Journal articles on the topic 'New Zealand Academy of Fine Arts'
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1
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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Kovalchuk, Ostap, and Amalia Bratus. "THE VALUE OF CRITICAL CLASSES IN ART EDUCATION IN BORYS GRINCHENKO KYIV UNIVERSITY, NATIONAL ACADEMY OF FINE ARTS AND ARCHITECTURE & ROYAL DANISH ACADEMY OF FINE ARTS." Grail of Science, no. 30 (August 17, 2023): 411–13. http://dx.doi.org/10.36074/grail-of-science.04.08.2023.069.
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For an artist, the most important today is often focusing on finding new, fresh ideas. Modern educational centers try to form a new view of art in everyone, which is a significant part of the educational process. It goes without saying that classical art education does not always have time to respond to cultural and historical changes. Therefore, critical classes are a necessary platform for rethinking artistic reality. In this article, we will look at some of the main advantages of holding critical classes.
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Melnichuk, Anastasia. "From the classical ideal to the neoclassical aesthetics of the body in the art of post-revolutionary France. A new era of plastic anatomy at the Academy and the School of Fine Arts." Bulletin of Lviv National Academy of Arts, no. 46 (October 18, 2021): 46–53. http://dx.doi.org/10.37131/2524-0943-2021-46-4.
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Background. The article considers the stages of formation of anatomical science in two major art institutions of France in the XIX century, the Academy of Painting and Sculpture and the School of Fine Arts. Developments of theoretical works and bases of formation and development of plastic anatomy by known anatomists, anthropologists and artists-scientists of the XIX century are considered. Particular attention was paid to leading scientific and theoretical manuals on plastic anatomy. Excerpts from the works of the leaders of this discipline or researchers of their heritage have been translated from the original language. The methodical principles of teaching plastic anatomy are substantiated and the names of personalities who influenced the formation of plastic anatomy in the Academy and the School of Fine Arts are given. Their scientific work was of great importance for the development of anatomical science at the Academy and the School of Fine Arts. Thanks to them, not only the teaching process but also its spatial and architectural environment becomes important. The genesis of the term "plastic anatomy" is considered. Particular attention is paid to the transition from the term "anatomy" to the artistic term "plastic anatomy", which, in fact, is becoming typical of higher art education. Objectives. The purpose of the study is to highlight the methods of teaching plastic anatomy at the Academy and the School of Fine Arts during the XIX century. Methods. With the help of theoretical, informational methods and generalization method, the obtained research data were systematized and streamlined, the possibility of finding a solution to the problem was revealed and the practicality of the obtained results was evaluated. Results. For the first time in Ukrainian art history, material on the methods of teaching plastic anatomy was collected at the Academy and the School of Fine Arts of the XIX century. Conclusions. Prospects for further research require clarification of the relationship between anatomical practice and the philosophy of pragmatism, as well as a closer examination of some famous personalities (artists and anatomists-scientists) given in the article, who made a great contribution to the development of plastic anatomy.
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Wang, Shujing. "Art education in China in the XX century: national traits, international trends, and Russian influence (on the example of the Central Academy of Fine Arts)." Культура и искусство, no. 4 (April 2021): 54–65. http://dx.doi.org/10.7256/2454-0625.2021.4.35397.
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The Central Academy of Fine Arts is the only higher education institution of fine arts under the jurisdiction of the Ministry of Education of the People's Republic of China. The history of the National Art School in Beiping dates back to the establishment of the National School of Fine Arts in Beijing in 1918, which was supported by the prominent pedagogue of art and its first director Cai Yuanpei. It was the first national school in the history of China, laid the foundation for the modern Chinese education in the field of fine arts. This article is dedicated to the analysis of the key events of more than a century-long history of the school, which allows tracings the evolution of the Chinese art education, and gives a better perspective on the role of modern China in the art world. The novelty of this work lies consists in description of the process of establishment of art education in China in the XX century, classification of the national traits of this period on the example of the Central Academy of Fine Arts in Beijing, as well as analysis of the Soviet impact upon the Chinese education in the field of art history. The international cooperation with the Russian School of Painting, namely I. E. Repin Academy of Fine Arts had a beneficial impact. The study of Chinese students in the USSR allowed the following generations to implement such valuable experience. The ancient techniques and plotline received a new life in the works of modern artists, which are justifiably regarded as the achievement and progress in the national culture.
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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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Chiu, Ling-Ting. "A New Page of Literati Painting from Singapore and Malaysia: A Study of Chen Wen Hsi and Chung Chen Sun." Translocal Chinese: East Asian Perspectives 15, no. 1 (July 1, 2021): 93–130. http://dx.doi.org/10.1163/24522015-15010006.
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Abstract In the early twentieth century, Chinese literati painting was embroiled in arguments on the relationship between ancient and modern or east and west. Therefore, the artistic practices of Wu Changshuo, Chen Shizeng, Qi Baishi, Xu Beihong and so on, were in response to this development. However, with the occurrence of World War ii and changes in the post-war situation, literati painting underwent further, new changes in different regions. This article intends to discuss the overseas Chinese painters Chen Wen Hsi and Chung Chen Sun as examples in exploring the new development of literati painting in Singapore and Malaysia in the second half of the twentieth century. Chen Wen Hsi was born in Jieyang County, Guangdong Province in 1906. He studied at Shanghai Fine Arts College and Xinhua Art College. He went to Singapore and held an exhibition in 1948. In 1950, he taught at The Chinese High School, and the following year also began teaching Chinese ink painting at Nanyang Fine Arts College. Chung Chen Sun, a native of Mei County, Guangdong Province, was born in 1935 in Malacca, Malaysia. In 1953, he entered the Department of Art Education of Nanyang Academy of Fine Arts, which was founded by Lim Hak Tai. Chung was inspired by predecessors such as Cheong Soo-pien, Chen Wen Hsi and Chen Chong-swee who had pursued the Nanyang style. In 1967, Chung founded the Malaysian Academy of Art. Their styles of painting not only incorporate the Eastern aesthetics and Western theory but also include diverse elements. Their paintings wrote a new page in the history of literati painting during the Cold War era.
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SAZIKOV, ALEXEY V. "Media Art—XXI Century: Genesis, Art Programs, Education Problems International Scientific Conference." Art and Science of Television 19, no. 1 (2023): 201–23. http://dx.doi.org/10.30628/1994-9529-2023-19.1-201-223.
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The article reviews the reports delivered on November 1–3, 2022, at the International Research-to-Practice Conference Media Art—XXI Century: Genesis, Art Programs, Education Problems. It was organized by the Russian Academy of Arts, the Research Institute of Theory and History of Fine Arts, the State Institute for Art Studies, Stroganov Moscow State Academy of Design and Applied Arts, the Moscow Architectural Institute (State Academy), and the National Academy of Design. The conference aimed at comprehending the current state of media art in the context of digitalization of classical works and methods of their exposure; at identifying key program and aesthetic dominants in media art; and at systematizing the most relevant educational projects. The organizers suggested the following aspects as the major research focuses: classical arts and media in digital discourse; new media in the socio-cultural environment; current media forms and their genesis; new media in the urban environment; interdisciplinary and authorial projects; educational processes and new competencies. Cultural institutions today are faced with the search for a definition of materiality, with fixation of transitory art; and in response, contemporary art studies are forced to develop new theoretical concepts to be used in scholarly discourse. It is how contemporary media, digital and post-digital technologies influence the state and development of contemporary art and art history practice, architecture, design, and decorative arts, that became the key research task of Media Art—XXI Century Conference. The conference demonstrated the wide range of aesthetic, art history, culturological and pedagogical aspects, which are incorporated in the creation, exposure, and further circulation of media art in the socio-cultural space.
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Aubrey, Meg. "CLICK: Arts education and critical social dialogue within global youth work practice." International Journal of Development Education and Global Learning 7, no. 1 (June 1, 2015): 71–91. http://dx.doi.org/10.18546/ijdegl.07.1.05.
