Journal articles on the topic 'Minneapolis Society of Fine Arts'
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1
Flynn, Tom. "Gilbert Bayes at the Fine Art Society." Sculpture Journal: Volume 3, Issue 1 3, no. 1 (January 1, 1999): 109–13. http://dx.doi.org/10.3828/sj.1999.3.1.12.
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Chistov, P. D. "Topical issues of teaching fine arts." Science and School, no. 2 (April 28, 2023): 144–53. http://dx.doi.org/10.31862/1819-463x-2023-2-144-153.
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The development of methods of teaching fine arts is based on the general aspects of humanity’s relationship to art, the value of art in modern conditions, new information, computer, visual and other technologies. The development of information technologies is global in nature and is changing the society. Changes become an innovation, and at the same time, questions arise about the preservation of traditional teaching as a special sphere of public consciousness, which can be considered at the level of the philosophy of art. The article outlines the main problems of modern art pedagogy associated with these processes. The analysis of the problems will make it possible to update and correct both the methods and technologies of artistic activity themselves, as well as the accompanying educational and methodological materials
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Young, Damon A. "The Fine Arts of Distinction: Bourdieu on Society and Art." Australian and New Zealand Journal of Art 7, no. 2 (January 2006): 23–44. http://dx.doi.org/10.1080/14434318.2006.11432773.
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Piątkowska, Renata. "Artystki i miłośniczki sztuki – kobiety w żydowskim życiu artystycznym międzywojennej Warszawy. W kręgu Żydowskiego Towarzystwa Krzewienia Sztuk Pięknych." Studia Judaica, no. 1 (47) (2021): 175–211. http://dx.doi.org/10.4467/24500100stj.21.007.14609.
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Artists and Art Lovers: Women in the Jewish Artistic Life of Interwar Warsaw. In the Circle of The Jewish Society for the Encouragement of Fine Arts Research on Jewish artistic life in interwar Warsaw, especially in the context of the activities of the Jewish Society for the Encouragement of Fine Arts (Żydowskie Towarzystwo Krzewienia Sztuk Pięknych), reveals active and numerousparticipation of women, both artists and art lovers (by and large a group of professionals, bourgeois, political and social activists, Jewish art collectors). In the article, special attention is paid to Tea Arciszewska and Diana Eigerowa, a collector and philanthropist, the founder of the Samuel Hirszenberg scholarship for students of the Academy of Fine Arts in Warsaw. The author, using selected examples, discusses the role of artists in the artistic community, their individual exhibitions in the Jewish Society for the Encouragement of Fine Arts (Stanisława Centnerszwerowa, Regina Mundlak), a group of young artists living in Paris (Alicja Hohermann, Zofia Bornstein, Pola Lindenfeld, Estera Karp), as well as a circle of art lovers and patrons, some of whom—such as Tea Arciszewska and Paulina Apenszlak—also dealt with art criticism.
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Iswahyudi. "A Multicultural Approach in Learning Review of Indonesian Fine Arts." World Journal of Education and Humanities 3, no. 1 (October 22, 2020): p1. http://dx.doi.org/10.22158/wjeh.v3n1p1.
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Multicultural awareness in Indonesia has been widely discussed since the Dutch colonial era. According to Furnivall, that the plural society in the Dutch East Indies consisted of two unique characteristics, which were horizontally marked by social unions based on differences in ethnicity, religion and tradition. Then vertically, the structure of the society is marked by sharp differences between the upper and lower layers. In this case, there are two key words, namely between the peaks of regional culture and foreign culture, in this case if there is a fading of the sense of unity because they think that one ethnic group feels that its culture is superior to another, there will be inequality which endangers the multicultural nature. Based on this, in order to avoid learning the history of Indonesian fine art that is not based on multiculturalism, in this case it has long been initiated with a more democratic substance as in the Archipelago Art Review course since the 1980s on the grounds that there are many artistic remains outside the islands of Java, Sumatra and Bali which has been built since the end of prehistoric times.
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Zečević, Radmila. "Educational potential of fine arts at preschool age." Zbornik radova Uciteljskog fakulteta Prizren-Leposavic, no. 14 (2020): 445–53. http://dx.doi.org/10.5937/zrufpl2014445z.
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The creative potential of art, which is acquired through work processes, is of valuable importance for other areas as well. Children's artistic expression is not only a distinctly artistic activity, but at the same time it is a process of learning and checking one's own possibilities. Given the fact that there is a relative crisis in the teaching of art education, this paper aims to affirm the role and importance of art culture and art, with an emphasis on preschool age. The author starts from a short historical review of fine arts practice in the educational context, after which he emphasizes the importance of fine arts and culture in society in general, and then in preschool education. The paper also talks about the artistic and visual expression of children positioned through preschool age, as well as the importance of the pedagogical influence of the environment.
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Srinivasan, S. "Tamil Language Teaching and Techniques through Fine arts Activities." Shanlax International Journal of Tamil Research 6, no. 3 (January 1, 2022): 235–41. http://dx.doi.org/10.34293/tamil.v6i3.4700.
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Change is taking place in all fields in this society which can be developed by the advancement of science and technology. Disappointment is to be the sower of good. At the same time, new initiatives are being taken in the field of education. There is a lot of research being done on how to make education easier for students. Blind mindset is increasingly being manipulated in today’s education system. You can also see the way many educational institutions bully students in order to get high marks. When such activities take place, students can be easily educated through arts such as music, painting and drama; Akkalas can simplify learning like way tutorial. Students will easily achieve the level of learning by eliminating the blind mindset.
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Danyliuk, Liudmyla. "Decorative-usage arts as means of formation of professional competence of future teachers of fine arts." HUMANITARIUM 44, no. 2 (December 31, 2019): 40–47. http://dx.doi.org/10.31470/2308-5126-2019-44-2-40-47.
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In the article on the basis of analysis and generalization of literary sources, pedagogical theory and practice, the means of formation the professional competence of future teachers of fine arts are determined. The main basis component of the formation of the art culture of future teachers of fine arts is decorative- usage arts, folk art crafts are noted in it. An important condition for the professional activity of future teachers of fine arts is the formation of art culture, which includes the ability to emotionally perceive of the environment, creatively transform it, culture of work, knowledge of culture people and nations in different periods of development of society, possession of universal values, in particular, the values of creative, which provide of personality of self-realization and self-development in decorative- usage arts and fine arts. The main basis component of the formation of the art culture of future teachers of fine arts is the decorative-usage arts, folk artistic crafts, the cultural and educational mission of which consists, first of all, in the increase of a productive representation of the values of human life, represented in figurative form of art works, the development of art intuition, aesthetic taste, emotional perception of art creativity, the definition of art as a specific spiritual activity in the development of culture of a particular epoch and on this based on the achievement of a high level of their own art skills.The important condition of professional activities of the future teachers of fine arts is formation of art culture is grounded. In the research and mastery of techniques of decorative-usage art in the future a teacher of fine art form of the desire to learn and protect the Ukrainian people’s material and spiritual achievements is determined.
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ULUSOY, Demet. "ART IN THE MODERN SOCIETY: CONFORMITY AND NON CONFORMITY IN THE FINE ARTS." Ekonomik Yaklasim 8, no. 27 (1997): 9. http://dx.doi.org/10.5455/ey.10262.
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Morel, Maia. "Training in Creativity through the Fine Arts: Individual and Social Impact." Intertext, no. 2(60) (June 2023): 115–24. http://dx.doi.org/10.54481/intertext.2022.2.12.
