, Faculty of Architecture, Mimar Sinan Fine Arts University - MSGSU, the oldest architecture school in Turkey. Although the processes of change have not been completed yet, in order to survey the perception of changes and the level of awareness, questionnaires were conducted with 100 architecture students and 40 academics of the Department of Architecture in MSGSU.
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Nathan, Linda F. "Joyful learning at scale: Immersing students in the arts." Phi Delta Kappan 101, no. 8 (April 27, 2020): 8–14. http://dx.doi.org/10.1177/0031721720923514.

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In their recent book In Search of Deeper Learning (Harvard University Press, 2019), scholars Jal Mehta and Sarah Fine argue that if high schools are to help adolescents flourish as individuals and members of a community, they must do more than teach them academic skills and content — they must also give them meaningful opportunities to study material that truly matters to them, to explore their own creativity, and to experience a growing sense of accomplishment. For examples, Mehta and Fine point to extracurricular activities such as theatrical productions and debate clubs. But, argues Linda Nathan, many arts-immersed high schools have a long track record of bringing such powerful experiences to the center of the curriculum, balancing the arts and academics in ways that engage young people every day in rigorous, joyful learning.
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Moniz, Gonçalo Canto. "“Training the Architect”: Modern Architectural Education Experiences." For an Architect’s Training, no. 49 (2013): 10–15. http://dx.doi.org/10.52200/49.a.dzz54xnf.

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In 1937, Walter Gropius wrote “Training the Architect” for his presentation as Chairman of the Department of Architecture of Harvard University. It reinvented his experience in the Bauhaus, between 1919 and 1928, and became the pedagogical program for the new Modern paradigm of an architectural education. At that moment, the Beaux–Arts system was being revaluated and the American schools of architecture intended to approach the university through a scientific and technological curriculum.
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Kalina, Anna. "From the Experience the Scientific Library N.I. Lobachevsky of the Kazan Federal University and the State Museum of Fine Arts of the Republic of Tatarstan Cooperation: Joint Projects With the Department of Old Russian Art." Russian Digital Libraries Journal 23, no. 5 (August 23, 2020): 914–22. http://dx.doi.org/10.26907/1562-5419-2020-23-5-914-922.

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The article describes the exhibitions prepared by the Department of Old Russian Art of the State Museum of Fine Arts of the Republic of Tatarstan together with the Department of Manuscripts and Rare Books of the Scientific Library N.I. Lobachevsky of the Kazan Federal University in the period from 2013 to 2016. These projects reflect only a small part of the joint work of the State Museum of Fine Arts of the Republic of Tatarstan with the Department of Manuscripts and Rare Books of the Scientific Library N.I. Lobachevsky, all of them became significant events in cultural life of the city and the republic.
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Kabataş, Mustafa. "How Do Kastamonu University Education Faculty Fine Arts Education Department Music Education Department Students Use Their Smartphones?" World Journal of Education 11, no. 1 (February 20, 2021): 1. http://dx.doi.org/10.5430/wje.v11n1p1.

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This work; Kastamonu University, Department of Fine Arts Education Faculty of Education was made to students in the Music Department in Turkey. The study is a descriptive field study and it was conducted with a questionnaire model. The study group of this study consists of all students of Kastamonu University Education Faculty Music Education Department. The aim of this study is to get an idea about the use of smart phones by music department students. In the study, a review was made of how music students use their smartphones. The questionnaire method was used to answer questions such as what kind of applications they use on smartphones and how much they benefit from the applications they use professionally. Research questions were asked which applications are the most popular for personal and school use, which applications are satisfied and which applications they are not satisfied with. The data obtained were presented in the form of a table and interpreted. It was concluded that the students used certain programs on their smartphones beneficial for their field education. The study is important because it contributes to researchers, field experts and similar studies.
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Gao, Yun. "Study of the Course Resources of Fine Arts Education of University." Advanced Materials Research 433-440 (January 2012): 5415–19. http://dx.doi.org/10.4028/www.scientific.net/amr.433-440.5415.