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This article discusses CLICK, a collaborative theatre project between the Mess Up The Mess Theatre Company in Wales, the Hong Kong Academy for Performing Arts, the Australian Theatre for Young People, and Inspired Productions in New Zealand. This case study demonstrates the value of using arts education to bring together young people from multiple countries across the world through the use of social media and theatre for development work, and to explore issues of diversity and identity through Education for Sustainable Development and Global Citizenship (ESDGC). This article will explore the use of social media within arts education and global youth work practice to promote critical social dialogue around sensitive issues as a catalyst for positive social change.
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Andriaka, S. N. "“Composing A Landscape Painting”. A New Teaching Guide from the Sergey Andriaka Academy of Watercolor and Fine Arts." Secreta Artis 6, no. 2 (November 21, 2023): 50–57. http://dx.doi.org/10.51236/2618-7140-2023-6-2-50-57.
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Eschenburg, Madeline, and Ellen Larson. "The Round Table 03 圆桌: A Conversation with Xu Bing." Contemporaneity: Historical Presence in Visual Culture 4 (August 3, 2015): 201–7. http://dx.doi.org/10.5195/contemp.2015.157.
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The following is an excerpt from a conversation between contemporary Chinese artist Xu Bing, Madeline Eschenburg, and Ellen Larson. Xu Bing curated an exhibition at the Central Academy of Fine Arts titled The Second CAFAM Future Exhibition, Observer-Creator: The Reality Representation of Chinese Young Art, on exhibition through March 2015. Our conversation centered around his thoughts on a new generation of young Chinese artists as well as reflection on his own early career and time in New York. The conversation was conducted in Chinese and has been translated into English.
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Andrews, Julia F. "Traditional Painting in New China: Guohua and the Anti-Rightist Campaign." Journal of Asian Studies 49, no. 3 (August 1990): 555–86. http://dx.doi.org/10.2307/2057771.
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The anti-rightist campaign of 1957 and 1958 had dire consequences for many of China's artists, just as it did for hundreds of thousands of China's intellectuals (Link 1984:11–14). A sculpture instructor and Communist Party member at the Central Academy of Fine Arts, for example, refused to testify against the artist Jiang Feng, the academy's director and a man to whom he felt personal loyalty. The sculptor was declared an “extreme rightist” and sent to a labor camp at Xingkai Lake in Heilongjiang on the Soviet border. His entire sculptural output for the following years, 1958 to 1979, was a small box filled with crudely carved tree roots, work conducted in secret without professional tools or materials (interview with A 1986).
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Hölscher, Stefan. "Matter that matters." Maska 33, no. 191 (September 1, 2018): 124–27. http://dx.doi.org/10.1386/maska.33.191-192.124_5.
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The two edited volumes on ‘New Materialism’, entitled Power of Material/Politics of Materiality (2014) and Fragile Identities (2015), edited by Susanne Witzgall and Kerstin Stakemeier, are based on an ongoing lecture series organized by the CX – Centre for Interdisciplinary Studies at the Academy of Fine Arts in Munich. Both volumes bring together international theorists and artists alike and initiate a dialogue amongst them. They furthermore document and extend the talks that were presented at AdBK Munich, as well as the following discussions, and also include various artistic works that were created by students at the academy in the wider context of the unfolding public events of the CX. Neither of the volumes, this is explicitly made clear by the editors already in the first volume, wants to participate in the establishment of a new paradigm. What they try to do instead is to show tendencies within a diverse field that is indeed materialist but not necessarily ‘new’.
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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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Rossi, Martina. "Il teatro è arte visiva. Le premesse critiche di Toti Scialoja per una moderna concezione della scena." Storia della critica d'arte: annuario della S.I.S.C.A. 1 (2020): 113–27. http://dx.doi.org/10.48294/s2020.007.
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Il teatro è arte visiva is an undated and unpublished text by Toti Scialoja. It has been found in the archive of the artist among other documents related to his activity of teacher at the Academy of Fine Art in Rome. The text could be seen as a proof of Scialoja’s lasting interest in the reflection on the role of the arts in the mise en scène. In particular, he started to propose his own opinion inside of Italian culture debate since the Forties. Some texts on this matter have been published between 1944 and 1946 on “Mercurio”, and in 1949 on “L’Immagine”. Considering those precedents, Il teatro è arte visiva could be considered a summa of the principles that Scialoja already expressed in those previous texts, but actualized according to new experiences, like Grotowski’s Poor Theatre. This mention suggests to propose a dating of the document subsequent the second half of the Sixties and to refer it to his experience as Professor of Scenography at the Academy of Fine Arts. It consents to highlight how he educated his students in light of the most important and innovative experimentation scenic of Avant-gardes, instilling in them the importance of considering theatre like a visual art, formally independent from the single contribution of paint, sculpture, and architecture.
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Wade, Rebecca. "The Young Naturalist by Henry Weekes: intermediality, industry and international exhibitions." Sculpture Journal 32, no. 4 (December 2023): 451–68. http://dx.doi.org/10.3828/sj.2023.32.4.04.
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The Young Naturalist by Henry Weekes (1807–77) was first presented in plaster at the Royal Academy of Arts in 1854. Beginning as an object located firmly in the domain of the fine arts through its modes of production and sites of display, the sculpture encountered industry through a series of international exhibitions in Paris, London and Manchester during the 1850s and 1860s. Not only was the work in proximity to industrial objects, processes and collectors, it was fundamentally transformed by them, resulting in a collaboration between Weekes and the Birmingham-based manufacturer Elkington & Co. This article charts the changing status of sculpture and labour in the second half of the nineteenth century, with its increasing visibility and availability to new markets through both emerging and established technologies of reproduction.
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Akhmetova, Dina I. "Kazan art exhibitions of the 19th – 20th centuries as sources of formation of the city’s museum collections." Historical Ethnology 5, no. 3 (November 27, 2020): 373–87. http://dx.doi.org/10.22378/he.2020-5-3.373-387.
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The creation of an art school in 1895 under the patronage of the Academy of Arts is an important milestone in the life of the Kazan Province center. As a result, Kazan combines various vectors of cultural activities: getting an art education, organizing exhibitions, and uniting the local creative intelligentsia. For the first time, rare but already regular exhibitions are held in the city. Initially, these were exhibitions of the academic school masters of the capital. Later, united by the school, Kazan artists felt up to the task of organizing their own exhibitions. The result of these events is the formation of the school’s museum, as well as the development of the city’s private collections. The City Museum also acquired works of art for its own funds. Artist A. Kandaurov laid the foundation of the school museum and presented two of his paintings in 1896. Afterwards it became a tradition – artists donated their works to the school museum. As a result, in 1902, the school petitioned the Academy “to create a museum and a gallery in the new school building using the stock of the Academy of Arts”. Many of the works purchased at such exhibitions were included in the collection of the Republic of Tatarstan State Museum of Fine Arts. The organization of art exhibitions made Kazan a part of the all-Russian cultural space of those years.
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Drutsé, A. "From the history of manufacturing Romanian nai at the turn of 20–21 centuries." Musical art in the educological discourse, no. 3 (2018): 71–74. http://dx.doi.org/10.28925/2518-766x.2018.3.7174.
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The modern world popularity of the nai — a traditional Romanian instrument — has identified interest in writing this article. This problematic constitutes the circle of our research interest as a doctoral candidate, but also as a concert performer, a graduate of the Academy of Music, Theater and Fine Arts. One of the most interesting aspects of the study of nai is its technical improvement since 60s of the 20th century, which led to the acquisition of a number of new, innovative skills and performance skills. In this article we have identified some pages of the modern history of the manufacture of this ancient instrument associated with these processes.
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Lorenzo Lima, Juan Alejandro. "A la sombra del éxito. El pintor Antonio Sánchez González y su actividad en la iglesia madrileña del Salvador (1801-1804)." Revista de Historia Canaria, no. 203 (2021): 273–91. http://dx.doi.org/10.25145/j.histcan.2021.203.10.