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Social functioning in which technological innovation is constantly advancing and in which multiple socio-cultural mutations traverse societal systems places individual and collective creativity at the center of these changes. In this article, we examine some aspects related to the individual's acquisition of creative behaviors, as well as the effects that these acquisitions could have on his development as a person and/or member of a society. In this context, we will approach education for creativity, and especially the notion of creative conduct, these being based on the example of visual arts in school.
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Zhao, Min. "The Building of the Database of Art Resources Research for Academy of Fine Arts." Applied Mechanics and Materials 644-650 (September 2014): 3057–60. http://dx.doi.org/10.4028/www.scientific.net/amm.644-650.3057.
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With the development of the society, the progress of The Times, academy of fine arts up a new step, also than before broad vision, digital library as the main direction of library construction, the research and construction level will be directly related to the status and role of library in the information age in our country, the construction of various databases will become one of the main content of the digital resources construction. This article from the art of fine arts thematic database resource database, trying to a library for the academy of fine arts, more convenient and practical perspective to explore the special database construction, for the national economic construction, scientific research, the development of culture education provides an important information security.
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Wiratno, Tri Aru, and Brigitta Callula. "Transformation of Beauty in Digital Fine Arts Aesthetics: An Artpreneur Perspective." Aptisi Transactions on Technopreneurship (ATT) 6, no. 2 (July 17, 2024): 231–41. http://dx.doi.org/10.34306/att.v6i2.395.
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The evolving nature of beauty in digital fine arts aesthetics signifies profound shifts within contemporary social and cultural contexts. Technological advancements have enabled artists to explore new mediums, creating works that reflect and respond to current societal issues. This study examines the paradigm shift in digital fine arts, focusing on the interpretation and manifestation of beauty in digital creations. It explores the interplay between digital aesthetics and societal realities, providing insights into the transformation of beauty in the digital age. An interdisciplinary approach is utilized, incorporating textual analysis of relevant literature, participatory observation at art exhibitions and online platforms, and a comprehensive literature review. These methods trace the evolution of beauty in digital fine arts and analyze how artists incorporate visual, auditory, and interactive elements. The research demonstrates that technological progress has significantly impacted the creation and perception of beauty in fine arts. This transformation includes broader definitions of aesthetics, integrating multisensory experiences and community participation. Digital fine arts now serve as a dynamic medium that reflects diverse social, political, and cultural themes. The transformation of beauty in this field underscores the complex relationships among art, technology, and society. Digital artworks provide innovative aesthetic experiences and mirror contemporary social dynamics. Despite concerns regarding the authenticity and preservation of digital art, its role in expanding artistic expression and fostering innovation is undeniable
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Sibul, Mari. "The Fine Arts Information Centre of the National Library of Estonia." Art Libraries Journal 26, no. 1 (2001): 12–15. http://dx.doi.org/10.1017/s0307472200011986.
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Key to the provision of art information in Estonia is the National Library’s Fine Arts Information Centre, offering services to some 60,000 visitors each year as well as producing the national bibliographic databases of maps, posters, postcards, sound recordings and sheet music. But co-operation with other major art libraries in Estonia is also flourishing, beginning with the selection of new material for the art and architectural history collections in consultation with scholars in other arts organizations, and culminating in 1999 in the foundation of the Estonian Art Libraries Society. This year, Estonian Book Year, marking the 475th anniversary of the very first known Estonian book, seems an excellent opportunity to describe what is happening in art librarianship in this country.
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Ajayi, Joseph Babatunde. "Revitalizing Fine and Applied Arts Education in Nigerian Schools." Advances in Multidisciplinary & Scientific Research Journal Publications 9, no. 4 (December 30, 2023): 27–34. http://dx.doi.org/10.22624/aims/v9n3p3x.
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Fine and Applied Arts Education believed to be an integral part of Vocational and Technical Education of which a nation’s ball of development rotates is suffering an embarrassing low enrolment in some of the existing higher institutions of learning in Nigeria. Based on this, the paper examined factors responsible for this ugly development and identified misconception of the subject at all levels as well as lack of knowledge of it’s in-depth value to the society as principal causes among others. It also highlighted inadequate integration of the subject into the curricular of Nigerian schools at various strata of learning despite it’s laudable objectives and improper harnessing of it’s various channels towards desired goals as part of its teething problems. The paper revealed that organising reorientation forums, widening vocational scope and establishing artists’ loan scheme among others are feasible strategies to redress the situation. It concluded that keeping the subject alive is very crucial to the sustainability of Nigeria based on its multidimensional roles and suggested among others that artists of outstanding character and proven integrity be charged with the responsibility of planning and designing a framework with which this can work effectively. Keywords: Vocational/Technical Education, Fine and Applied Arts, Tertiary Institution, Revitalization. Aims Research Journal Reference Format: Ajayi, J.B. (2023): Revitalizing Fine and Applied Arts Education in Nigerian Schools. Advances in Multidisciplinary and Scientific Research Journal Vol. 9. No. 4. Pp 27-34. . www.isteams.net/aimsjournal. dx.doi.org/10.22624/AIMS/V9N3P3x
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Albert, Samuel D. "Austria and Hungary at the 1904 St. Louis World’s Fair: A Hint of the End." Journal of Austrian-American History 7, no. 2 (October 2023): 109–37. http://dx.doi.org/10.5325/jaustamerhist.7.2.0109.
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Abstract This article examines the Austrian participation at the 1904 St. Louis World’s Fair, focusing particularly on the display of art. Spread across two venues, the Austrian Pavilion and the Palace of Fine Arts, the display, with contributions from the Mánes Association of Fine Artists, Society of Polish Artists “Sztuka,” the Hagenbund, and the Vienna Künstlergenossenschaft illustrates the changes taking place in Cisleithanian art at the time, with the emergence and increased recognition of nationally organized art societies, whose very existence questioned the long-standing supremacy of Vienna art institutions. A further contrast is made with the Hungarian art exhibition at the same fair. Unlike the Austrian exhibit, housed in its own free-standing exhibition space, the much more modest Hungarian exhibit was divided in two. Fine arts were displayed in the Palace of Fine Arts, while decorative arts and crafts were displayed in a pavilion built inside of the exhibition hall. The author ends by contrasting the 1904 exhibition spaces with those of the 1900 Paris exhibition.
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Francis, Ejeh, and Umoru Samuel. "CORRELATION BETWEEN SOCIAL FEEDBACK AND ARTISTIC MOTIVATION AMONG FINE ARTS STUDENTS." International Journal of Advanced Research 9, no. 10 (October 31, 2021): 947–51. http://dx.doi.org/10.21474/ijar01/13632.
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Art is an essential component of human life. It is a necessary discipline in the educational system of every society and is considered a professional field because it requires skills and mental capabilities to be presented as a concept. Most importantly, artistic concepts are created for evaluation. Hence, feedbacks are integral to creative art. The primary objective of the current study was to examine the artistic motivation of fine art students based on social feedback. One hundred and six (n = 106) students enrolled in fine and applied art departments in tertiary institutions in Kogi State, Nigeria, were employed as the studys participants. Data were collected using self-report measures. The simple linear regression analysis performed on the data established a positive correlation between social feedback and artistic motivation. The study concludes that social feedback is an essential component of artistic creativity.
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Ajayi, Joseph Babatunde. "Revitalizing Fine and Applied Arts Education in Nigerian Schools." Advances in Multidisciplinary & Scientific Research Journal Publications 9, no. 4 (December 30, 2023): 27–34. http://dx.doi.org/10.22624/aims/v9n3p3.