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As the issuing and implementation of “the outline about curriculum reform of elementary education (trial rule, 2001)”, 18 sets of Course Standards and newly edited textbooks with all types and all courses are experimented on the trial plots for Chinese Basic Education. What normal universities should do to response the curriculum reform with the heaviest efforts and widest area since the establishment of the nation? Normal universities is responsible for professional training, the unique characteristics of aesthetics curriculum resources take natural advantage of promoting the development of new courses. The thesis analyzes the curriculum resource status in Arts department, puts up simply the tactics on the development and use of curriculum resources on campus and off campus, and hope that crude remarks may draw forth by abler people.
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Authors and Artists, Multiple. "Soft Walls." ti< 10, no. 1 (May 22, 2021): 2–8. http://dx.doi.org/10.26522/ti.v10i1.2748.

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Catalogue of art exhibition Soft Walls at City Hall, St. Catharines, Ontario. Artists and authors from the Centre for Studies in Arts and Culture (STAC) and the Department of Visual Arts (VISA), Marilyn I. Walker School of Fine and Performing Arts, Brock University.
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Alvarez, Pablo. "Introducing Rare Books into the Undergraduate Curriculum." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 7, no. 2 (September 1, 2006): 94–104. http://dx.doi.org/10.5860/rbm.7.2.263.

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A relatively recent exchange on the Exlibris listserv inspired me to write this paper.1 Julia Walworth, Fellow Librarian at Merton College, University of Oxford, asked about other librarians’ experiences in introducing special collections—and rare books in particular—to undergraduate students.2 In a nostalgic note, several members of the list responded to Dr. Walworth's inquiry by referring to a course entitled “Fine Arts 5e” that was taught from 1915 through 1932 by George Parker Winship in the Widener Library at Harvard University.3 Other responses were more pragmatic in nature, addressing the needs of today's undergraduates. Lori N. Curtis, then Head . . .
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Dissertations / Theses on the topic "Harvard University. Department of Fine Arts"

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Senate, University of Arizona Faculty. "Faculty Senate Minutes August 28, 2017." University of Arizona Faculty Senate (Tucson, AZ), 2017. http://hdl.handle.net/10150/625785.

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HSU, CHIA-AN, and 許佳安. "Research on the Curriculum Model for cultivating curation – Case Study on “Curating & Gallery Education” at the Graduate Program in the Department of Fine Arts of Tunghai University." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/6tzg69.

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碩士
東海大學
美術學系
107
Corporations nowadays all stress on integration both in talents or between disciplinaries. The same goes in the industry of art. As the demand side changes, so shall the mechanism for incubation as well. Degrees pertaining to the administration and management of arts in Taiwan also have undergone transformation in recent years, developing various curriculums on art curating as well as creating spaces for practices close to the venues out there in terms of instructional strategy. Nevertheless, studies related to art curating at present are primarily those on special exhibitions or of curating plans, falling short in the investigation into its education development and methodology. Hence, the purpose of this paper aims to shed light on the curriculums of art curating provided at the graduate schools in Taiwan. The case of “Curating & Gallery Education” course from the Graduate Program in the Department of Fine Arts of Tunghai University was taken as an example in the study. Through qualitative study approach and with interview and content analysis for data collection, together with the perspectives of “Learning Organization” and “Professional Growth”, the paper probes into the development process and the operation model of this instructional strategy as well as its influence on students’ professional growth and the meaning to the art curating education at the graduate program in the Department of Fine Arts of Tunghai University. The study draws three conclusions as follows : 1. The overall planning of “Curating & Gallery Education” is a variable structure of principle. In terms of instructional strategy and operation model, active learning for individuals and learning together for groups are highlighted as students inspire and exchange with each other, demonstrating traits of a learning organization. 2. In terms of professional knowledge development, students taking the course ““Curating & Gallery Education” gain the opportunity to re-think on art curating regarding the knowledge of process and methods of exhibition execution, time management, as well as the abilities of observation and communication. Also, students went through the transformations in self-awareness, self-breakthrough, self-strengthening, and value-building on the regard of professional attitude. 3. On the meaning of “Curating & Gallery Education” to the art curating education at the Graduate Program in the Department of Fine Arts of Tunghai University, what it creates is not just a process of receiving knowledge passively, but an environment that encourages students to pro-actively investigate, while facilitating in career inquiry and rapidly connecting to the workplace for students.
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Books on the topic "Harvard University. Department of Fine Arts"

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Mass.). University Prints (Winchester. A Special study set of fine art reproductions: Harvard VES 163, Modern architecture. Winchester, Mass: University prints, 1985.

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Mass.). University Prints (Winchester. A Special study set of fine art reproductions: Harvard VES 169, twentieth century architecture. Winchester, Mass: University prints, 1985.