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This paper deals with the works of the painter from Tenerife Antonio Sánchez González in the church of El Salvador in Madrid, where he made a new fresco decoration for the pendentives of the transept and designed the main altarpiece. In addition to recalling his carrer, the study analyzes the situation of the artist before the War of Independence (1808) and the lawsuit that these actions motivated in the Royal Academy of Fine Arts of San Fernando, where they didn´t have the approval of the painters Gregorio Ferro and Mariano Salvador Maella or the architects Juan Pedro Arnal, Juan de Villanueva and Antonio López Aguado, among others
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Sofilkanych, Marina. "OUT-OF-SCHOOL ESTABLISHMENTS OF TRANSCARPATHIA AND THEIR ROLE IN THE SYSTEM OF ART EDUCATION." Academic Notes Series Pedagogical Science 1, no. 192 (March 2021): 203–9. http://dx.doi.org/10.36550/2415-7988-2021-1-192-203-209.
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The retrospective analysis of emergence of out-of-school art education of the region is made in the article, organization and role of extracurricular education in Ukraine, its organizers and researchers in this field. The emergence and development of art school of Transcarpathia in the twentieth century led to the formation of new generations of artists and the creation of art education. Out-of-school educational establishments of artistic and aesthetic direction were created for young children of the first school age, the first of which was a studio of fine arts under the direction of Zoltan Bakonii. Following the example of this studio in Transcarpathia in the second half of the twentieth century. opened children's art schools with the department of fine arts in the cities of Mukachevo, Uzhhorod, Khust, Vynohradiv, v.Chynadiyevo, etc., where teachers were mostly graduates of Transcarpathian art educational establishments. The development of art education in Transcarpathia and the extracurricular education of the region was studied by Nebesnyk I. I., Voloshchuk A .V, Mochan T. M, Rosul T. I. In the system of art education in Transcarpathia, founded by Adalbert Erdeli and Joseph Boksai, such well-known teachers as V. Skakandii, I. Masniuk, N. Ponomarenko, M. Syrohman, L. Prymych, V. Manailo, E. Roman, T. Bartosh, H. Homoki, V. Dorosh, A. StasIuk and others studied and worked there. Important role in the development of regional extracurricular education of artistic and aesthetic orientation belongs to such well-known pedagogues-educators as V. Burch and V. Tsibere. They played a major role in the creation of Mukachevo Children's ArtSchool named after M. Munkachi. This school of arts, after Z. Bakonii's studio, is one of the first art schools in the field where fine arts is taught. Later the art departments were based on children's music schools. The fine arts department at Uzhhorod Children's School of Arts started its activity in 1984. Most of the teachers came to Zoltan Bakonii's schools: V. Vovchok, O. Sidoruk, G. Kramarenko, E. Roman (head of the department of fine art) and others. Over 200 students study at the fine arts department of named school. During the 1990s, Transcarpathian extracurricular institutions were stagnant and even have undergone a numerical reduction. Since the beginning of 2000, as a result of the successful management of local administrations and their successful policies, their activities have been normalized and coordinated with the work of leading educational establishments of the art education of the region, in particular the College of Arts named after A. Erdeli and the Transcarpathian Academy of Arts. The joint actions and events, workshops for the students of art schools of the region, as well as training courses and seminars for teachers are held. Therefore, in the system of continuous art education (school, college, academy), extra-curricular institutions play an important role. At the School of Arts children learn the basics of fine literacy, academic drawing, painting, composition and get acquainted with examples of the world's best art at the Art history lessons. It is at the School of Arts that the artistic and aesthetic tastes and sensations of beauty are formed, the aesthetic education of young people, its professional orientation, and the formation of artistic environment of the region. In the field of art education, this three-stages system is important, because it solves its sectoral tasks and is a very important link and system of continuous art education in Transcarpathia.
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Khartanovich, Margarita F., and Maria V. Khartanovich. "Museum of Classical Archeology of the 19th-century Imperial Academy of Sciences: The history of organizing and transferring collections to the Imperial Hermitage." Issues of Museology 12, no. 1 (2021): 13–27. http://dx.doi.org/10.21638/spbu27.2021.102.
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The Museum of Classical Archeology of the Imperial Academy of Sciences is the successor to the 18th-century Kunstkamera of the Academy of Sciences in term of collections of classical antiquities. This article discusses in detail the stages of development of the Museum of Classical Archaeology as an institution within the structure of the Academy of Sciences through the Cabinet of Medals and Rarities, Numismatic Museum, and the Museum of Classical Archaeology. The fund of the museum consisted of ancient Greek and Roman coins, ancient Russian coins, coins from oriental cultures, ancient Greek vases, antiquities from ornamental stone, glass, precious metals, impressions of medals and coins, items from archaeological excavations and treasures, manuscripts, drawings of objects and photographs. Special attention is paid to the correlation of the possibilities of museum collections of the Academy of Sciences and the Imperial Hermitage in terms of storage, exhibition, research, and promotion of archaeological collections in the second half of the 19th century. The reasons for the very active transfer of the Academy of Sciences’ archaeological collections to the Hermitage in the 19th century and the types of compensation received by the Academy for the collections are discussed. The first archaeological collections donated from the Academy of Sciences to the Hermitage on the initiative of the chairman of the Imperial Archaeological Commission S. G. Stroganov were the “Siberian collection” of Peter I and the Melgunov treasure. The collection of the Museum of Classical Archeology also attracted the attention of art critic I. V. Tsvetaev when arranging funds for the new Museum of Fine Arts at Moscow University. The article introduces into scientific circulation archival documents, showing the state of the museum work in the 19th century in the institution of the Academy of Sciences, documents depicting the structure of the Museum of Classical Archaeology, and the composition of collections.
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Milanovic, Biljana. "Petar Konjovic’s contribution to the constitution and the beginnings of the Institute of Musicology of the Serbian Academy of Sciences and Arts." Muzikologija, no. 25 (2018): 15–48. http://dx.doi.org/10.2298/muz1825015m.
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In the text I deal with the period of establishment and the beginnings of the work of the Institute of Musicology of the Serbian Academy of Sciences, which is marked by the role of composer and music writer Petar Konjovic (1883- 1970), who founded and was the first director of the Institute (1947-1954). I examined and problematized Konjovic?s efforts to establish and manage the institution, which were inseparable from his role of Fellow of the Academy and Secretary of the Department of Fine Arts and Music of the Serbian Academy of Sciences (1948-1954), through the analysis of archival documentation. The basic assumption that I started from was related to the interdependence between (1) the establishment of an institutional order and (2) the disciplining of scientific research in the direction of the emergence of musicology and ethnomusicology in the local context. In particular, issues related to the Institute?s relationship with the wider organizational environment and research policy of the SAN, as well as the role and support of its significant individuals in the process of the institutionalization of music science were especially highlighted. The problem of acquiring legitimacy in clearly hierarchical relationships proved to be very complex, since the Institute represented, on the one hand, a scientific unit of the Academy of Arts, that is, the Department of Fine Arts and Music, which, on the other hand, was marked by the inheritance of marginalized status of artists in comparison to other entities within the SAN. The formation of scientific tasks and objectives and the questions related to their realization were shaped in such a context. I analyzed these problems within three subchapters. The first of them provides basic information on the reorganization of the Serbian Academy of Sciences within the framework of the cultural policy of the new regime and deals with the aspects of the formal establishment of the Institute (1947) and the contextualization of the first programmatic projections of its work. The second question relates to the diverse problems that accompanied the delay of the start of the Institute?s activities, while the final subchapteris dedicated to the period from hiring the first associates to the end of Konjovic?s directorship (1948-1954). Konjovic?s strategies pointed to his simultaneous stability and flexibility in the design of thematic areas and methodological approaches. The policy of the scientific-research work of the Institute of Musicology from Konjovic?s time can be outlined in several general aspects: reliance on pre-war experiences, without the destruction of inherited value canons, but with constant changes in the direction of widening the scope of processed material through research of hitherto neglected creative personalities, performing practices and institutions; melographed and studied folklore material from various rural and urban areas, including different national and ethnic communities; the establishment of completely new thematic areas in the local context that destabilize the concept of purely national science; the emphasis on interdisciplinarity and openness to communication and exchange of scientific and methodological experiences in the international context. Konjovic?s position at the Serbian Academy of Sciences, his experience in managing various institutions, persistence and strategically planned actions, his high criteria and consideration in the selection of associates, managing without ideological divergences from his position of the bourgeois pre-war intellectual, but also his patient waiting for certain decisions of the competent instances, were crucial for the constitution and survival of the Institute of Musicology, within which the platform of musicological and ethnomusicological disciplines in Serbia was established in just a few years.