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(Ph.D) Department of Design and Fine Arts, Bamidele Olumilua University of Education, Science and Technology, Ikere Ekiti, Ekiti State, Nigeria E-mail: ajayi.joseph@bouesti.edu.ng ABSTRACT Fine and Applied Arts Education believed to be an integral part of Vocational and Technical Education of which a nation’s ball of development rotates is suffering an embarrassing low enrolment in some of the existing higher institutions of learning in Nigeria. Based on this, the paper examined factors responsible for this ugly development and identified misconception of the subject at all levels as well as lack of knowledge of it’s in-depth value to the society as principal causes among others. It also highlighted inadequate integration of the subject into the curricular of Nigerian schools at various strata of learning despite it’s laudable objectives and improper harnessing of it’s various channels towards desired goals as part of its teething problems. The paper revealed that organising reorientation forums, widening vocational scope and establishing artists’ loan scheme among others are feasible strategies to redress the situation. It concluded that keeping the subject alive is very crucial to the sustainability of Nigeria based on its multidimensional roles and suggested among others that artists of outstanding character and proven integrity be charged with the responsibility of planning and designing a framework with which this can work effectively. Keywords: Vocational/Technical Education, Fine and Applied Arts, Tertiary Institution, Revitalization. Aims Research Journal Reference Format: Ajayi, J.B. (2023): Revitalizing Fine and Applied Arts Education in Nigerian Schools. Advances in Multidisciplinary and Scientific Research Journal Vol. 9. No. 4. Pp 27-34. . www.isteams.net/aimsjournal. dx.doi.org/10.22624/AIMS/V9N3P3
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Diller, Christopher. ""Fiction in Color": Domesticity, Aestheticism, and the Visual Arts in the Criticism and Fiction of William Dean Howells." Nineteenth-Century Literature 55, no. 3 (December 1, 2000): 369–98. http://dx.doi.org/10.2307/2903128.
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Given that William Dean Howells was the leading spokesperson for literary realism in the late nineteenth century, critics have traditionally cited him for his failure to define a formal aesthetic theory, or, more recently, they have located such a theory in its very absence. Neither view acknowledges how Howells appropriated a central tenet of genteel society-domesticity-as ground for a pragmatic appraisal of fine art under the impress of capitalism. Especially in his fictional descriptions of painting and illustration, Howells delineates how disinterested rationales of fine art like aestheticism depend upon the aesthetic equivalent of the sexual double-standard: women are valorized as moral authorities but denigrated as artists so that men can make art without the stigma of commercialism. Through doubly gendered artists and feminized artistic practices, Howells critiques the capitalist logic that reduces aesthetics to an epiphenomenon of the market or to self-referential theories of the artwork. He demonstrates instead that art objects are ultimately defined by the ethical affiliations they bear to other social and aesthetic practices. In his criticism and fiction of the late 1880s and early 1890s, then, femininity emerges as a crucial rhetorical strategy that enabled Howells to represent and rationalize the paradoxical nature of fine art in capitalist society.
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Barańska, Iwona. "Działalność warszawskiego Towarzystwa Zachęty Sztuk Pięknych i Towarzystwa Przyjaciół Sztuk Pięknych w Krakowie z perspektywy Kalisza w świetle doniesień w „Kaliszaninie”." Zeszyty Kaliskiego Towarzystwa Przyjaciół Nauk 21 (December 31, 2021): 60–87. http://dx.doi.org/10.4467/26578646zknt.21.003.17587.
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The Activity of the Warsaw Society for the Encouragment of Fine Arts and Society of Friends of Fine Arts in Cracow From the Perspective of Kalisz According to Reports in “Kaliszanin” Article analyzes press reports in available annuals of “Kaliszanin” from years 1870- 1892 about the activity of the TZSP and TPSP. Most of the texts include information about: selling of the stocks – subscriptions of society by booksellers in Kalisz, reproduction of artworks intended for bonuses for people who pay the membership subscriptions, results of the draws of artworks bought by Zachęta, especially if they were given to the residents of Kalisz and close areas. Additionally, Author analyses longer texts about the judgement of the TZSP committee, artistical judgements of the artworks that were exhibited and purchased by the society. Significant part is devoted to texts on functioning of Zachęta in reference to members of society who are living in the provinces and cannot benefit from amenities guaranteed by the metropolitan areas. Most of them includes the critical judgement of the activity of the TZSP. Matters discussed in the pages of Kalisz press are reflecting the significant problems of the society and indicate good orientation of the anonymous authors in the life of the society. Possibilities of fast information transfer, which has been created by the local press, enabled the fuller participation of the habitants from the provinces in the life of TZSP and were one of the factors of civilization, modernization of the city.
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Kolcheva, Elvira M. "100 years of the Mari fine arts: ethnographic realism (1920–1930)." Finno-Ugric World 13, no. 3 (October 25, 2021): 293–307. http://dx.doi.org/10.15507/2076-2577.013.2021.03.293-307.
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Introduction. The article is the first in a series of publications dedicated to the 100th anniversary of the Mari autonomy and the fact of the emergence of professional visual arts among the Mari people. The author regards it as a systemic element of national-ethnic culture, which performed the function of ethno-cultural reflection by artistic means throughout the entire century, in which four major stages and corresponding stylistic forms can be traced. The article describes the initial stage of the Mari fine arts of the 1920s – 1930s. Materials and Methods. The main material was the collection of art and ethnographic works of the 1920s–1930 found in the funds of the National Museum of the Republic of Mari El. The author used various methods: historical research, art history analysis of works of art, as well as the author’s own method of structural and archetypal analysis. Results and Discussion. The first art institutions appeared in the mountainous Mari region at the turn of the 1910–1920 thanks to the artist A.V. Grigoriev, who together with his associates later founded the Association of Artists of Revolutionary Russia in Moscow. The systematic institutionalization of the Mari fine arts began in the second half of the 1920, which was facilitated by the activities of the Mari Regional Society of Local History and the Central Mari Museum in the town of Krasnokokshaisk. The founders of the Mari fine arts were the invited artists from Kazan, namely P. A. Radimov, G. A. Medvedev, V. K. Timofeev, M. M. Vasilyeva, the first Mari artists K. F. Egorov and E. D. Atlashkina, and P. G. Gorbuntsov. With the beginning of the “Great Terror” period, the first stage of the Mari art was interrupted, and socialist realism replaced ethnographic realism. Conclusion. The development of the fine art of the Mari at the initial stage was stimulated by the Mari Regional Society of Local History and the Central Mari Museum represented by V. A. Mukhin (Savi), V. M. Vasiliev, T. E. Evseev. Their educational interests, combined with the documentary-oriented program of the Association of Artists of Revolutionary Russia, contributed to the formation of such a stylistic form as ethnographic realism, which became the first artistic form of ethnocultural reflection by the means of fine arts.
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Lindsay, R. Bruce. "Report of the Editor‐in‐Chief to the Executive Council of the Society at the Minneapolis Meeting, October 1984." Journal of the Acoustical Society of America 77, no. 1 (January 1985): 320. http://dx.doi.org/10.1121/1.392239.
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Pavlichenko, Nadiia. "Evolution of the artist's profession as an important factor in the art market development (from Antiquity to the Renaissance)." Culturology Ideas, no. 21 (1'2022) (2021): 113–27. http://dx.doi.org/10.37627/2311-9489-21-2022-1.113-127.
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The article describes artistic creativity as a professional activity and as an important factor in the art market development. It attempts to follow the evolution of the profession from craft to intellectual creativity in the period from Antiquity to the Renaissance. Thinking of art as a production process enables the important points that had a great impact on it to be highlighted: the role of the customer, the perception of artistic creativity by society, the self-awareness of artists, the organization of labor, etc. During Antiquity, the fine arts were perceived as technical ones arising from the mental activity of man and embodied in his work, so they were evaluated by the same criteria as other applied crafts. Throughout the Middle Ages, the church was the main customer of an art product, and fine arts were used as an improvised means of religious didactics. Scholastic authors perceived "mechanical" arts as lower ones, as noted. A significant rethinking of fine arts and the person creating it had been taking place during the 12th–14th centuries with the advent of the private customer. Recognition of fine arts as intellectual work has also significantly changed the working conditions of artists, the evaluation and perception of the artistic product, contributed to the further development of the art market.