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Julia, Boffey, Edwards, A. S. G. 1942-, and University of Colorado, Boulder. Dept. of Fine Arts., eds. Medieval manuscripts: In the Norlin Library & the Department of Fine Arts at the University of Colorado at Boulder : a summary catalogue. Fairview, N.C: Pegasus Press, 2002.

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Harvard University. Library. Department of Printing and Graphic Arts. Spanish and Portuguese 16th century books in the Department of Printing and Graphic Arts: A description of an exhibition and a bibliographical catalogue of the collection. Cambridge, Mass: Houghton Library, Harvard College Library, 1985.

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Hall, Rachel. Iconographic index to New Testament subjects represented in photographs and slides of paintings in the visual collections, Fine Arts Library, Harvard University: Christian devotional paintings of the Italian school. New York: Routledge, 2020.

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Harvard University. Fine Arts Library., ed. Iconographic index to Old Testament subjects represented in photographs and slides of paintings in the visual collections, Fine Arts Library, Harvard University. New York: Garland Pub., 1987.

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1905-, Hall Rachel, and Harvard University. Fine Arts Library., eds. Iconographic index to New Testament subjects represented in photographs and slides of paintings in the visual collections, Fine Arts Library, Harvard University. New York: Garland Pub., 1992.

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University of Florida. University Gallery., ed. Southern fires: Ceramic sculpture in Florida : November 5-December 12, 1993, University Gallery, Department of Art, College of Fine Arts, University of Florida, Gainesville, Florida. Gainesville, FL: The Gallery, 1993.

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Harvard College Library. Department of Printing and Graphic Arts. Philip Hofer as a collector: A symposium in conjunction with the exhibition of the Philip Hofer bequest to the Department of Printing and Graphic Arts : the Houghton Library, Harvard University, 10 November 1988. [Cambridge. Mass.]: Houghton Library, 1988.

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Museum, Arthur M. Sackler, and Montreal Museum of Fine Arts., eds. Landscape in perspective: Drawings by Rembrandt and his contemporaries : Arthur M. Sackler Museum, Harvard University, Cambridge, February 20-April 3, 1988, the Montreal Museum of Fine Arts, April 15-May 29, 1988. Montreal, Quebec, Canada: Montreal Museum of Fine Arts, 1988.

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Book chapters on the topic "Harvard University. Department of Fine Arts"

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Nathiya, P., and A. Alagu. "User Awareness and Use of OPAC by Female Students of Faculty of Arts, Alagappa University." In Advances in Library and Information Science, 103–23. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-2201-1.ch007.

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OPAC in present scenario provides a standard measure and insight into Alagappa University students. The objectives of the chapter are to discuss the searching options and the presentation of results along with various parameters. The frequencies of using the respondents in Online Public Access Catalogue used in the female students of Faculty of Arts in Alagappa University, Department of Tamil are 27(10.63%); Centre for Tamil Culture, 28 (11.02%); Dept. of Fine Arts, 29(11.42%), Department of English and Foreign Language 27(10.63%), Dept. of women studies 28; Department of Social Work, 29 (11.42%); Department of Economics and Rural Development, 29 (11.42%); Department of History, 28 (11.02%); Dept. of Library and Information Science, 29 (11.42%). The advanced facilities provided by these universities are also discussed.
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Chotpradit, Thanavi. "Yimsiri, Khien (1922–1971)." In Routledge Encyclopedia of Modernism. London: Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem2073-1.

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Khien Yimsiri was a pioneer of modern Thai sculpture and an influential teacher of sculpture at Silpakorn University, Bangkok. Born in Bangkok, he graduated from Rongrian Praneetsilapakam (School of Fine Arts, now Silpakorn University) in 1941. In his early career, he won prestigious awards at the National Exhibition of Art and received scholarships to study abroad. In 1949, Yimsiri studied under the guidance of Henry Moore at Chelsea College of Art and Design in London. He was also exposed to European modern art during his scholarship at the Academy of Fine Arts of Rome from 1953 to 1954. The revival of traditionalism in Thailand during 1940s and as well as Yimsiri’s work at the Fine Art Department provided him with the chance to explore Thai cultural heritage. Buddha Statues, spiritual dolls, terracotta toys and votive tablets from the Sukhothai era (1238–1438) became sources of inspiration for him, in addition to Western semi-abstract sculptures.
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Der Manuelian, Peter. "Devastation and Realignment: The Birth of the HU–MFA Expedition." In Walking Among Pharaohs, 136–64. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197628935.003.0008.