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Morra, Joanne. "On Use: Art Education and Psychoanalysis." Journal of Visual Culture 16, no. 1 (April 2017): 56–73. http://dx.doi.org/10.1177/1470412917700766.
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In this article, the author uses a key moment in Michael Fried’s essay ‘Art and Objecthood’ – Fried’s reference to Tony Smith’s car ride on the unfinished New Jersey Turnpike with his Masters of Fine Art students – to think about the possibilities offered to art education by psychoanalysis. In considering Smith’s experience and Fried’s interpretation of it as instances of both pedagogy and Winnicottian ‘use’, the author allows this analogy to echo and expand throughout three different pedagogical moments in which she has put ‘Art and Objecthood’ to use within her teaching, and back through to Sigmund Freud’s idea of ‘after-education’. In this article, she asks: How have I used Fried’s text? How, in turn, do art students use it? How and why do we as teachers and students use theory? What does all this using tell us about art education and the academy? And, ultimately, what is the role of psychoanalysis within art education?
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Kolev, Vasil, and Asya Ivanova. "ART MANAGEMENT: A NEW DISCIPLINE ENTERING THE CULTURAL AND ACADEMIC LIFE IN PLOVDIV." CBU International Conference Proceedings 5 (September 23, 2017): 666–68. http://dx.doi.org/10.12955/cbup.v5.1004.
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This paper presents the conditions of economic and political changes within the 90s in Bulgaria and the necessity of a new way of thinking at managing cultural institutions in the conditions of the market economy. As a response to that problem it was created the first of its kind in Bulgaria master’s degree program „Art management.“For that purpose a brief overview of the formal models of funding the arts worldwide are presented along with the characteristics at regional levels which led to the creation of the new educational programme.The main disciplines studied in the educational module aiming to develop a new set of skills among artists are listed with a brief introduction of their scope. A local survey conducted at the Academy of Music, Dance and Fine Arts – Plovdiv, analyzing the interest of the first of its kind in Bulgaria master’s degree program „Art management“ is presented. The initial result of the evolution of the educational programme based on the number of students enrolled per year are the motivation for the start of a lager research project “ÄRT” funded by the SRF, Ministry of Education and Science.
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Dağoğlu. "Mihri Rasim and the Founding of the Women's Fine Arts Academy, İnas Sanayi-i Nefise Mektebi: a Double-edged New Social Reality." Journal of the Ottoman and Turkish Studies Association 6, no. 2 (2019): 33. http://dx.doi.org/10.2979/jottturstuass.6.2.05.
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Elezović, Zvezdana. "Affirmation of Serbian sculptures in Kosovo and Metohija." Bastina, no. 56 (2022): 553–62. http://dx.doi.org/10.5937/bastina32-36832.
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The paper discusses the affirmation of Serbian sculptors in Kosovo and Metohija in the second half of the XX century. It began to develop in the province in parallel with painting, and the founding of the Academy of Arts in Pristina in 1973 can be taken as a turning point. Most artists have already been involved in current creative trends in fine arts in Kosovo and Metohija and beyond. Bužančić says that sculptural achievements, as well as facts from the art scene at the time and a promising future, reject any allusion that sculpture was still a less important sector of Kosovo's art. As the founders of Serbian sculpture in Kosovo and Metohija, we can mention Svetomir Arsić Basara, Radoslav Musa Miketić, and after some time Zoran Karalejić, and they raised sculpture in Kosovo and Metohija with their artistic creation and pedagogical work. The circle of Serbian sculptors then began to expand and prosper, with new profiles and sensibilities, enriching sculptural production in the province.
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CROSLAND, MAURICE. "Popular science and the arts: challenges to cultural authority in France under the Second Empire." British Journal for the History of Science 34, no. 3 (September 2001): 301–22. http://dx.doi.org/10.1017/s0007087401004435.
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The National Institute of Science and the Arts, founded in 1795, consists of parallel academies, concerned with science, literature, the visual arts and so on. In the nineteenth century it represented a unique government-sponsored intellectual authority and a supreme court judgement, a power which came to be resented by innovators of all kinds. The Académie des sciences held a virtual monopoly in representing French science but soon this came to be challenged. In the period of the Second Empire (1852–70) we find a group of men carving out a new career for themselves as professional popularizers of science, commissioned to write regular articles in newspapers and journals. Although they had begun by simply reporting the meetings of the Académie des sciences, they soon widened their scope and even began criticizing the august Académie. Thus they represented the alternative voice of science, distinct from ‘official science’. These independent writers had their counterpart in painting and literature, both of which were developing radical new approaches in mid-century. When the very traditional Fine Art Academy refused to consider their paintings, painters like Cézanne and Manet found an alternative outlet. Writers too asserted their independence from the Académie française. There were not only many parallels between the independent practitioners in science, painting and literature but also new schools of ‘naturalism’ in painting and literature which looked to science as a model.
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Грачева, С. М. "Pavel Shevchenko’s Sculpture as a Reflection of the Academic Trend of Fine Arts of the Late 20th – 21st Centuries." Scientific Papers of St Petersburg Academy of Fine Arts, no. 68 (March 25, 2024): 218–33. http://dx.doi.org/10.62625/2782-1889.2024.68.68.015.
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Петербургская скульптура последних десятилетий – явление весьма многообразное как в типологическом, так и в стилистическом отношениях. На улицах и площадях Северной столицы появилось много новых памятников, произведений пленэрной скульптуры, арт-объектов. Один из уникальных мастеров, оставивших нам свое наследие в виде монументальных и станковых произведений, – Павел Шевченко (1954–2021), преподаватель скульптурного факультета Санкт-Петербургской академии художеств, воспитавший не одно поколение скульпторов. Он много экспериментировал в области формы, достигая почти живописного эффекта в пластике своих произведений, используя новые технологии в скульптурных объектах, порой сочетая несочетаемое. Павел Шевченко относится к авторам, много работавшим в станковой, кабинетной скульптуре. В статье рассматривается также его станковая пластика, выполненная в разных жанрах и в абстрактном ключе. Petersburg sculpture of the last decades is a very diverse phenomenon both in typological and stylistic terms. Many new monuments, works of plein-air sculpture, and art objects have appeared on the streets and squares of the Northern Capital. Pavel Shevchenko (1954–2021) is one of the unique masters who created many monumental and easel works. He was a professor of the sculpture faculty in the St Petersburg Academy of Arts, who brought up more than one generation of sculptors. He experimented a lot in the field of form, achieving an almost picturesque effect in the plasticity of his works, using new technologies in sculptural objects, sometimes combining incongruous things. Pavel Shevchenko refers to the authors who worked a lot in easel, cabinet sculpture. The article also discusses his easel plastic works, made in different genres and in abstract way.
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Muehlbacher, Stephan, Erich Kirchler, Erik Hoelzl, Julie Ashby, Chiara Berti, Jenny Job, Simon Kemp, Ursula Peterlik, Christine Roland-Lévy, and Karin Waldherr. "Hard-Earned Income and Tax Compliance." European Psychologist 13, no. 4 (January 2008): 298–304. http://dx.doi.org/10.1027/1016-9040.13.4.298.
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Is the effort invested to achieve taxable income a relevant factor for tax compliance? If the value of income increases with the effort exerted, reluctance to pay taxes should be high. On the other hand, if income is perceived as compensation for one’s endeavor, there is too much at stake to take the risk of being audited and paying a fine. Consequently, tax evasion should be more likely if income was obtained easily. These contradicting predictions were tested in a questionnaire study with samples from eight countries (Australia, Austria, England, France, Italy, New Zealand, Spain and Switzerland; N = 1,223). Results show that the effort exerted to obtain taxable income and the aspiration level matter in compliance decisions. Hard-earned money is more likely to be reported honestly to tax authorities, particularly if the aspiration level can be satisfied by honest tax reporting.