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Kokina, Polina O. "The specificity of fine arts in the context of the information society in sociological perspective." Теория и практика общественного развития, no. 6 (2022): 69–75. http://dx.doi.org/10.24158/tipor.2022.6.10.
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Kandiuk, Mary, and Aaron Lupton. "Digital Images in Teaching and Learning at York University: Are the Libraries Meeting the Needs of Faculty Members in Fine Arts?" Evidence Based Library and Information Practice 7, no. 2 (June 12, 2012): 20. http://dx.doi.org/10.18438/b8xg80.
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Objective – This study assessed the needs for digital image delivery to faculty members in Fine Arts at York University in order to ensure that future decisions regarding the provision of digital images offered through commercial vendors and licensed by the Libraries meet the needs of teaching faculty.
Methods – The study was comprised of four parts. A Web survey was distributed to 62 full-time faculty members in the Faculty of Fine Arts in February of 2011. A total of 25 responses were received. Follow-up interviews were conducted with nine faculty members. Usage statistics were examined for licensed library image databases. A request was posted on the electronic mail lists of the Art Libraries Society of North America (ARLIS-L) and the Art Libraries Society of North America Canada Chapter (CARLIS-L) in April 2011 requesting feedback regarding the use of licensed image databases. There were 25 responses received.
Results – Licensed image databases receive low use and pose pedagogical and technological challenges for the majority of the faculty members in Fine Arts that we surveyed. Relevant content is the overriding priority, followed by expediency and convenience, which take precedence over copyright and cleared permissions, resulting in a heavy reliance on Google Images Search.
Conclusions – The needs of faculty members in Fine Arts who use digital images in their teaching at York University are not being met. The greatest shortcomings of licensed image databases provided by the Libraries are the content and technical challenges, which impede the ability of faculty to fully exploit them. Issues that need to be resolved include the lack of contemporary and Canadian content, training and support, and organizational responsibility for the provision of digital images and support for the use of digital images.
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Danowska, Ewa. "Darczyńcy i ich dary dla Towarzystwa Naukowego Krakowskiego, Biblioteki AU, Biblioteki PAU oraz Biblioteki Naukowej PAU i PAN." Rocznik Biblioteki Naukowej PAU i PAN 66 (2021): 97–130. http://dx.doi.org/10.4467/25440500rbn.21.007.16089.
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Donors and their donations to the Academic Society of Krakow, the Library of the Academy of Learning, the Library of PAU and the Scientific Library of PAU and PAN in Krakow. The article is a preliminary research on the body of bookplates by Stanisław Dawski (1905–1990) – an artist, graphic designer, painter, professor and the rector of the State College of Fine Arts in Wrocław (currently the Academy of Fine Arts). The Graphic Collections of the Scientific Library of PAU and PAN keeps 383 plates (some of them used two-sidedly) with 409 matrices used for graphics, mostly bookplates; Dawski produced c. 505 bookplates. The collection was donated to the Library in 2009 by Lech Kokociński.
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Majewska, Aleksandra. "The Egyptian collection from Łohojsk in the National Museum in Warsaw." Światowit 57 (December 17, 2019): 249–57. http://dx.doi.org/10.5604/01.3001.0013.6854.
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The National Museum in Warsaw, founded in 1916, took over the function of the older Museum of Fine Arts in Warsaw, founded in 1862. Between 1918 and 1922, the National Museum was systematically enriched through donations by private persons and institutions. One of the most important collections, placed there in 1919, was that originating from an old private museum owned by the Tyszkiewicz family in Łohojsk, donated through the agency of the Society of Fine Arts ‘Zachęta’ in Warsaw. The museum in Łohojsk (today in Belarus, not far from Minsk) was founded by Konstanty Tyszkiewicz (1806–1868). The rich collection of family portraits, paintings, engravings, and other works of art was enriched in 1862 by Count Michał Tyszkiewicz (1828–1897), who bequeathed a substantial part of the Egyptian antiquities brought from his travel to Egypt in 1861–1862. The Łohojsk collection was partly sold by Konstanty’s son, Oskar Tyszkiewicz (1837–1897), but some of these objects were purchased in 1901 by a cousin of Michał Tyszkiewicz, who then donated them to the Society of Fine Arts ‘Zachęta’. At this stage, the whole collection amounted to 626 items, of which 163 were connected to Egypt. During World War II, the National Museum in Warsaw suffered serious losses. At present, the exhibits originating from Łohojsk include 113 original ancient Egyptian pieces, four forgeries, and 29 paper squeezes reproducing the reliefs from the tomb of Khaemhtat of the 18th Dynasty (Theban tomb no. 57).
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Davydova, Svitlana. "Use of Multimedia Technologies in the Training of Teachers of Fine Arts." Ukrainian Journal of Educational Studies and Information Technology 5, no. 4 (December 29, 2017): 67–77. http://dx.doi.org/10.32919/uesit.2017.04.06.
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The article states that the training of young professionals, in particular teachers, is the main task of national educational systems, especially higher education. In the modern world, the transformation that rocked the society in the late XX – early XXI centuries is prevailed, and the education sector was particularly affected. The rapid growth of information volumes, globalization processes, innovations in the field of information and communication technologies prompt to change the approaches to understanding the essence of studying. Nowadays, the studying goes beyond the standard education - the acquisition of skills and abilities under the guidance of a teacher within an educational institution. The leading countries of the world are making significant efforts to provide high-quality training and further information support to highly skilled professionals. In Ukraine, the idea of reforming the system of higher education in line with the growing demands of the global information society is supported at the state level. The existence of a number of underestimated advantages of the use of new technologies is mentioned, this concerns multimedia technologies and the possibility of their introduction into the educational process of future teachers of fine arts. For example, the opportunity not only to read the facts, but also to familiarize students with video chronicles, reproductions of posters, paintings and photographs, fragments of feature films that allow multimedia technologies.
The author considers the conditions of use of multimedia technologies by the teacher in the educational process and the role of the teacher himself in the professional training of specialists from different fields and especially teachers. The concepts of «multimedia», «multimedia technologies», «multimedia tools», «multimedia information», «multimedia products» are expounded. The article analyzes the scientific works on the application of multimedia technologies in the educational process. The main reasons for changing the teacher's role in professional activity are found out. Based on the analysis, the teacher's ability to use multimedia technologies in the educational process is determined.
The article notes that the main task of vocational education of a modern teacher is not only the acquisition of knowledge, but also the mastery of information and telecommunication technologies for the formation of comprehensive and general cultural skills of work with information. During the study, it was substantiated that the introduction of multimedia technologies into the educational process of higher education institutions that train teachers of fine arts, will increase their professionalism and competitiveness in the labor market. It emphasizes that for the modern teacher of fine arts it is important not to accumulate knowledge, but to be able to operate and replenish it, to navigate in the information space. An analysis of trends in further education informatization shows that in the future the value of multimedia applications in this area will increase, because knowledge that provides the required level of professional qualification is always subject to rapid changes.
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Glišić, Jelena. "Educational Policies and the Labour Market in the Visual Arts – the Paradigm Shift." AM Journal of Art and Media Studies, no. 9 (April 15, 2016): 145–56. http://dx.doi.org/10.25038/am.v0i9.124.