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Abstract In 1905 Phoebe Hearst terminated her financial support of the Hearst Expedition. Even a visit to Giza in 1905, and the discovery of the famous “slab stela” of Wepemnefret just after she left, did not alter her decision. This prompted the creation of the Harvard University–Boston Museum of Fine Arts Expedition (1905–47), as the result of hard-won negotiations during the summer of 1905 among Harvard, the Museum of Fine Arts in Boston, Reisner, Lythgoe, and David Gordon Lyon. The formal agreement stipulated that art objects should go to the MFA, while archives and publication rights belonged to Harvard, but all for the duration of just one year (1905–6). Reisner also explored the chances of leading a Harvard expedition to Palestine, supported by David Gordon Lyon’s donor Jacob Schiff.
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Der Manuelian, Peter. "Go East, Young Man." In Walking Among Pharaohs, 22—C2.P57. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197628935.003.0003.

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Abstract This chapter covers Reisner’s undergraduate years at Harvard University and introduces the reader to the early history of the Museum of Fine Arts, Boston. It describes his mentor, Professor David Gordon Lyon, the country’s first Assyriology professor, then chronicles his year spent back home in Indianapolis after graduation. After working in a law firm, coaching the Purdue football team, and earning money canvassing neighborhoods for the census, Reisner returned to Harvard for his MA (1891) and PhD (1893) in Semitic languages. He marries Mary Putnam Bronson in Indianapolis, finishes up his studies at Harvard, and then the couple heads to Germany for three years on a Harvard fellowship.
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"7 Harvard University–Boston Museum of Fine Arts Expedition Contributions to Old Kingdom History at Giza: Some Rights and Wrongs." In Towards a New History for the Egyptian Old Kingdom, 315–36. BRILL, 2015. http://dx.doi.org/10.1163/9789004301894_008.

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Hargittai, István. "Overcoming adversity." In The Road to Stockholm, 103–16. Oxford University PressOxford, 2002. http://dx.doi.org/10.1093/oso/9780198509127.003.0005.

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Abstract In American academia, an ideal career starts with having an academic or professional family, being educated in a fine liberal arts college, doing graduate studies at Harvard, Stanford, Princeton, or suchlike, and then doing postdoctoral work at a similar institution. This helps to build up a network and self-confidence. Then there is a job at a top research university with a large start-up package, followed by major grants. In other countries there are corresponding paths, but this kind of background is not typical among the sampled Nobel laureates.
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Stebbins, Theodore E. "The Art Expert, the Law, and Real Life." In The Expert versus the object, 135–42. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195147353.003.0014.

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Abstract Theodore Stebbins, Jr., formerly John Moors Cabot curator of American Paintings at the Museum of Fine Arts, Boston, is presently curator of American Art at the Harvard University Art Museums. He is the author of more than twenty-five studies of American painting and photography, including works on John Singleton Copley, Martin Johnson Heade, and Charles Sheeler. As a third-year student at Harvard Law School in 1963 –64,I wrote a paper dealing with the circumstances under which art experts might be sued for offering opinions about the authenticity or quality of works of art. The paper proved a success; it came to be regarded as authoritative, and was published and republished through the years.1 However, its greater impact was on my own life. In researching the paper I interviewed a number of leading art historians, including Lloyd Goodrich, then director of the Whitney Museum of American Art in New York, and Professor Jakob Rosenberg, a greatly admired teacher and curator at Harvard University. Coming to know the art world through such people, and having taken— as part of my legal research— Professor Rosenberg’s course on the connoisseurship of European drawings, I gave up law and turned to the study of art history, eventually becoming a specialist in American paintings from the eighteenth to the twentieth century.
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Schryer, Stephen. "Conservatism’s Popular Fictions." In National Review's Literary Network, 151–78. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780198886204.003.0006.