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Waite, P. M. E., and L. J. Rogers. "Richard Freeman Mark 1934 - 2003." Historical Records of Australian Science 17, no. 1 (2006): 91. http://dx.doi.org/10.1071/hr06004.
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Richard Freeman Mark was born in New Zealand and studied Medicine at Otago University, followed by doctoral studies at the Universit� d'Aix-Marseille in France. He undertook postdoctoral studies at the Californian Institute of Technology before accepting a Senior Lectureship at Monash University, Melbourne. His research interests focused on neuroscience, with cutting-edge studies on memory, nerve regeneration, neurodevelopment and plasticity. Richard was appointed to the Foundation Chair of Behavioural Biology at the Australian National University in 1975 and remained there for over twenty-five years. He championed an interdisciplinary and integrated approach to neurobiology in both teaching and research. He was a gifted supervisor and teacher and and initiated the first honours Neuroscience course in Australia. He was elected to the Fellowship of the Australian Academy of Science in 1974, served as President of the Australian Neuroscience Society from 1998-1999 and was awarded the Centenary Medal in 2003.
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Krasnoslobodtsev, Constantine V. "EXHIBITION OF MODERN FRENCH ART IN MOSCOW (1928) ON THE MATERIALS OF RGALI AND THE ARCHIVE OF THE PUSHKIN STATE MUSEUM OF FINE ARTS." History and Archives, no. 3 (2022): 52–62. http://dx.doi.org/10.28995/2658-6541-2022-3-52-62.
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The cooperation of the new Soviet art and the artists of Russian emigration is a subject of particular interest. The period of the 1920s became a unique in the history of art when the new Soviet avant-garde artists, as well as artists who remained at home and those who decided to leave and not return, got along at international exhibitions within the Russian section. Russian art was still perceived as a single whole, geographical boundaries did not play a role, and the abyss of “non-return” had not yet opened between the creators themselves. The last chords in that still general composition were some art exhibitions that have become iconic. One of them was the exhibition of modern French art in Moscow (September – November 1928), which is the focus of the article. The organization of the exhibition brought together efforts of highranking officials of the USSR and France (A.V. Lunacharsky, E. Herriot), major cultural institutions (State Museum of New Western Art, Tretyakov Gallery, State Academy of Art Sciences), private French galleries and art dealers, as well as individual artists. On the basis of archival documents from the funds of the RGALI and the Archive of the Pushkin State Museum of Fine Arts, the author restores the events associated with the preparation, organization, negotiations and participation in the exhibition of emigrant artists.
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Khairulina, A. V. "ON THE METHODS OF O. N. LOSHAKOV IN TEACHING EASEL PAINTING From his experience at the Vladivostok Art School in 1960–1962." Arts education and science 1, no. 3 (2021): 16–21. http://dx.doi.org/10.36871/hon.202103002.
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The article explores the first pedagogical experience of Academician of the Russian Academy of Arts, Honored Artist of the Russian Federation, Professor Oleg Nikolaevich Loshakov in Vladivostok. The work provides a brief overview on the history of the formation of professional arts education in the Far East. Positive influence of Oleg Loshakov — graduate of the Moscow State Academic Art Institute named after V. I. Surikov on improving the quality of the educational process at the Vladivostok Art School is noted. He contributed greatly to the development of fine arts in Primorsky Krai as a teacher and representative of the Moscow School of Painting. Further creative activity of O. N. Loshakov who painted landscapes on Shikotan Island together with a group of young artists that were his first graduates is described. The materials of the article expand the range of ideas about the artist's work in the Far East, and reveal new aspects of his landscape paintings of the 1960s. Special consideration is given to the monumental landscape in the master's work. The relevance of the topic is determined by the lack of materials devoted to the period of O. N. Loshakov's formation as a teacher and artist.
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Condraticova, Liliana. "Andrei Negura and transposition of emotions into color." Akademos, no. 3(62) (December 2022): 141–46. http://dx.doi.org/10.52673/18570461.22.3-66.17.
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The present approach represents the vision of a historian on the evolution and development of decorative art in Moldova through the lens of the creation of Andrei Negură, an artist who asserted himself equally in painting and tapestry. He made a sensation at the beginning of his activity in the 1980s with the tapestries he exhibited, shaping a new attitude of society, driving his interest in this genre of decorative arts. His creation, deeply rooted in the aesthetics of traditional weaving, offers outstanding samples of modern art, products of original plastic and technological experiments. Thanks to him, for the first time tapestry began to be studied at the level of a higher education institution, he founded the Department of Textile Arts at the Academy of Music, Theater and Fine Arts, the “Tapestry” specialty. His last personal exhibition, Revelations in Color, at the “Constantin Brâncusi” Exhibition Center in Chisinau, presents him in the fullness of his talent as an author of parietal tapestry, three-dimensional tapestry, easel and applicative graphics, oil painting and tempera painting. Through his complex creation, A. Negură made a significant contribution to the valorization of the national cultural heritage.
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Melnychuk, I. "Methods of teaching painting in the open air. Task «landscape» for students of the workshop of landscape painting of National Academy of Fine Arts and Architecture." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 145–51. http://dx.doi.org/10.33838/naoma.27.2018.145-151.
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The article reveals the theoretical features of the problem of landscape in the open air as one of the integral genres of fine art. The landscape is an inexhaustible source of reproduction of nature in compositional regularity and ideological plans of the student. The author reviewed and analyzed the main stages of the methodology of teaching landscape tasks in open air for students of landscape workshop of National Academy of Fine Arts and Architecture. The proposed method proves the relevance of the preparation, implementation and structuring of tasks to achieve maximum results. Proposed targets are arranged in chronological order, which gives the opportunity to perform phasing of the work over the implementation of the task "Landscape". We emphasized the main goal of the task - high-quality professional training of the student for the implementation of the task set before him – landscape painting in the open air. The efficiency of the method of landscape painting in practice, the sequence of work and the final stage are considered. The attention is focused on the choice of motive for the creation of a peculiar image; each point of the work process is reasoned, examples are given and their analysis is provided . Thus, guided by the laws of landscape painting, the student must capture not only the real landscape, but also to create a new reality; at the same time, all the work must be systematized for the perception and implementation of its image. The author draws attention to the importance of a clear phasing in the work, emphasizing the importance of the task in the open air for the understanding of the basics of artistic knowledge.
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С.Е., Прокопец,. "Comprehension of the Soviet past in the modern fine art of the Lugansk region." Iskusstvo Evrazii [The Art of Eurasia], no. 4(27) (December 29, 2022): 152–61. http://dx.doi.org/10.46748/arteuras.2022.04.011.
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Статья посвящена зарождению, развитию и современному состоянию художественной школы Луганщины в контексте советской эпохи. Рассматривая истоки и историко-культурные условия, повлиявшие на особенности искусства этого промышленного центра, автор прослеживает движение художественных процессов от соцреализма через авангард в его различных проявлениях в идеях, тематике и изобразительно-выразительных средствах к новому осмыслению реалистических традиций и изображению людей, проникнутых духом созидания и любовью к родному краю, готовых к подвигу в труде и на войне. Подчеркивается важная роль Луганской государственной академии культуры и искусства имени М. Матусовского и ее колледжа культуры и искусств в сохранении реалистической школы. В статье введен в научный оборот и сопровожден искусствоведческим комментарием ряд художественных произведений, созданных луганскими художниками в 2014–2021 годы. The article is devoted to the origin, development and current state of the art school of the Lugansk region in the context of the art of the Soviet period. The author examines the origins and historical and cultural conditions that influenced the features of the art of this industrial centre. He traces the movement of artistic processes from socialist realism, through the avant-garde in its various manifestations in ideas, themes and pictorial and expressive means to a new understanding of realistic traditions and the depiction of people imbued with the spirit of creation and love for their native land, ready for a feat in labour and war. The important role of the Lugansk State Academy of Culture and Arts named after M. Matusovsky and its college of culture and arts in the preservation of the realistic school is substantiated and illustrated. This study introduces into scientific circulation and accompanies a number of works of art created by Luhansk artists in 2014–2021 with an art history commentary.