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This paper presents the key findings of an extensive research into the role of university-level visual art education in the preparation of visual artists for the successful transition from the academic environment to the art ‘labour market’. Starting from an assumption that higher visual arts education may be a significant factor in redefining the career paths of the visual arts graduates in Serbia, it reviews the recent changes in concepts and programs of university-level visual arts education in Europe and in Serbia. Education policies increasingly foresee the necessity of conscious compliance of education with society as a whole, bearing in mind the wide range of social roles that visual art and professionals from this field may assume. This is especially important for Serbia, since culture is considered one of the country’s most important assets in re-positioning itself on a mental map of Europe. In this paper I will map the main issues, briefly present the historical development of art school programs in Europe and in Serbia, and I will present the concept of the Management in Fine Arts course designed for the BA level at the Fine Art Schools which was designed to endow students with the opportunity to attain basic ‘labour market skills’, and provide them with knowledge and skills necessary to direct their professional development in such manner to enable them to easily find their place in various areas of contemporary society.
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Dianina, Katia. "Museum and Society in Imperial Russia: An Introduction." Slavic Review 67, no. 4 (2008): 907–11. http://dx.doi.org/10.1017/s0037677900018180.
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At the turn of the twentieth century, European critics who were distressed about contemporary developments in the fine arts tended to use medical, psychopathological terms to diagnose the existing state of the field. In 1892-1893, an Austrian physician and writer, Max Nordau, publishedEntartung(Degeneration). Drawing on positivist psychology and anthropometry, Nordau expressed his pessimistic views on the mental and physical health of the leading figures of European fin-de-siécle culture: Friedrich Nietzsche, Paul Verlaine, the impressionists, the symbolists, and many others. In Russia this book went into nine editions, in three different translations. The patriarch of Russian liberal-nationalist criticism, Vladimir Stasov applied Nordau's metaphors to Russian “decadent” artists in such reviews as “Podvorl'e prokazhennykh” (Lepers’ inn, 1899) or “Dve dekadentskie vystavki” (Two decadent exhibitions, 1903). He sarcastically remarked that, when viewing canvases by some contemporary painters, he felt as though he were “walking amidst a madhouse.”
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Taxel, Itamar, Ayala Lester, and Uzi ʿAd. "Two Rare Early Abbasid Paint-Decorated Ceramic Bowls from el-Khirba/Nes Ziyyona, Israel." Muqarnas Online 35, no. 1 (October 3, 2018): 273–80. http://dx.doi.org/10.1163/22118993_03501p011.
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Abstract This article discusses two near-complete ceramic vessels—a deep, cup-shaped bowl and a shallow bowl/plate—found in recent excavations carried out at the rural site of el-Khirba/Nes Ziyyona in central Israel, in an early Abbasid context dated to the ninth century. The vessels bear unusual painted decorations on their exterior and interior. The decoration of the first bowl consists of alternating pairs of large black and white palm trees and large birds. The second bowl/plate is decorated with eight stylized trees emerging from a central circle, with small circles between them; these motifs were drawn in black over a white-painted surface. These bowls are associated with a local fine ware ceramic group, known as Fine Byzantine (or Fine Islamic) Ware, which originated in the Jerusalem region. However, their decorations reflect stylistic traditions familiar across the Early Islamic Near East and beyond, including from statuary works, illustrated manuscripts, and other ceramics. Altogether, it can be suggested that rural elites in Early Islamic Palestine used luxury ceramics decorated with pan-Islamic patterns as a way of identifying themselves with cosmopolitan, pan-Islamic society.
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Wang-Selfridge, Susan. "Pursuing Higher-Purpose Education in a Globalized Society." International Journal of Pedagogy, Innovation and New Technologies 8, no. 1 (June 16, 2021): 108–15. http://dx.doi.org/10.5604/01.3001.0014.9146.
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Education serves the role of preserving and passing down to future generations’ valuable aspects of traditions and cultures, forming the building blocks for advanced civilizations. The world is culturally diverse, yet bonds can be created through cultural exchanges, and found a global peaceful coexistence. The transmission of a variety of cultures can be inhibited or promoted by governments, yet civil society has an autonomous and important role. The author discusses examples from her personal experience in teaching music in a variety of cultural and socio-economic settings, and the impact of governmental policies on artistic teaching. The author also establishes why education in the humanities, conscience, music and fine arts form the structural underpinnings of an advanced society and culture that is sustainable and respects human rights for all.
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Ho Quynh, Giang. "CAMP- ITS EXPANSION IN VERBAL ARTS, FINE\VISUAL ARTS, PERFORMANCE ARTS AND ITS POSSIBLE LINKAGE WITH SCHOOL TRANING PROGRAMS IN VIETNAM." Journal of Science Social Science 65, no. 11 (November 2020): 81–92. http://dx.doi.org/10.18173/2354-1067.2020-0074.
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The idea about camp is still an unfamiliarity in the country of Vietnam while it is likely a large part of the daily and academic life in the western society. Camp can be found in many arts forms like literature, architecture, paintings, sculptures, music and fashion from the history up to the present days. However, it seems that the presence of camp was not widely recognized until the release of Sontag’s essay in 1964. Therefore, it has led to the rationale to make an insight into it on the scales of the above fields. From the analysis it can be summarized that camp exists in arts with three specific ways of influence. Firstly, it evokes extreme emotions among audiences while examining the arts works. Besides, camp is both evident and visible in gaudiness of the products in those target fields. Moreover, under the influence of camp all what is traditional is subverted to set a new norm welcome by the contemporaneity. Apart from this, a link between camp and liberal education is speculated urging a mobilization of camp in Vietnam schools for this country is on its way to reach liberal education. For it to be done, it requires the innitiatives from teaching staffs in terms of methodology and from learners in terms of learning attitudes. It can be concluded that the spirit of camp should be encouraged in Vietnam education even before liberal education is activated.
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Wei, Wang. "Professional training of future fine arts teachers for the use of graphic design." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2023, no. 2 (143) (June 29, 2023): 68–73. http://dx.doi.org/10.24195/2617-6688-2023-2-9.
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The article is devoted to the urgent problem of training future fine arts teachers for the use of graphic design. The goal of the article is to systematize and generalize scientific research on the training of future fine arts teachers for the use of graphic design. It was specified that in modern society the issues of forming the professional qualities of the art teacher, creating the conditions that would ensure their training in the system of higher pedagogical education are becoming particularly acute. After all, nowadays there is a need to develop design skills and mastery in future art teachers who could use graphic design in their professional activity, as well as teach this craft to students so that they can create brochures, magazines, books, advertising products, various packaging, web design etc. It has been proven that the training of such specialists who have the basics of design culture is an urgent problem of modern art pedagogy. It was determined that the formation of design skills in students as an integral component of the professional qualities of a future teacher of fine arts is realized in the process of their activity, during which individual characteristics are manifested, which contribute to the formation of a person’s positive attitude towards their profession and the people with whom they work, as well as the desire for personal growth and professional improvement. In general, the training of future fine arts teachers for the use of graphic design is a long, controlled, responsible process of forming professional competences, the result of which is knowledge and skills that future specialists will use in their further activities; it is the unity of theoretical and practical readiness of future teachers of fine arts to use graphic design in their professional activities. It has been confirmed that proper training of future art teachers with established professional competences will provide opportunities to become competitive in the service market.
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Ajayi, Noah O., and Melanie B. Luckay. "Trends and challenges of higher education in Nigeria: Fine and applied arts technological literacy." Journal of Education, no. 92 (November 7, 2023): 228–47. http://dx.doi.org/10.17159/2520-9868/i92a13.