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Abstract Chapter 5 explores fiction written by movement conservatism’s two most influential figureheads: Russell Kirk and William F. Buckley, Jr. Kirk, the author of The Conservative Mind (1952), was the preeminent Burkean traditionalist of the post–World War II era. Historians often juxtapose him and Buckley, seeing Kirk as embodying a more humane version of conservatism, attuned to literature and the fine arts, and eschewing the free-market economics championed by National Review. Kirk and Buckley’s fiction, however, complicates this picture. Both wrote didactic popular literature for a conservative audience; Kirk wrote Christian horror stories, while Buckley is famous for his bestselling Blackford Oakes spy novels. These fictions are linked by their middlebrow aesthetic and by their attempts to imagine academic counter-circuits that might bypass the liberal-dominated university. This chapter focuses on a late-career novel by each writer: Kirk’s Lord of the Hollow Dark (1979) and Buckley’s Last Call for Blackford Oakes (2005). Kirk’s novel features a Satanic book club whose diabolical misinterpretations of T. S. Eliot mirror the reading practices of post-1960s literary criticism. Buckley’s novel presents the CIA as an alternative to the English Department: a place where advanced forms of literary expertise might thrive, pursued by tradition-minded defenders of the West.
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Der Manuelian, Peter. "Back to the Classroom." In Walking Among Pharaohs, 246–73. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197628935.003.0011.

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Abstract Reisner taught for two semesters at Harvard, developing the sequence of courses he would offer in various configurations for the rest of his semesters back in Cambridge. His most prominent student was Dows Dunham, who later joined the expedition and succeeded Reisner as curator at the Museum of Fine Arts, Boston. As curator of the MFA’s Egyptian Department, Reisner installed many of the objects he discovered, and announced his assignation of the Sphinx to the pharaoh Khafre. The news was misinterpreted by the press in all sorts of fantastical ways. Reisner also delivered Harvard’s prestigious Ingersoll Lecture on conceptions of immortality, and his classes touched on the thorny issue of ancient races. Sir Henry Wellcome turned to Reisner for advice in excavating the site of Gebel Moya in the Sudan, and Reisner lent him several of his workmen. There were visits to Indianapolis and Berkeley, and an encounter set up by MFA benefactor Gardiner Martin Lane with Henry Clay Frick resulted in Reisner taking the Frick family up the Nile on a tour. Back at Giza, Frick offered to pay for removing the newly discovered (by Fisher) tomb of Akh-meret-nisut to the MFA in Boston. After a performance of “Aida” at Giza, the Titanic disaster hit close to home for some in Reisner’s milieu.
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Sheretiuk, R. M. "PARTICIPATION OF ART STUDENTS IN CREATIVE COMPETITIONS AND PROJECTS AS A TOOL FOR DEVELOPING SOFT SKILLS (ON THE EXAMPLE OF THE EXPERIENCE OF THE DEPARTMENT OF FINE AND DECORATIVE ARTS OF RIVNE STATE UNIVERSITY OF THE HUMANITIES)." In MODERN ART EDUCATION: THEORETICAL-PRACTICAL DISCOURSE, 358–72. Izdevnieciba “Baltija Publishing”, 2023. http://dx.doi.org/10.30525/978-9934-26-301-9-16.

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Conference papers on the topic "Harvard University. Department of Fine Arts"

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Mirwa, Tety, Sugito Sugito, Nelson Tarigan, and Khaerul Saleh. "Visual Characteristics Of Monuments Statue And Monuments In Medan City As Enrichment Of Teaching Materials Sculpture In Fine Arts Department At State University Of Medan." In Proceedings of the 4th International Conference on Innovation in Education, Science and Culture, ICIESC 2022, 11 October 2022, Medan, Indonesia. EAI, 2022. http://dx.doi.org/10.4108/eai.11-10-2022.2325519.

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Rode, Lisa, Blaz Šeme, and Janja Slabe. "ASSESSMENT OF CHROMATIC REINTEGRATION TECHNIQUES AND MATERIALS WITH SIMULATIONS ON MOCK-UPS: THE EXAMPLE OF A POLYCHROME GLAZED CERAMIC PITCHER FROM THE COLLECTION OF THE NATIONAL MUSEUM OF SLOVENIA." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. València: Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13538.