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Goleneva, T. I., O. A. Potaptseva, and D. V. Fomicheva. "Ceramic Christmas Toys and Christmas Decorations, a New Project of the Ceramics, Porcelain and Sculpture Workshop of the Sergey Andriaka Academy of Watercolor and Fine Arts." Secreta Artis 6, no. 3 (January 30, 2024): 68–83. http://dx.doi.org/10.51236/2618-7140-2023-6-3-68-83.
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Sisa, József. "Neo-Gothic Architecture and Restoration of Historic Buildings in Central Europe: Friedrich Schmidt and His School." Journal of the Society of Architectural Historians 61, no. 2 (June 1, 2002): 170–87. http://dx.doi.org/10.2307/991838.
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Friedrich Schmidt, the foremost Gothicist of Austria, exerted seminal influence in central Europe through his activities as architect, restorer of historic buildings, and professor at the Vienna Academy of Fine Arts. His unorthodox teaching methods included personal tuition near the drawing board and study trips to examine medieval buildings, attended by students of different ethnic, religious, and cultural backgrounds from all corners of the monarchy and even beyond. The students' school society, called Wiener Bauhütte, or Vienna Building Lodge, published their drawings in albums under the same name. The reception of Gothic in the countries of the Austro-Hungarian Monarchy differed according to local traditions, historical associations, and political circumstances. Revived Gothic best suited church building, in which Schmidt's pupils, often relying on their teacher's models, excelled. Gothic did not fare so well in monumental public architecture, though in the Budapest Parliament House by Imre Steindl, Schmidt's school witnessed the summation of its ambitions and the transcendence of its limitations. Schmidt's orientation in his later life toward German Neo-Renaissance and Neo-Romanesque found echo in several of his pupils' work; these styles again carried national connotations, which were nowhere more apparent than in German- and Czech-inhabited Bohemia. Schmidt and his pupils virtually monopolized the restoration of historic buildings in the monarchy, though their puristic and often destructive practices gave rise to severe criticism as a new century dawned.
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Hasanbegović, Nela. "Development Of Digital Competences and Their Influence On Innovative Approaches In The Teaching Practice Of Students Of The Academy Of Fine Arts Of The University Of Sarajevo." INSAM Journal of Contemporary Music, Art and Technology, no. 11 (December 15, 2023): 110–29. http://dx.doi.org/10.51191/issn.2637-1898.2023.6.11.110.
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The development of new technologies has a significant impact on many artistic fields, with work processes redefined and new digital tools can join analog ones to become a continuation of the creator's hand. The goal of this research is to determine the possibility of using digital and analog tools in art education. The research was conducted among students/future teachers, with the aim of determining the extent to which digital and analog tools are suitable for certain art design, and to examine the methodological specifics of the implementation of such classes. The research “Development of digital competences and their influence on innovative approaches in the teaching practice of students of the Academy of Fine Arts of the University of Sarajevo” foresees a series of activities, which require that students, through lectures, seminars and workshops, become familiar with new possibilities of digital and analog tools, and to implement the acquired knowledge in their teaching practice. The impact of the research is reflected in the strengthening of students’ output competencies, their preparation for independent activity in the primary educational context. Digital and analog tools, along with the application of the general laws of visual language, will have an empowering effect on students and future teachers, but also on the end users of the acquired knowledge, that is, on the students of Canton Sarajevo primary schools. The use of digital and analog tools for the purpose of creating an art solution will enable all participants of the research activities to develop a wide range of creative skills and expand their output digital competences, as well as easier design and construction of a personal art manuscript. The results of the research can be a real incentive for the modernization of the university education program, the lifelong training program for art teachers, and current and future teaching practices, which primarily want to respond to the challenges of social aspirations.
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YILMAZ, Şirin. "CREATING THE IMAGINATION OF CULTURAL HYBRIDITY: GÜLSÜN KARAMUSTAFA." SOCIAL SCIENCE DEVELOPMENT JOURNAL 8, no. 39 (September 15, 2023): 443–57. http://dx.doi.org/10.31567/ssd.1024.
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In Turkey, new trends, which are alternatives to traditional art production in terms of method, material and subject, started to become visible as of the end of the 1970s. In the activities carried out under the leadership of the State Academy of Fine Arts and accompanied by the intellectual efforts of the Academy teachers based on philosophical discussions in the West, graduate students they had the opportunity to exhibit new and different productions and to be visible. In this generation, many artists who adopted new and different trends, beyond the classical painting and art education in the Academy curriculum; One of them was Gülsün Karamustafa. In addition to bringing local political and cultural elements to her artworks over the years, the artist has exhibited a diversity of materials and attitudes; It has continued her production process uninterruptedly by carrying it to the international level and has become one of the important names of Turkish Contemporary Art. Karamustafa's studies, which have developed around the issue of migration-based cultural hybridity, which emerged in the socio-political field of Turkey after 1980, have a quality that makes sociological readings possible in the context of the political and cultural structure of the country. Listening to the migration stories of her family since childhood; The political background of her family members and her contact with Istanbul, which had a very active sociological atmosphere during her youth, enables the artist to create the main themes in her artworks. The imagery shaped by the period and environment in which she lived, in the context of a cultural transformation-based objectivity, leads to the emergence of products in Karamustafa's artworks, in which subjects such as migration, cultural hybridity, identity, arabesque and kitsch are mostly discussed. The artist has produced a sincere and original art production by simultaneously transferring social issues that she blended with her personal history in line with multiple materials and artistic expression. This study aims to evaluate Karamustafa's work, her life and the social memory of the period she lived in, that period’s cultural structure, political readings and her testimony in the context of cultural hybridity.
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Benyakh, Nataliia, and Ostap Patyk. "Modern decorative Art in the System of Art Education of Ukraine (on the example of the activity of the department of Art Wood of the Lviv National Academy of Arts)." Bulletin of Lviv National Academy of Arts, no. 52 (June 11, 2024): 19–25. http://dx.doi.org/10.37131/2524-0943-2024-52-2.
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In the article, the main emphasis is on the development of modern art education in Ukraine and its relationship with the new challenges facing artists-pedagogues in modern conditions. Special attention is paid to higher art education in the field of decorative and applied art, where a number of problems and tasks arise that require immediate solutions. The author emphasizes the vulnerability of such art forms as artistic wood, glass, ceramics, textiles and metal in the context of modern changes and technological influences. Changes in the concept of "decorative and applied art" are reflected in the blurring of boundaries between fine and decorative and applied art, which requires new approaches in art education. The terminological challenges in the modern art of Ukraine are considered. The history of the formation of art education in the western Ukrainian lands and the role of the department of artistic wood at the Lviv National Academy of Arts in the education of future specialists in decorative and applied art are analyzed and considered. The article discusses the challenges facing artists who work with wood and the woodworking industry as a whole in today's environment. These challenges are not only a threat, but also a source of new opportunities for the application of modern technologies in artistic wood. They encourage artists to creatively search for solutions to not only technological, but also figurative aspects of works, opening new perspectives for the development of this material in modern art.
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Malinina, Tatiana. "The Tragic Experience of Insight in the Memorial Literary Texts of Russian Journalism, Poetry, Art and Architecture of the 1940s." Scientific and analytical journal Burganov House. The space of culture 16, no. 3 (September 10, 2020): 103–23. http://dx.doi.org/10.36340/2071-6818-2020-16-3-103-123.