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Digitisation has transformed art education. This study examines the trends and challenges faced by higher education art lecturers in fine and applied arts (FAA) in Nigeria, focusing on technological literacy- specifically, the availability, accessibility, and usability of digitised teaching and learning tools. A technology-based theoretical framework, namely van Dijk's (2005) resource and appropriation theory formed the theoretical framework. This qualitative study was conducted at two higher education institutions in Lagos State, Nigeria. Data were collected from 20 student teachers and four FAA lecturers through semi-structured interviews, focus group discussions, and classroom observations and analysed by generating themes. The findings suggest that FAA lecturers are guided by their technological literacy-creating pathways for digital usage and access for teaching and learning. The study could encourage curriculum planners to develop policies that advance technological literacy that meet the needs of art education in a global society.
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Warli Haryana, Et al. "Learning Model for Pandava Five Puppetry Digital Creation: A Digital Literacy and Transformation of Traditional Characters Approach." International Journal on Recent and Innovation Trends in Computing and Communication 11, no. 9 (October 30, 2023): 1247–61. http://dx.doi.org/10.17762/ijritcc.v11i9.9041.
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The rapid evolution of information and communication technology has triggered a transformative revolution in contemporary society, impacting traditional Indonesian arts, notably Purwa Pandava Five shadow puppetry, leading to its decline among the younger generation. This research pioneers an innovative approach to revive the Purwa Pandava Five culture, targeting 50 fine arts students. The goal is to establish a digital literacy-based creative learning model in higher education, fostering an understanding of the aesthetics and moral fabric of Purwa Pandava Five shadow puppetry. Through a concurrent mixed-methods research design, 50 fine arts students craft digital puppetry works resonating with millennial comprehension. Data collection involves qualitative and quantitative methods such as interviews, surveys, and artistic assessments. The outcomes aim to ignite the younger generation's interest in traditional Indonesian arts, anticipating the evolution of fine arts programs in higher education to be responsive to changing cultural and technological dynamics. The aesthetic value and character of the Pandava Five shadow puppetry puppet are reflected through dramatic scenes and positive traits. Learning integrates creativity, digital literacy, and the transformation of Purwa Pandava Five shadow puppetry, creating innovative digital puppetry with a unique Pandava Five story interpretation. Implementing a digital creation learning model yields positive results, allowing students to collaboratively understand Pandava Five shadow puppetry's aesthetic and moral values. This stimulates millennial interest in the cultural heritage of Purwa Pandava Five shadow puppetry, producing works that blend traditional aesthetics with modern elements through digital literacy and advanced technology. The principles balance tradition and modern technology, preserving the visual authenticity of Purwa Pandava Five shadow puppetry while focusing on narrative and moral aspects. These outcomes aim to engage the younger generation in comprehending and safeguarding traditional Indonesian arts, with an anticipated evolution of fine arts programs in higher education to meet changing cultural and technological dynamics.
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Večerníková, Lucie. "Picture Gallery of the Society of Patriotic Friends of Fine Arts and its permanent exhibition under the inspector Gustav Kratzman." Umění 71, no. 2 (2023): 173–89. http://dx.doi.org/10.54759/art-2023-0205.
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Wünsche, Isabel. "Pavel Chistiakov and Jan Ciągliński: New Approaches to Art Pedagogy in Nineteenth- and Early Twentieth-Century Russia." Russian History 46, no. 4 (December 23, 2019): 305–19. http://dx.doi.org/10.1163/18763316-04604006.
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Abstract This essay looks at art education in Russia in the nineteenth century, specifically at artist-training practices at institutions such as the Imperial Academy of Fine Arts and the Imperial Society for the Encouragements of the Arts in St. Petersburg. Particular emphasis is on the role and significance of Pavel Chistiakov and Jan Ciągliński, charismatic teachers who developed their distinct art-pedagogical systems as an alternative to the existing academic system and paved the way for the emergence of modern art and the avant-garde in Russia.
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Madu, Maria do Carmo, and Ana Cláudia Castilho Barone. "Dona Folô’s clothing: a non-free Creole, who carried jewelry and fine fabrics." Res Mobilis 12, no. 16 (July 29, 2023): 137–51. http://dx.doi.org/10.17811/rm.13.16.2023.137-151.
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This article addresses the discussion presented to the Design, History and Society Annual Conference 2022 with the theme Design and Transience that took place in September 8th-10th 2022 at the Izmir Technological Institute, in Turkey. The objective was to present the transience of the social role occupied by Dona Folô in the period of Imperial Brazil, by carrying the Crioula Jewelry and wearing clothes made in fine fabrics – although she, as a slave, did not have possession of her freedom. With this research in progress, we aim to give visibility to the story of Dona Folô, while also wanting to talk about Crioula Jewelry and fabrics imported from Great Britain. As a result, we observed that the subject raised the interest of scholars and researchers who participated in the Conference.
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Stakhevych, Halyna, and Natalia Kokhan. "Creativity of female artists in Italian fine arts of XV–XVII centuries." Culturology Ideas, no. 22 (2'2022) (2022): 46–62. http://dx.doi.org/10.37627/2311-9489-22-2022-2.46-62.
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The article provides an overview and reveals the features of the professional formation, development and social status of female artists’ creativity in the Italian fine arts of the XVI-XVII centuries. The value of their artistic heritage for future generations has been established. It was stated that the role of a female artist in society was influenced by both social and gender factors, in particular, the fact that the profession of a master artist was assigned to men, and the teaching of art to girls was related to obligatory household chores or hobbies. It has been proven that already in the XV century, artists appeared in Italy whose activities went beyond these boundaries. Initially, they were self-taught nuns, such as Catherine of Bologna, but by the end of the century, the work of female artists acquired a professional character (for example, Pr. de’Rossi). It is noted that, since that time, works of art by female artists have influenced the change in social stereotypes about their work. It was found that Italian female artists of the Renaissance and subsequent centuries turned mainly to the genres of portrait, landscape and still life. However, there are cases of creation of monumental works (Pl. Nelli) or reflections of dramatic events (A. Gentileschi). It was revealed that by the beginning of the XVIII century in these genres, female artists were in full competition with men and were the inventors of both new genres (S. Anguissola) and new painting techniques (R. Carriera). There is also a manifestation of their author’s vision in compositions on religious themes, on historical and mythological themes. It has been proven that the achievements of Italian female artists of the XV–XVII centuries were no less significant than those of male artists.
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Gerasimova, D. L., and N. O. Kopylova. "CULTUROLOGICAL ASPECTS OF TEACHING “THE HISTORY OF FINE ARTS”." Problems of theory and history of architecture of Ukraine, no. 20 (May 12, 2020): 321–31. http://dx.doi.org/10.31650/2519-4208-2020-20-321-331.