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The glazed ceramic pitcher no. N11519 from the National Museum of Slovenia collection presents empirical research and approaches to conserving damaged paintings by testing conservation materials and various reintegration techniques. Studies of specific pigmented retouching paints describe the retouching practice of glaze-like retouching paints. They have been a part of the diploma thesis entitled Ways of reintegration the missing polychrome painting on ceramic pitcher at the Academy of Fine Arts and Design, University of Ljubljana, majoring in Conservation and Restoration of Fine Arts. The reintegration assessment intends to present multilayered paint effects on chromatic reintegration of a large area of reconstructed painting on a ceramic pitcher. A silicone mold was made in the selected area of an extensive paint loss for reintegration samples, from which gypsum casting mock-ups were formed. The practical determination of the chromatic reintegration was to simulate the stratigraphy of the paint layer and the in-glaze method of decorating the pitcher: a white underglaze over which a polychrome painting with overglaze was applied. The practical goal was to get close to the original painting's color, structure, and texture with differing application modes in lines, dots, liquid strokes, and surface smoothing. The chromatic reintegration tests of a glaze painting were perceived with varied and comminated approaches to applying retouching paint media to gypsum mock-ups. This can be achieved by meticulous scrutiny to review and evaluation a medium in the appropriate solvent. The mock-up assessments showed that the most suitable for the glazed pitcher is chromatic reintegration with dotted hatched, using the retouching colors with urea-aldehyde resin Laropal® A 81. The researched methods and the technique of chromatic reintegration on a ceramic pitcher were presented in the exhibition In Good Hands: 60 Years of the Department of Conservation and Restoration of the National Museum of Slovenia
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3

Košak, Karin, Deja Muck, Marjeta Čuk, and Tanja Nuša Kočevar. "3D printed jewellery design process based on sculpture inspiration." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p57.

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In the article we present the educational process in which design students were guided through their design process, creating 3D printed jewellery inspired by the Forma Viva sculptures of the outdoor gallery Kostanjevica na Krki. The assignment was part of the international project Cumulus Re/Forma Viva, whose main goal was to implement digitization using 3D technology in the field of education for the preservation of cultural heritage. The task given to the 1st year masters students of Fashion and Textile Design at the Department of Textiles, Graphic arts and Design at the University of Ljubljana was to select a wooden sculpture and transform the visual and conceptual idea into a 3D printed jewellery collection. The curriculum of the course includes teaching the theoretical basics of 3D printing, 3D print design – fashion accessories and new production, business and marketing models as "disruptive" changes that result from this. In the practical part, students will learn the advanced design process of fashion accessory objects, including 3D technologies such as 3D modelling and 3D printing. Students are guided through a process in which selected visual and conceptual content is translated into fine jewellery that can be created using various 3D printing technologies. In this way, students tested themselves in two new areas that allowed them to expand their design knowledge and experience in 3D modelling and jewellery design with the goal of better "arming" themselves with the latest technologies for today's competitive world.
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4

Turaga, Vasanta Sobha. "Fading urban memories: status of conservation of historic Samsthan/Zamindari Palaces in Small and medium town master plans in Telangana, India." In Post-Oil City Planning for Urban Green Deals Virtual Congress. ISOCARP, 2020. http://dx.doi.org/10.47472/wzuc7012.

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‘Public memores’ are an imporant aspect in preserving a place’s culture and heritage. Actions of the government and society many times define/redefine identities of places, impacting collective memory of people in perceiving places. Conscious efforts are required to make and keep public memories alive. Insensitive and uninformed Urban Planning can lead to erasing history and heritage not just physically but from public memories as well. This Paper discusses the issues of Fading Urban Memories by taking case studies of two historic towns in the South Indian State of Telangana. Most of the Small & Medium Towns in Telangana, India, developed over the last two centuries from their historic core areas of the Capitals of erstwhile Samsthans/Zamindaris, land revenue admistration units/sub-regional authorities under the British and the Princely States’ Rulesin India till Independence in 1947. These Samsthans/Zamindars/ Jagirdars were ‘Chieftains’ of their own territories and ruled from ‘Palaces’ located in their Capital city/town. The palaces and historic areas of old Samsthan/Zamindari settlements represent local histories whose significance, memory, heritage needs to be preserved for posterity. Gadwa and Wanaparthy were two such towns, which developed mid-17 Century onwards becoming present day Municipalities of different Grades. The Department of Town and Country Planning, Govt. Of Telangana, prepares Master Plans for development of Municipalities. The surviving Fort/Palaces is marked by their present land use in the development plans, unrecognized for thier heritage status, thus posing threat to heritage being erased from collective Urban memory. The case studies presented in this paper are from the ongoing doctoral research work being done by the author at School of Planning and Architecture, Jawaharlal Nehru Architecture and Fine Arts University, Hyderabad, on the topic of ‘Planning for Conservation of Samshtan/Zamindari Palaces of Telangana and Andhra Pradesh’.
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