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The article, brought to the attention of readers, develops the outlined sections of the author’s report “The Theme of Death and Immortality in the Fine Arts of the Modern and Contemporary Times” presented at the conference of the Research Institute of Theory and History of Fine Arts of the Russian Academy of Arts (November 21-22, 2019). The initiators of the conference explained their choice of one of the global and eternal themes of world art related to the very essence of the existence of humankind and each person by the fact that if ethnologists and culturologists have systematically studied certain aspects of thanatology, the existing extensive art material has yet to be brought together. Of the priority areas proposed by the conference program compilers, the author of this article chooses to say: “There is no death!”: the theme of immortality, resurrection, eternal and repetitive life in art”. The theme of memory, which occupied an important place in the art of the Great Patriotic War, is the subject of research of the published article. It is most fully expressed in such a field of creative and scientific thought of the war years as memorial architecture. Widely held contests for the projects of monuments became a noticeable phenomenon of the artistic life of those years, and the graphic works were included in the valuable fund of Russian cultural heritage. Observing the birth of a new monument, the author of the article notes that memory and remembrance concepts underwent significant changes during the war years. The attitude to memory became an essential measurement of the very concept of memoriality, its worldview, semantic and symbolic content. Identifying the ways of interaction of the perceiving, experiencing, and interpreting consciousness, during which the mythologeme of "return" begins to be realized, a kind of regeneration of damaged cultural tissues takes place, is the purpose of this small study. The review of the archetypal concepts of “Life, Death, Immortality”, these main subjects in the works of literature, fine art, and wartime architecture, allows us to see what significant qualitative changes occurred in the spiritual world of an individual and led to profound changes in the artistic and cultural process in general.
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Lifshitz, L. Yu. "Exploring the Art of Stained Glass. On Copying a Portrait Drawing Using Stained Glass Ggrisaille." Secreta Artis 6, no. 3 (January 30, 2024): 22–35. http://dx.doi.org/10.51236/2618-7140-2023-6-3-22-35.
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The hard-to-achieve skill of glass painting is most easily acquired by copying. If a student, unfamiliar with the complexities and possibilities of a new technology, embarks on designing and developing a personal project, failure to meet his or her expectations may discourage any further interest in the subject – at times forever. However, if a student carefully follows an otherwise impeccable example, he or she is then rewarded with a compelling, almost certainly appealing result – the fruits of his or her diligent work. In doing so, an understanding of techniques and skill cultivation are imperceptibly acquired. In the first half of the 2022/2023 academic year, 4th year students of the Sergey Andriaka Academy of Watercolor and Fine Arts were invited to copy portraits by Hans Holbein the Younger (1530s) that were executed in a complex hybrid technique on primed paper of various colors. They were also requested to produce a copy of a self-portrait by Annibale Carracci (1594), drawn with red and white chalk on rose paper. When transferring the drawing into a new material, an attempt was made to accurately convey the nature of the stroke, the texture of the paper, as well as to emulate underdrawing with charcoal, white and red chalk.
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Hlushko, Mariia. "Representation of Emmanuil Mysko's works on the pages of art magazines." Bulletin of Lviv National Academy of Arts, no. 40 (July 26, 2019): 38–45. http://dx.doi.org/10.37131/2524-0943-2019-40-5.
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This paper analyzes art magazines and other periodicals in the context of the presentation of works by the famous sculptor Emmanuil Mysko, who holds a special place in the fine arts of Ukraine. The research material provides a brief overview of publications in art magazines and other periodicals that thoroughly acquaint the reader with the formation and evolution of Emmanuil Mysko's creative path. The focus is made on a holistic analysis of articles by art historians describing the artist's work, as well as publications containing only specific references to him. A number of well-known national art magazines, newspapers, newsletters, etc. covering the cultural and artistic events were selected for the study, namely, the magazine of the National Union of Artists of Ukraine "Fine Arts", "Art" magazine, "Free Ukraine" newspaper, Bulletin of the Lviv National Academy of Arts , "People's Notebooks", "Art Horizons" and others. The study outlines a number of trends regarding the presentation of material about Emmanuil Mysko, through which it can be argued that each of the authors tried to highlight as much as possible the key aspects of Emmanuil Mysko's activity in the field of monumental and decorative sculpture and to emphasize his contribution to the development of Ukrainian art. It is revealed that the talent, pedagogical and social activity, human qualities of Emmanuil Mysko and its impact on culture and art, have not been neglected by national scientists, art historians, researchers who in their works published on pages of art magazines and other periodicals describe various aspects of the life and work of a prominent Ukrainian sculptor, art critic, teacher, public figure Emmanuil Mysko. The need to create a structured bibliographic index has been identified, which will contain a complete list of articles on E. Mysko published since 1996, since the Bibliographic Index was published by that year. Also the main provisions and conclusions of the article can be used in the formation of the relevant sections of the new Bibliographic Index, which will become a basis for young researchers who will study the work of E. Mysko.
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Lamonova, O. V. "New intalios of Andrii Levytskyi." Culture of Ukraine, no. 76 (June 29, 2022): 80–90. http://dx.doi.org/10.31516/2410-5325.076.09.
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The purpose of this study is to analyze in detail the most characteristic and expressive intalios of Kyiv graphic artist A. Levytskyi, created in recent years, in particular “Beetle’s tree. Garden” (2019), “Dukedom Day”, “Dukedom Night” (both — 2020), “Toros Bravos”, “On the Bridge”, “Motus Animi Continuus”, “Poem about the cinchona tree (Jean de la la Fontaine)”, “The player. Dostoevsky vs Tolstoy” (all — 2021).
The methodology. A. Levytskyi is an interesting modern Ukrainian graphic artist. The vast majority of publications about the artist’s creativity are just for reference or popular science (Katerynenko (2011), Lamonova (2003, 2022)). This is especially true for foreign editions (d’Arcy Hughes, Vernon-Morris (2008)). Several articles in the periodicals are devoted to the artist’s personal exhibitions (Lamonova (2004, 2004, 2004, 2009)) and his participation in group projects (Lamonova (2010)). Publications in professional editions, with one exception (Kvitka (2013)), also relate to the exhibition activities of the artist (Lahutenko (2001), Lamonova (2010)).
The results. In the new intalios, in particular those created during 2019-2022, A. Levytskyi resorted to various innovations and experiments. He turns to non-figurative art, experiments with the form, composition and color scheme of his works. Particularly noteworthy is the emergence in the artist’s graphics of characters, both somewhat symbolic and quite full-fledged.
The scientific topicality. This material is the first scientific publication about the creativity of A. Levytskyi.
The practical significance. The research is a part of the individual planned theme of the author “Ukrainian graphics of 2000-2020 as a variety of author’s formal and stylistic interpretations” and the general planned theme of the Department of Fine and Decorative-applied Arts of M. T. Rylskyi Institute of Art History, Folklore and Ethnology of National Academy of Sciences of Ukraine “Domestic artistic and art history experience in the dimension of modern interpretive and historical and cultural strategies”.
Conclusions. A. Levytskyi’s new intalios, in particular created during 2019–2022, demonstrate a wide range of artist’s searches. Particular attention is drawn to the emergence on the artist’s intalios of characters, both somewhat symbolic and quite full-fledged. This may indicate the beginning of a very new period in his creativity.
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Clay, Simon. "Wild Self-Care." Somatechnics 12, no. 1-2 (August 2022): 73–91. http://dx.doi.org/10.3366/soma.2022.0378.
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Self-care has become a major topic in recent years; everyone seems to be talking about it. Within the academy, discussions on self-care often revolve around the neoliberalisation of self-care, how these practices commodify bodies and lives, and the intimate relationship between the biomedical model of health and self-care. This article takes a radical departure from the current purview of self-care discussions and offers an emancipatory alternative: ‘wild self-care’. This ‘wild’ model of self-care considers how creative, alternative, transgressive, and/or unexpected forms of care can be legitimate ways of pursuing well-being. Wild self-care is highly emotional in nature, articulates the way care is inherently communal, and ultimately grounded in the pursuit for agency. Drawing from a set of interviews conducted with 16 individuals in Aotearoa New Zealand and Australia who identified as a gay/queer man or a member of the gay community, I describe a range of different wild self-care practices and demonstrate how sex work, drug use, sex in public, kink, and alternative forms of political activism can be used as legitimate ways of caring for the self and pursuing well-being.