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Today’s culture presents new important challenges for the education system. The transformation of cultural norms and standards and the movement of social consciousness towards tolerance require the formation of a new ideal of "cultural human". The value of professional knowledge implies a strong connection with the moral upbringing of future professionals and their orientation towards general cultural values. For its part, actual educational paradigm focuses on the principle of complexity and interdisciplinarity, integration of different scientific methods. This is appropriate for the studying and teaching the art disciplines. Of course, art has always been considered in close connection with the cultural and historical context, because art cannot exist outside it. Today, however, the search for new perspectives in interdisciplinary research is relevant in the field of culture and the arts, as in humanities and social sciences in general. This is also due to the transformation of the concept of art in today’s world, which requires the search for new vectors of analysis, addition and expansion of traditional tools of art’sanalysis. The objectives of this study are to analyze the educational and work programs and textbooks of the History of Fine Arts (the History of Arts) of the last five years; to determine what scientific culturological methods are most commonly used in the development of today’s educational and methodicalliterature (textbooks, manuals, educational programs) of “The History of Fine Arts ("The History of Arts"); to identify what other methods should be appropriate to include in the toolkit of studying and teaching the art history; to present the interaction between the teacher and students as a "cultural dialogue"; to reveal the role of cultural approach in the spiritual and aesthetic education of future artists.The researchers’ interest in the cultural aspects of the pedagogical process in today’s Ukrainian studies is increasing. O. Malanchuk-Rybak, I. Pyatnitska-Pozdnyakova, O.Shevnyuk, N. Kovaleva, Yu. Solovyova and others consider the cultural aspects of studying art history and teaching art disciplines. The cultural approach to analyzing the evolution of the world's art systems is demonstrated by the textbooks of the last decade, including “The History of the Arts” by O. Shevnyuk (2015), “The History of Arts” by K. Tregubov (2015), “Ukrainian Art in the Historical Dimension” (Yu. Solovyova, O. Mkrtichyan, 2017), etc. As well asthe research has determined the culturological orientation of educational and work programs in last five years: “The History of Arts” (Trofimchuk-Kirilova T., 2017), “The History of Fine Arts”(O. Kirichen-ko, 2019), “The History of Fine Arts and Architecture” (Panasyuk V. 2015), “The History of Fine Arts” (Panyok TV, 2016), etc. The article deals with the cultural aspects of the study and teaching of the art on the basis of these educational and methodological publications. For this purpose the following methods are used in the article: descriptive method, method of system analysis, axiological approach and socio-cultural analysis.The analysis of these textbooks and work programs made it possible to formulate the subject, purpose and main objectives of the course “The History of Fine Arts”. The aim of the course is to form students' systematic knowledge of the development of fine arts from archaic times to the present.In this context the culturological orientation of teaching "The History of Fine Arts" makes it possible to solve the following educational problems: forming a complex of knowledge about the essence of art, its functions in culture and society; moral and aesthetic education and involvement in cultural values; revealing the general patterns of evolution of the world art systems; forming an artistic picture of the world through mastering the system of artistic knowledge; understanding of the historical and cultural conditionality of aesthetic canons in art; mastering the basic principles and forms of communicative experience of art as a means of transmitting socially meaningful cultural meanings; development of critical perception and interpretation of works of art, ability to navigate in artistic styles and movements; involvement of artistic and creative artifacts in the fulfillment of various socio-cultural tasks. Thus, future artists not only learn to solve immediate professional tasks, but also accumulate the ideological and artistic experience of the past, acquire the ability to interpret it and make certain predictions, in particular in thetoday’s art market. Domestic researchers believe that the synthesis of methods of art studies and cultural studies is relevant in teaching the course "The History of Fine Arts". It was found out that systematic analysis, diachronic and synchronic methods, socio-cultural approach, biographical method allow revealing the content of the course most completely. Semiotic analysis and gender approach can also open up the new perspectives of the studying and teaching of art history in today’s humanitarian discourse.
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Vujacic, Milja, Dragan Vesic, and Aleksandra Joksimovic. "Visions of students of faculty of fine arts of professional life and work." Zbornik Instituta za pedagoska istrazivanja 51, no. 1 (2019): 326–65. http://dx.doi.org/10.2298/zipi1901326v.
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In our country, research about students? vision of their future professions are very rare. When it comes to fine arts students, these research does not exist at all. There is always a myth associated with the understanding of the personality of artists, and they are considered to be specific, charismatic persons, who have a strong motivation and a need to perform creative work. However, this myth has been challenged in the last decades due to the commercialisation of art. Therefore, in this paper, we will deal with their visions of their professional life and work. The aim of the research is to examine how the future artists visualise their professional life and whether the idea of a charismatic myth is present in their visions or whether they are perhaps shaped by requirements of the current situation in the field of culture and art in our country. The sample included 39 students of the fourth year of the Faculty of Fine Arts in Belgrade. In the processing of data, we applied the qualitative thematic analysis of the content obtained based on the written testimonies given in the form of a story. The results of the research indicate that the ideas of a charismatic myth are a central motive in the narratives of students and that they are interwoven with the uncertain image of their future profession and their unpreparedness for new roles in society. The paper presents the implications related to higher education policies at faculties of fine arts, as well as the recommendations for further research in this field.
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Fortuny Agramunt, Jaume. "Ideen zum räumlichen Zeichnen durch ein Farbkonzept. Gestaltungskriterien und Beispiele." Barcelona Investigación Arte Creación 7, no. 1 (February 6, 2019): 69. http://dx.doi.org/10.17583/brac.2019.3981.
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This paper is the transcript of the conference read on May 9, 2017 during the workshop The Power of Colors - The Spatial Experience with the Help of Art, at the Peter Behrens School of Arts, University of Applied Sciences, Hochschule Düsseldorf. It shows the ideas that art is capable of transmitting to architecture to design space through color planning. The reading describes in detail the creative process of the artist and professor at the University of Barcelona, Jaume Fortuny Agramunt, during the rehabilitation of architectural spaces through spatial experience with the help of art. Dr. Fortuny explains seven of his projects carried out in three Spanish cities (Badalona, Sant Quirze Del Vallès and Barcelona) within his line of research that he calls Analysis of the Relational Process Form-Space. These projects show how positive can be the transfer of knowledge to architecture from the area of Fine Arts to architecture from the field of Fine Arts, both from sculpture and painting, and the strong use of art for the everyday life of the society where it is generated.
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Babenko, V., and O. Perepelytsia. "EDUCATIONAL DRAWING IN THE REALITIES OF MODERN OF FUTURE FINE ARTS TEACHER TRAINING." Aesthetics and Ethics of Pedagogical Action, no. 26 (December 25, 2022): 156–65. http://dx.doi.org/10.33989/2226-4051.2022.26.273165.
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The article highlights the issue of the professional future teacher of fine arts training in the course of studying the subject “Drawing.” Modern society requires future teachers of fine arts to have a high level of professional training, knowledge, and understanding of the essence of art, flexibility, and the ability to creatively solve a wide range of tasks in changing conditions. It has been established that educational drawing is the foundation of professional future art teacher training. Traditionally, educational drawing is the basis of all displays and types of artistic activity. It explains its extraordinary importance in the process of mastering visual literacy, but it is not limited in any way to the context of the development of the latest information and communication technologies. In the course of studying drawing, students master the basics of visual literacy and develop their volumetric and spatial, compositional, and creative thinking. Mastering technical tools and artistic means of drawing contributes to the ability to freely use drawing as a means of expressing one’s opinion in any type of educational or personal artistic and creative activity. An educational drawing, as one of the most important means of visualization in education, has its specifics and methods of work, specific goals, and objectives. It provides the possibility of conscious and controlled creation of visual information structures, understandable from the beginning of their creation to their completion. The drawing provides the possibility of feedback to our mind with three-dimensional thinking. Thus, it can keep our consciousness within the limits of reality without dissolving in it.
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JUMAA, THABIT. "Empathy with the self and its relationship to creativity and innovation among students of Fine Arts Institutes." Journal Ishraqat Tanmawya 27 (June 2021): 439–74. http://dx.doi.org/10.51424/ishq.27.17.