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Krivosheev, Yury V., and Roman A. Sokolov. "Expeditionary Journals of Major General G. N. Karaev, Leader of the Combined Expedition to Establish the Exact Location of the Battle on the Ice: The Second Half of the 1950s — Early 1960s." Herald of an archivist, no. 1 (2020): 23–35. http://dx.doi.org/10.28995/2073-0101-2020-1-23-35.
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Recent studies of the Battle of the Ice (1242) in many respects derive from the late 1950s–early 1960s expedition of the Academy of Sciences of the USSR to the region of Lake Peipsi that was to determine the battle location. The reliability of the results it obtained is now evaluated differently, especially by those zealously searching for evidence of state commission. Materials collected and research carried out and published as early as 1962 is now used in disputes; however the authors contend that that they are not sufficient for making balanced and objective conclusions. Handwritten diaries of the expedition leader G. N. Karaev should shed a new light on the history of the project: its preparation, field work progress, and applied methods. The diaries covering the period of 1956-1960 are stored in the fonds of the Archive of the Pskov State United Historical, Architectural, and Fine Arts Museum-Reserve. The text refers directly to the time of the described events (to a day). The diaries expound the research process (including submarine studies) and the general mood of the expedition. They show that the initiative came from the local historians, some of those amateurs. However, support of the leading scholars (particularly, academician M.N. Tikhomirov) and of the USSR Academy of Sciences gave the project its scientific force. The documents attached to the diaries confirm that G. N. Karayev founded his conclusions on the changes in level and depths of the lake, its bottom relief, and reasons for the absence of finds that definitely dated from the 13thcentury on the data obtained by experts in the natural and exact sciences. The authors conclude that the expedition journals of G. N. Karaev confirm the reliability of its results.
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Griffin, Isla. "Binding Matters." idea journal 17, no. 01 (October 21, 2020): 94–106. http://dx.doi.org/10.37113/ij.v17i01.382.
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This visual essay introduces and critically reflects on a creative research project entitled ‘Spectra on the edge of embodiment,’ undertaken as part of my Master of Fine Art study in 2017 at the College of Creative Arts, Massey University, Wellington, New Zealand. The project was motivated by several questions and concerns: What is the being that is human? How does it interact with the space it occupies? Through a work of art, is it possible to convey to a viewer the metacognitive perceptions I have propagated in connecting to my interiority and how it interfaces with the world? The work took the form of an immersive spatial installation including multiple video projections accompanied by a sound loop. Occupying a darkened room within a gallery setting, it animated uniform wall surfaces and corner spaces. The video imagery originated from textural surfaces, detritus, fluids and other such flotsam and jetsam reminiscent of interior anatomies, compelling viewers to linger and wonder what the body might look like from the inside. Such a detailed imaginary view of the body’s interior environment stems from extensive cadaver studies that I undertook as part of my training as a physiotherapist.
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Griffin, Isla. "Binding Matters." idea journal 17, no. 01 (October 21, 2020): 94–106. http://dx.doi.org/10.51444/ij.v17i01.382.
Full textAbstract:
This visual essay introduces and critically reflects on a creative research project entitled ‘Spectra on the edge of embodiment,’ undertaken as part of my Master of Fine Art study in 2017 at the College of Creative Arts, Massey University, Wellington, New Zealand. The project was motivated by several questions and concerns: What is the being that is human? How does it interact with the space it occupies? Through a work of art, is it possible to convey to a viewer the metacognitive perceptions I have propagated in connecting to my interiority and how it interfaces with the world? The work took the form of an immersive spatial installation including multiple video projections accompanied by a sound loop. Occupying a darkened room within a gallery setting, it animated uniform wall surfaces and corner spaces. The video imagery originated from textural surfaces, detritus, fluids and other such flotsam and jetsam reminiscent of interior anatomies, compelling viewers to linger and wonder what the body might look like from the inside. Such a detailed imaginary view of the body’s interior environment stems from extensive cadaver studies that I undertook as part of my training as a physiotherapist.
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Лаврентьев, Андрей Валентинович. "Review of: Essays on the philosophy of Spinoza St. Petersburg: Publishing House of the Russian Academy of Fine Arts, 2018. 200 p. ISBN 978-5-88812-899-2." Библия и христианская древность, no. 2(10) (July 10, 2021): 328–34. http://dx.doi.org/10.31802/bca.2021.10.2.013.
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Книга «Очерки по философии Спинозы» представляет собой оригинальное исследование монистической концепции выдающегося западноевропейского философа Нового времени, осуществлённое в компаративном ракурсе вовлечения его идей в контекст еврейской (преимущественно средневековой) философии. Автор монографии - российский историк, востоковед и гебраист Игорь Романович Тантлевский, профессор и заведующий кафедрой еврейской культуры СПбГУ, директор международного Центра библеистики, гебраистики и иудаики при философском факультете СПбГУ, известный любителю библейских исследований своими монографиями «Введение в Пятикнижие» (2000 г.)1, «Загадки рукописей Мёртвого моря» (2011 г.)2, а также рядом работ по истории Древнего Израиля и Иудеи. The book "Essays on the Philosophy of Spinoza" is an original study of the monistic concept of the outstanding Western European philosopher of the New Age, carried out in the comparative perspective of the involvement of his ideas in the context of Jewish (mostly medieval) philosophy. The author of the monograph is Igor Romanovich Tantlevsky, a Russian historian, orientalist and gebraist, Professor and Head of the Department of Jewish Culture at St. Petersburg State University, Director of the International Center for Biblical, Gebraystic and Jewish Studies at the Faculty of Philosophy of St. Petersburg University, known to Biblical Studies enthusiasts for his monographs "Introduction to the Pentateuch" (2000). The author is well known to biblical scholarship enthusiasts for his monographs Introduction to the Pentateuch (2000),1 Enigmas of the Dead Sea Manuscripts (2011),2 as well as several works on the history of ancient Israel and Judea.
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Andreeva, Ekaterina Yu. "Sovietness in the Art of Vladislav Mamyshev-Monroe." Vestnik of Saint Petersburg University. Arts 11, no. 1 (2021): 69–82. http://dx.doi.org/10.21638/spbu15.2021.105.
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The article is devoted to the recycling of Soviet images in the works of Vladislav Mamyshev-Monroe from 1987–2006. In his multidisciplinary work, Vladislav Mamyshev (1969–2013),an artist, writer, actor, professor of the original genre department of the New Academy of Fine Arts, repeatedly reproduced images from Soviet cinema and pop culture. In the make-up of Marilyn Monroe, he performed Soviet songs at concerts and in video clips. He portrayed Alla Pugacheva, Lenin and Krupskaya, an episode of Stierlitz meeting with his wife from the movie Seventeen Moments of Spring in performances and photo portraits. Mamyshev also wrote several philosophical treatises on the Russian and Soviet mentality and history. Mamyshev’s existential performance, associated with ancient practices of holy foolishness and parrhesia, is considered in the dynamics of post-Soviet history. In 1990, in remakes of Politburo portraits, he transformed the Soviet gerontocrats into the beauties of world cinema, “correcting the karma” of the Soviet regime. In a Pirate Television report on August 19, 1991, Mamyshev opposed the abolition of Gorbachev’s reforms. In the early 1990s, he put forward the idea of a fabulous folklore matrix of the Russian and Soviet unconscious and noted the beginning of the contamination of Russian and Soviet history in the post-Soviet consciousness. In the late 1990s, Mamyshev in the image of Lyubov Orlova explored the complex of Soviet ideas about perfection, which have both a mobilizing and deadening socio-cultural impact. Representing Soviet images, Mamyshev focuses on their totalitarian state message and at the same time their reflection in the individual consciousness, aimed at finding ideal love and happiness, showing the inevitable tragic break in the functional connection between Soviet ideology and Russian reality.
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Skvortcova, Ekaterina A. "“The Seven Wonders of the World” from the Russian Academy of Fine Arts Museum in Saint-Petersburg — the Series of Paintings by K. F. Schinkel and K. W. Gropius (New Attribution)." Actual Problems of Theory and History of Art 8 (2018): 38–49. http://dx.doi.org/10.18688/aa188-1-3.
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