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The study was conducted on the students of the Fine Art Institutes in Basrah. 1 - level of self-esteem among students of the institutes of fine arts in light of the variable sex. 2 - the level of creativity and innovation among the students of the Institute of Fine Arts in light of the variable sex. 3. The nature of the relationship between self-esteem, creativity and innovation among the students of the Fine Art Institutes. The current research community included students of fine art institutes in Basra for the academic year (2019/2018). The study sample consisted of (120) students and (60) students and (60) students. About 15% of the members of the original society were chosen by the random stratified method. The researcher used two tools to achieve his research objectives: Researcher for this study. The second measure is creativity and innovation, prepared by Kilford (1988). The researcher achieved the validity of the measure of self-esteem in the manner of virtual honesty and the coefficient of stability in the way Vkronbach (83%). The measure of creativity and innovation has a coefficient of stability (0.66) and when modified by the equation of Spearman Brown (0.79). Testing methods and re-testing. Statistical methods were used to suit the nature and objectives of the current research. These include the T-test, the Vaccronbach equation, the Pearson correlation coefficient, The result of the current research is: The relationship between self-esteem, creativity and innovation is significant. The nature of the relationship between the two variables and the gender variable is significant. It shows that the contribution of a variable was associated with a sense of self-esteem, creativity and innovation. In the light of the research results, the researcher made a number of recommendations and suggestions. Keywords: Empathy with the self (kindness, participation, attendance), creativity and innovation (fluency, flexibility, originality), sample, measures, experimentation, discussion of results, recommendations, suggestions.
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Usharidze, E. S. "Modern Methods of Developing Cognitive Activity of Preschool Children in Fine Arts Classes." Vestnik of North Ossetian State University, no. 1 (March 25, 2024): 88–92. http://dx.doi.org/10.29025/1994-7720-2024-1-88-92.
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This article examines the use of gaming technologies in the development of cognitive activity of preschool children using the example of the introduction of Advent Calendar technology in visual arts classes. In the process of analyzing the problem of developing the cognitive activity of preschool children by means of drawing, the author comes to the conclusion about the rationality of using innovative gaming technologies. As such, the use of the Advent Calendar technology is proposed. This approach in the work of a teacher of preschool and additional education can be identified as innovative, since it was introduced into the process of teaching and upbringing relatively recently, but certainly showed its effectiveness. Based on theoretical analysis and own observations, a conclusion was made about the effectiveness of using this technology in the formation of universal educational activities, curiosity, imagination, aesthetic taste and other personal qualities necessary for the successful development of a preschooler. The following research methods were used: the study and analysis of the thematic literature on the topic of the work, conducting a pedagogical experiment consisting of several stages, including diagnostics at the ascertaining and control stages. The relevance of the research is due to the need for a variety of learning processes in organizations of additional and preschool education and the introduction of modern innovative technologies in visual arts classes. This development meets not only the modern demands and needs of society, but also the requirements of the Federal State Budget. The article will be useful for educators, primary school teachers, as well as specialists interested in improving the system of preschool and additional education.
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Miro, Ana Bonet. "From filmed pleasure to Fun Palace." Architectural Research Quarterly 22, no. 3 (September 2018): 215–24. http://dx.doi.org/10.1017/s1359135518000519.
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The Fun Palace, a collaborative enterprise initiated by the radical theatre producer Joan Littlewood and architect Cedric Price in early 1960s London articulated a response to the ‘increased leisure’ available to postwar British society. A critical model for cultural production in which civics met pleasure, the Fun Palace project aimed to construct situations for playful exchange conducted through self-directed actions as a way to activate audiences. Pleasure for all – a ‘breakthrough to total enjoyment’, in opposition to what was seen as existing commodified leisure practices – became understood as a critical agenda pitched against the elitist and interventionist Labour government's 1965 White Paper, A Policy for the Arts: The First Steps. Enforcing class-based distinctions between the high arts and popular entertainment, state arts policy failed to address the key role played by the media in the rise of the leisure society. In analysing British communications in the 1960s, the cultural critic Raymond Williams argued that, rather than opposing fine art with popular entertainment, social growth could only be achieved through the circulation of public and independent media, opportunities for which were at the time limited within the corporate structure of British broadcasting and press.
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Petrić, Milica, and Gordana Glišović. "Integrative teaching of Nature and Society and other subjects in lower primary school grades." Metodicka praksa 26, m. br. (2023): 135–41. http://dx.doi.org/10.5937/metpra2301135p.
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The knowledge that students acquire through systematic education is differentiated and it is necessary for teachers to introduce an interdisciplinary approach to teaching in order to direct students to observe the world as one inseparable whole. Integrative teaching can help a lot in this, the concept of which does not imply that knowledge is attributed to certain subjects, but rather the correlation of content among the selected subjects in order to present the whole to the students. The connections created within integrative teaching allow students to see problems from multiple sides. This work presents integrative teaching that is achieved by connecting the subjects of Nature and Society, Music and Fine Arts, and Physical Education. The combination in which nature and society are explored and discovered through different arts and through physical activities can be a special challenge for students of lower grades of elementary school, because play is the approach through which they best acquire knowledge.
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Fott, David. "John Dewey and the Mutual Influence of Democracy and Education." Review of Politics 71, no. 1 (2009): 7–19. http://dx.doi.org/10.1017/s0034670509000023.
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AbstractFor Dewey education is the growth of mental powers, where “growth” has no fixed content but involves the increasing harmonization of individuals with society. That harmonization must respect the uniqueness of each person and his capacity for intelligence. Education aims to develop a model democratic society, which Dewey sees as similar to an ideal community of scientific inquirers. That comparison is highly questionable, however. Dewey's curricular emphases include science, geography, history, literature, and fine arts, the last two of which promote a greater appreciation for all of human life—provided society is not too separated into classes. Related to social division is what he considers the false problems of epistemology, with its separation between mind and world. But Dewey's failure to think more rigorously about the relation of philosophy to science makes his philosophy a poor bulwark against postmodernism.
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Butrimienė, Edita, Vida Statkevičienė, and Rita Marčiulynienė. "The aspects of the transdisciplinary cooperation in the training of the specialists in the field of Information Technologies." Lietuvos matematikos rinkinys 46 (September 21, 2023): 131–37. http://dx.doi.org/10.15388/lmr.2006.30592.
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In the article there is analyzed if the transdisciplinary cooperation influences the students’ learning results, and if such cooperation serves for the training of a specialist, who could work in a new environment of knowledge society that motivates a project work in continually variable commands. There is discussed a 3 year-experience of the application of the transdisciplinary cooperation in the training of students in the faculty of information science at Vytautas Magnus University and at Kaunas Institute of Arts, VAA (Vilnius Academy of Fine Arts). There are also investigated some research results of the transdisciplinary cooperation in training as well as the assessment of the students on their own.
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Akın, Nalan Okan. "Culture transferring by plastic arts education." Global Journal of Arts Education 5, no. 1 (April 14, 2015): 25. http://dx.doi.org/10.18844/gjae.v5i1.56.
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Each culture has got unique values. Each society subsists with its values. Understanding a society maybe is one of the biggest virtue. Because it needs to either power of empathy or knowledge. Of course to form such an awareness individual is important. Immediately education comes at the first of this way. In this research visual education is approached. Therefore the purpose of this research, depend on universal culture, creating awareness by plastic arts education. This research is also important from the angle of teaching individuals who understand different cultures. It is also fundamental because of developing the first step of intercultural communication. This research also achieves supplement knowledge to candidate teacher in their Plastic Arts lessons in order to create universal cultural and gain them experience in transferring different culture to plastic art and it is also important because of transferring plastic art when they become a teacher so they can use their improved process. The research is the action research from qualitative research processes. The topic of research is the effect of ’’Culture Awareness Program’’ that during six (6) week has followed and applied. It had been worked by 24 tin-pot students studying at N.U. Fine Art Education department. Different countries have been approached as topic, and have been practiced. At the last of research by four questions information return have taken student opinion. It has observed that in the research, different cultural values were learned and making aesthetic forms from these cultural values and turned these experience in primary plastic art as lesson plan. It is thought that this research can be an example for the next researches to form this consciousness and contribute its. Keywords: arts education, education, arts, culture, culture transferring.